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Preisdatenbank abonnierenA collection of original paintings and drawings to include an oil on paper titled 'Heiligenblut, Austria', titled inscribed en verso, signed lower left 'F Wriel', a coloured pencil drawing signed 'Courtney' lower right and titled en verso 'Portrait of a young woman' and another oil on board of an abstract street scene (3)
*Silhouette Portraits. Gentleman in profile wearing tricorn hat, late 18th century, pen & ink on paper head & shoulders oval portrait, 100 x 75mm, black laquered frame with convex glazing, small hoop hanger at head of frame incorporating cast brass acorn and oak leaf ornamentation, together with Portrait of a lady in profile wearing bonnet, early 19th century, trimmed black paper portrait, with line definition in bodycolour, image 70 x 40mm, mahogany veneer frame, glazed The silhouette portraits are understood to be members of the Humphreys family of Holly Place, Hampstead, London. (2)
*De Morgan (Evelyn, 1855-1919). Preparatory study of a female male head, for The Captives, coloured chalks and pastel on buff paper, head and shoulders portrait in profile turned to the left, of a maiden clutching her head and gazing downward, visible sheet size 30 x 22cm (11.75 x 8.75ins), image size 18 x 19cm (7 x 7.5ins), mounted, framed and glazedProvenance: English private collection formed circa 1950-1970, thence by descent. The present work is a study for the right hand figure in 'The Captives', held by the De Morgan Foundation, which shows five classically draped female figures in attitudes of fear amongst writhing dragons. The painting seems to give a message of worldly danger, both physical and spiritual, particularly for women, and the need to resist. This study is a typical example of Evelyn's careful preparatory work, showing an accurate delineation of limbs and attitude, and exquisitely drawn features.(1)
*Haggard (Henry Rider, 1856-1925). Portrait by Emil Otto Hopp‚ (1878-1972), circa 1911, bromide print photograph, half-length in part profile writing at his desk, 20 x 13.5 cm, pencil signed by the photographer on paper mount at foot, tipped on to a contemporary card mount and boldly and clearly signed by the sitter 'To Ella from H. Rider Haggard, Ditchingham 1911', a few spots and minor marks, framed and glazed The dedicatee is likely Haggard's older sister, Ella Doveton Haggard (1845-1921). (1)
*De Morgan (Evelyn, 1855-1919). Preparatory study of a male head, for Saint Christina Giving her Father's Jewels to the Poor, Florence, 1904 coloured chalks and pastel on buff paper, head portrait in profile turned to the right, of an elderly blind man with a grey beard and long hair, his face turned heavenward, visible sheet size 30 x 20cm (11.75 x 8ins), image size 18.5 x 17.5cm (7.25 x 7ins), mounted, framed and glazed Provenance: English private collection formed circa 1950-1970, thence by descent. The present work is a study for the supplicating male figure in the boat on the left of Evelyn de Morgan's impressive oil painting 'Saint Christina Giving her Father's Jewels to the Poor'. The work was painted in Italy, and brought over from Florence shortly before the outbreak of war in 1914. In 1919 it was purchased by her sister and biographer, Mrs. Stirling, from a sale of Evelyn's paintings held in aid of St. Dunstan's charity for blinded war veterans. Tragically it was destroyed in October 1991 when a fire raged through Bourlet's art storage unit in New York where much of the De Morgan Foundation's art collection was being held. The St. Christina oil is the largest work which Evelyn produced, measuring 77.75 x 120ins, and consequently a large number of studies for it exist. The painting depicts the saint standing on the steps of her pagan father's Venetian palace distributing to a number of supplicants jewels taken from the idols broken up by attending angels. The format of the work follows in the tradition of large scale Biblical and historical paintings, and its subject - spiritual enlightenment through casting off wealth - was one that particularly interested the artist. The martyred St. Christina not only embodied the virtues of poverty and charity, but also showed herself to be a strong woman in the face of opposition, an attribute which must have appealed to the feminist Evelyn. The detailed life studies produced by Evelyn De Morgan for such works typically show a desire for accuracy, with exquisite detail in drapery and figure studies, and beauty of character in her studies of heads; the artist rarely deviated from her initial concepts in the finished composition. (1)
*English School. Portrait of a young lady, circa 1810, oil on canvas, half-length portrait of a young lady with dark brown curls, wearing a high-waisted white muslin gown, with bows at the waist and on the cap sleeves, with a red shawl loosely around her, faint craquelure, 19 x 16.5cm (7.5 x 6.5ins), gilt moulded frame, glazed (1)
*@Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, full length in evening dress, holding a fan in her lap and against a neutral backdrop, 336 x 242 mm (13.25 x 9.5 ins), on contemporary paper mount, trimmed to photograph margins and with adhesive remains to verso Provenance: From the collection of Lady Ottoline Morrell by descent. Accompanying the lot is a sample cutting (24.5 x 11.5 cm) of the material used for the sumptuous dress worn by the sitter. The dress, of vivid yellow silk with purple embroidered floral designs, is now in the collections of the Museum of Fashion, Bath. (2)
*Sickert (Walter, 1860-1942). Portrait of Giovanni Boldini, 1890, pen & ink, head and shoulders portrait half turned to the left, signed by Boldini lower right, signed by the artist and dated 1890 upper right, some light toning and one or two marks, manuscript label to backboard "Illustrated 'L'opera completa di Boldini' 1970 page 83", 22 x 17 cm (8.75 x 6.5 ins), mounted, framed and glazed Italian artist Giovanni Boldini (1842-1931) was a genre and portrait painter who lived and worked in Paris for most of his career. He was known as the "Master of Swish" because of his flowing style of painting, and was described by Sickert as "the nonpareil parent of the wriggle and chiffon school of portraiture." (Walter Richard Sickert, "Wriggle and Chiffon", 'The New Age', 9th June 1910, pp.129/30). (1)
*@Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, three-quarter length in evening dress, arms akimbo and against a decorative plume print tapestry backdrop, 355 x 260 mm (14 x 10.5 ins), on original thick paper mount and backing sheet, mount signed by the photographer ('Beaton') in thick white acrylic lower right Provenance: From the collection of Lady Ottoline Morrell by descent. (1)
*Anderson (Lillian, early 20th century). A predecessor to Jock, 1904, oil on canvas portrait of a Cairn terrier, hand-written label to verso "By my Aunt Lillian Anderson, a predecessor to her dog Jock, of a similar breed who lived to the great age of 17 and died at Malahide, Co. Dublin, Sept. 1904", 356 x 304mm (14 x 12ins), framed (1)
*English School. A portrait of a lady, circa 1820-1830s, oil on canvas, depicting a half-length portrait of a fashionable lady wearing a gown with full lace-trimmed sleeves and dropped-pearl jewelled decorations at sleeves and d‚colletage, relined, 710 x 600mm (28 x 23.5ins), near contemporary gilt frame, with early framers' label of Alfred J. Muclow, London to verso of stretcher In need of restoration (1)
*Eliot (Vivienne 'Vivien', nee Haigh-Wood, 1888-1947). Studio portrait by Vandyk, circa 1932, vintage gelatin silver print, three-quarter length in fur coat, looking downwards and cradling a Shih Tzu dog with her left hand, 167 x 115 mm (6.5 x 4.5 ins), original paper and card desk mount, photographer's pencil signature to paper mount lower left, inscribed by the sitter in ink diagonally across paper mount and image lower right, 'To Ottoline Morrell, from her friend Vivienne Haigh Eliot, May 29/32', old light water stain to desk mount upper border just touching image Provenance: From the collection of Lady Ottoline Morrell and then by descent. Vivienne Haigh Wood Eliot was an English writer, who became known for her marriage in 1915 to the American poet T.S. Eliot. Though they remained married until her death in 1947, the relationship was stormy and Eliot arranged for a formal separation in February 1933. Thereafter he shunned her entirely, instructing his friends, including members of the Bloomsbury Group, not to tell her where he was. She was committed to an asylum by her brother in 1938, dying there nine years later. The National Portrait Gallery, London, hold a number of snapshots featuring Vivien taken by Lady Ottoline Morrell and dating between 1920 and 1931. (1)
*French School. Portrait of a boy in Persian dress, 1884, black and white chalks on buff paper, with repeated printed monogram to verso 'FLP', signed and dated lower left F.L. Pacher Xmas/84, 490 x 360 mm 19.25 x 14.2 ins) mount aperture, period oak frame, glazed (1)NB: This lot has been amended (extra note to description)
*Blake (William, 1757-1827). Head of a girl, 1819, pencil on paper, profile portrait to the right of a young woman with braided hair, sheet size 15.5 x 20cm (6 x 8ins), image size 13 x 11cm (5.25 x 4.25ins), mounted, framed and glazed Provenance: John Varley; William Christian Selle, thence to Selle's daughter who married H. Buxton Forman, by whom given to William Bell Scott in 1870; Miss Alice Boyd, Penkill Castle, passed 1897 to her niece Miss Eleanor Margaret Courtney-Boyd, passed 1946 to her niece Miss Evelyn May Courtney-Boyd; M.D.E. Clayton-Stamm, 1967; sold Christie's 15 June 1971, where purchased by the family of the present owner. Butlin, The Paintings and Drawings of William Blake (1981), 692, 79-80. Exhibited at the Tate Gallery, London, from 1969 to 1971. Butlin suggests that this drawing is comparable with the inscribed drawing of Corinna, the Theban poetess (Butlin 708), described by Allan Cunningham as the 'lovely creature'. (1)
*Dixon-Smith (Captain H. R., 20th century). Portrait of a Wazir Malik, 1932, pencil and pastel on paper, two small paper repairs, titled, signed and dated Waziristan, 23.4.32 to lower edge, Army Officers Art Society exhibition label to verso, 34 x 29cm (13.25 x 11.5ins), mount aperture, framed and glazed (1)
*Rejlander (Oscar Gustave, 1813-1875). (?)Self-portrait, circa 1850s, watercolour and chalk, three-quarter length, the sitter with a divider held in his right hand over a piece of paper, signed in a blank strip lower left in blue chalk, 'O.G. Rejlander', 395 x 318 mm (15.5 x 12.5 ins), laid on card with a full-length albumen print portrait by Rejlander of the Countess of Tankerville pasted to mount verso, [1866], 19.5 x 15 cm (7.75 x 6 ins), mount browned to left margin of verso with some spotting and fading to left and lower margins of photograph Rejlander started out as a painter and portrait miniaturist in Wolverhamton, probably around 1846. Around 1850 he learned the wet-collodion and waxed-paper processes and then changed his business to that of photographer. The portrait here shows a bearded man with a full head of hair, while most of the photographic self-portraits from the 1860s show Rejlander with wilder hair and beard and no hair on top. The Harry Ransom Center's photography collection at the University of Texas at Austin has a portrait of the Countess of Tankerville clearly taken by Rejlander at the same sitting. In an online article about the portrait by Marlene Renz on the University's website it is claimed that this is 'the only known print of a portrait of Olivia Bennet, The Countess of Tankerville, by distinguished 19th-century photographer Oscar Gustave Rejlander'. This second portrait gives further weight to the attribution. NB THE AUCTIONEERS CANNOT GUARANTEE THAT THE DRAWING IS A SELF-PORTRAIT.(1)
*Strang (William, 1859-1921). Portrait of Thomas Hardy, etching on thin laid paper, the second state (of 3), before the plate was significantly reduced in size, inscribed in pencil by David Strang to lower margin 'In final state (3rd) the plate had been cut to 6" x 4". D.S. 2nd state. Wm. Strang fec. D.S.', plate size 301 x 203 mm (11.8 x 8 ins), sheet size 228 x 330 mm (9 x 13 ins), mounted, together with Rothenstein (William, 1872-1945), Portrait of Hilaire Belloc, lithograph on india paper laid on wove, signed in pencil, some scattered spotting, india paper sheet size 255 x 228 mm (10 x 9 ins), laid down on card (2)
Artist: Mark Kostabi Artwork Title: Untitled Size: 47 x 52 cm Media: Oil on canvas Artist Info: Mark Kostabi was born in Los Angeles on November 27, 1960, to Estonian immigrants Kaljo and Rita Kostabi. He was raised in Whittier, California and studied drawing and painting at California State University, Fullerton. In 1982 he moved to New York and by 1984 he became a prominent figure of the East Village art scene winning the "Proliferation Prize" from the East Village Eye for being in more art exhibitions than any other New York artist. Retrospective exhibitions of Kostabi's paintings have been held at the Mitsukoshi Museum in Tokyo and the Art Museum of Estonia in Tallinn. Kostabi's work is in the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, the Brooklyn Museum, the National Gallery in Washington D.C., the Museum of Contemporary Art, Los Angeles the Corcoran Gallery of Art, the Yale University Art Gallery the National Gallery of Modern Art in Rome and the Groninger Museum in the Netherlands. His work was published on the cover of the book East Village '85 published by Pelham Press and his paintings were included prominently in numerous East Village shows in museums and galleries internationally. Matteo Editore published a book on Kostabi titled Mark Kostabi and the East Village scene 1983–1987 written by Baird Jones. During the mid-1980s he developed a media persona by publishing self-interviews which commented on the commodification of contemporary art. In 1986 Kostabi designed the Bloomingdales shopping bag. By 1987 his works were widely exhibited in New York galleries and throughout the United States, in Japan, Germany and Australia. His permanent public works include a mural in Palazzo dei Priori in Arezzo, Italy, a large bronze sculpture in the central square of San Benedetto del Tronto, Italy, and a bronze portrait of Pope John Paul II in Velletri, Italy.
Artist: Pietro Annigoni (1910 - 1988) Artwork Title: Untitled Size: 28.5 x 19.6cm Media: Charcoal on paper Artist Info: Pietro Annigoni was an Italian portrait and fresco painter. He studied art at the Accademia di Belle Arti in Florence. An exhibition in 1950 at Wildenstein & Co., London, introduced Annigoni's work to the English public, with whom he remained popular. He based his style on Leonardo da Vinci and Titian, working in tempera and oil to simulate old-master oils, or pen-and-ink to imitate silverpoint. Public Collections include: Uffizi Museum, Florence, Italy Pitti Palace in Florence, Italy Benedetta Bianchi Porro Foundation in Dovadola (Forlì), Italy Metropolitan Museum of Art in New York Indianapolis Museum of Art Fine Arts Museum of San Francisco Minneapolis Institute of Art Royal Collection of Windsor Castle National Portrait Gallery of London, England Vatican Museums in Rome, Italy Notes: Annigoni painted a portrait of Queen Elizabeth II currently exhibited at the National Portrait Gallery in London.
Artist: Jincheng Liu Artwork Title: Untitled Size: 66 x 86 cm Media: Oil on canvas Artist Info: Jincheng Liu graduated from the Fine Art Department of the Capital Normal University, Beijing in 1982. He studied at the Slade School of Art in London, 1989. His style is unique, combining elements of both the East and West in his painting. His work can be found in numerous public and private collections all over the world. Exhibitions: Bruton Street Gallery, London; Gagliardi Gallery, London; Aosta Exhibition Centre, Italy; B.P. Award, The National Portrait Gallery, London; Figures From Realism To Abstraction, The Victoria & Albert Museum, London; Royal Academy Summer Show, London; Millennium exhibition London, Albermarle Gallery; British Landscape Society; One man show and art talk, Westminster; Royal Institute of Oil Painters, Mall Galleries, prize winner; Chianciano Art Museum Exhibition, Italy; Diamond Art Museum, China; Chinese Contemporary Art Show, Formans Smokehouse Gallery, England.
Artist: Jeanne Modigliani (1918 - 1984) Artwork Title: Portrait Size: 63 x 48 cm Media: Pastel on paper Artist Info: Jeanne Modigliani was born in Nice on the 29th November 1918. She was soon after adopted and brought up by her aunt Margherita Modigliani, in Livorno, her father Amedeo Modigliani's home town. Her childhood was never discussed until she reached adulthood so she was unaware of the lives and tragic deaths of her parents, who both died when she was only 14 months old. However, life was not to be easy for the child of Modigliani either, and as Fascism deepened its hold on Italy poor young Jeanne was identified and persecuted as a Jew – so she left Italy and, like her father before her, took refuge in Paris where she later joined the French Resistance and she was imprisoned for political reasons. As daughter of painter Jeanne Hebutern and the great master Amedeo Modigliani, Jeanne inherited artistic genes and her works are of a stunning, elegant, refined and sensual quality, albeit painting was only one of her many artistic outlooks in life. Jeanne Modigliani died in 1984 in Paris, at the age of 66. Notes: Probably her most lasting heritage is the faithful and true biography of her father written in 1958 and the product of very intensive, scrupulous and passionate research when she finally discovered who her real father was! "Modigliani, man and myth", was later translated into English from the Italian by Esther Rowland Clifford. Artworks by Jeanne Modigliani have had some low auctions records but have attracted a lot of interest in recent years. Artworks by Jeanne Modigliani have now become rare collectors items.
Artist: Alessio Vaccari Artwork Title: Portrait Size: 96 x 96 cmMedia: Oil on board Artist Info: Alessio Vaccari was born in Pisa in 1977 and studied at both the Florence and Rome Art Academies. Vaccari has established himself as a realist artist. Exhibitions: He has participated in several exhibitions such as: Solo exhibition at the Gagliardi Gallery in London in 2006. Kunstart in 2012; Bolzano in 2011; Solo exhibition “La scuola di Torpignattara” Temple Gallery, Rome; Solo exhibition in Galleria Ghelfi, Vicenza in 2010; Solo exhibition “Intime armonie” in Galleria Le Opere, Italy; Group exhibition “Coincidenze, allievo maestro”, Rome; Centro Diego Martelli, Castiglioncello in 2006, Italy; “Il linguaggio della decorazione”, Vertecchi per l’arte, Rome, Italy.
Artist: Jincheng Liu Artwork Title: Untitled Size: 118 x 98 cm Media: Oil on canvas Artist Info: Jincheng Liu graduated from the Fine Art Department of the Capital Normal University, Beijing in 1982. He studied at the Slade School of Art in London, 1989. His style is unique, combining elements of both the East and West in his painting. His work can be found in numerous public and private collections all over the world. Exhibitions: Bruton Street Gallery, London; Gagliardi Gallery, London; Aosta Exhibition Centre, Italy; B.P. Award, The National Portrait Gallery, London; Figures From Realism To Abstraction, The Victoria & Albert Museum, London; Royal Academy Summer Show, London; Millennium exhibition London, Albermarle Gallery; British Landscape Society; One man show and art talk, Westminster; Royal Institute of Oil Painters, Mall Galleries, prize winner; Chianciano Art Museum Exhibition, Italy; Diamond Art Museum, China; Chinese Contemporary Art Show, Formans Smokehouse Gallery, England.
Gambart (E. & Co., publishers). Les Mille et une Femmes a Chosir, Album of Thousand & One Beauties, published Paris, circa 1870, approximately 165 lithographs printed on twenty sheets, with between two and twelve images to each sheet, each portrait with contemporary hand colouring, some dust soiling and staining, text block detached, some leaves loose, contemporary cloth, heavily worn and frayed, lacking spine, oblong folio, together with De Becque (Maurice), Leconte de Lisle, Six PoŠmes Barbares..., published Paris, 1925, title, six aquatint etchings with contemporary colour and twelve uncoloured etchings, all signed in pencil below image, each image approximately 270 x 190 mm, disbound, with Recueil Nouveau de differens Cartouche inventez par le Sr de la Joe Peintre ordinaire du Roi..., published Huquier, circa 1780, decorative title and eleven uncoloured engraved cartouche designs, some water staining, stab bound, overall size 270 x 350 mm (3)
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