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283325 Los(e)/Seite
Los 118
BRITISH SCHOOL, (18th Century), 'Portrait of Sir John Chesshyre', (English 1662-1738), Lawyer, called to the bar in 1689, Sergeant to Queen Anne, 1711, knighted in 1713 and became King's First Sergeant in 1727, together with his wife Elizabeth Cave, who died 1705. Oils on canvas. 130 x 110cm approx. A pair. (2) Provenance: Entered for sale by family member, by family descent. CONDITION REPORT: Both are very dusty and grubby being country house consigned, no obvious holes, some crazing and craquelure evident, appearing period frames, the frames with wear and losses in places.
Los 102
BRITISH SCHOOL, (19th Century), 'Portrait of Jane Marin, nee Russel, wife of Colonel Fletcher of Lowneswood', oils on canvas. 92 x 72cm. CONDITION REPORT: Older lined canvas, evidence of various repairs with some over-painting, crazed overall, relatively modern frame. Provenance: Private local vendor
Los 147
JOHN BRYNMOR BOWEN, (Welsh, born Llanelli, 1914, died 2006), portrait of a young boy, oils on board, 47 x 38cm. CONDITION REPORT: Unsigned but from a private source who had a number of works by the same artist, it is very much in his style, no obvious damage, minor paint flecks, modern gilt frame.
Los 228
Portrait of Surgeon D C Wodsworth Army Medical Department, head and shoulders portrait in pastel on paper mounted to card backing. Portrait shows him in full uniform. Signed and dated 1854 to the lower corner. Medals consisting of South Africa 1834-53 and Crimea campaign medals can be seen to his breast. Housed in a period glazed frame with paper label to the reverse identifying the subject. Frame in need of some restoration. Measures 58cm x 49cm. D C Wodsworth was appointed as an Assistant Surgeon in 1851, he was posted to the 12th Lancers on 5th August 1853. He served during the Third Kaffir War, Crimean War and Indian Mutiny with the 12th Lancers. In 1858 he was appointed as Staff Surgeon. He later served in New Zealand with the 70th Foot. He retired from the Army in 1867 and died in 1890. Picture has not been removed from frame and inspected.
Los 187
American Civil War Period Family Photograph Album with Signed Picture of Abraham Lincoln and Other Notable Americans of this Period, interesting album compiled by Caroline May Davies. The album consists of various CDV photographs, most of which are identified. Album starts with images of members of her family including an image of Admiral Edward May in Union Naval uniform, Samuel J May (Cousin of John S May) under his name is inked “great abolitionist”. Album then moves onto various CDV images of various Union officers including Major Joseph Kirkland (went onto be an American novelist), Major William White 44th Massachusetts Regiment, Captain John R Howard, Colonel Franklin Haven, Colonel Ned Haven, Colonel Van Brunt, Commodore Watkins Pacific Fleet and Major Baldwin, most are photographed in Military uniform. Other people of note identified in the album are of a Political nature or members of American (Boston) High Society, these include an image described as Clarence Serrard Secretary for State (the Secretary of State at this period was William Henry Seward), American Banker and Writer Edward N Westcott, American Poet and Diplomat James Russell Lowell, American Poet and Unitarian Minister Rev John Pierpoint, plus others. Towards the back of the album is a signed CDV of Salmon P Chase Secretary of Treasury under President Lincoln later Chief Justice of Supreme Court. During his role as Secretary Treasury during the American Civil War, he was responsible for the setting up of the American National Banking System and the issue of Paper currency. It was Chase who managed to secure the funding for the Union Army to fight the Civil War and he was instrumental in placing the phrase “In God We Trust” on American currency. On the same page as the Chase CDV is the one of the then president Abraham Lincoln, being the famous image published by E Anthony 501 Broadway, New York, from photographic negative, from Brady’s National Portrait Gallery. The image is signed in pencil on the reverse “A Lincoln”, from research undertook it appears that Abraham Lincoln only like to sign on the front of photographs which had large borders able to fit his signature without affecting the photograph, this is why this one has been signed on the reverse. The image taken originally by Mathew Brady shows the president sitting at a table in reflective mood, to the left hand side you can just make out part of his famous top hat. All images are housed in a period album, some leaves are left empty which would indicate that the album was never completed by Mrs Davies, the sleeves that have been left empty do not have any description underneath so we do not believe that any images have been removed. All images remain clear and any which are signed including the one of Lincoln, the signatures remain clear. Front album cover detached. (72 images) This item was purchased by a scrap gold dealer in the East End of London in the early 1990’s and has never been offered on the open market before. It is possible that a member of the Davies family left the USA at some point and settled here in the UK. Interesting research potential.
Los 43
A selection of framed miniatures and Georgian silhouettes to include a small oval miniature portrait of a young girl in a blue dress, miniature portrait of a young woman signed Felix, another of a young woman in a hat lined with pink ribbon and feathers, signed Derval, a Georgian silhouette of a young man and a 19th century watercolour portrait of a woman (5)
Los 213
TWO VICTORIAN MOURNING BROOCHES, both oval, one with a black and white flower carved hardstone in a stamped hollow mount, the other with a central vacant panel within a seed pearl and black enamel border with woven hair back, both unmarked, together with a Victorian shell cameo oval brooch carved with the bust portrait of a young girl, in a swivel mount, and a circular openwork white and blue enamelled brooch centred by a faceted citrine (4)
Los 139
A GERMAN MILCHE GLASS SMALL JUG, early 19th century, of barrel form with pulled and applied handle, painted in enamels with the half length portrait of a young officer within a frame pendant from a bow, 2 3/4" high, together with a later night light holder modelled as a crescent moon painted with a face and flowers, indistinct numerals to base, 3" high (2)
Los 471
SIR WILLIAM JOHN NEWTON (1785-1869), Portrait of Francis Harding, head and shoulders, miniature on ivory, signed and dated 1830, 3 3/4" x 3", together with another depicting his wife and daughter Davidena Eleanor Hardy and Mary Jane Eleanor, ivory, unsigned, 9" x 5 3/4", both in oak frames (Illustrated)
Los 39
THREE PORTRAIT MINIATURES, depicting 18th Century ladies, the oval portraits mounted in rectangular segmented bone frames, Mrs Robinson, Duke of Wellingtons mistress, signed Romney lower right, lady wearing pearls in red dress signed Rawson or similar lower right and young maiden, each approximately 8cm x 6cm, frame 13.5cm x 11.5cm (3)
Los 56
THREE OVAL PORCELAIN PORTRAIT MINIATURES, lady in green dress with feathered hat set in carved roundel border frame inscribed Marie Antoinette Firenze 112/3585A verso, approximately 8cm x 6.5cm, scantily clad maiden exposing bare breast set in gilt easel frame, impressed marks verso, approximately 8cm x 6cm, together with young maiden in yellow, signed indistinctly, set in carved leafage border frame, plaque with Firenze Larabere 65/3623 and impressed 65 verso approximately 6cm x 4.5cm (3)
Los 149
A PAIR OF 19TH CENTURY MINTONS TWIN HANDLED VASES AND COVERS, the ovoid bodies having portrait cartouches, pensive maiden and figure with dog, signed Boullemier to cobalt ground, gilt borders and scrolled twin handles supported on circular pedestal base, cover with white floral rosette with gilt finial, approximately 35cm high (a/f and one lid glued)
Los 66
A CASED CIRCULAR PRESENTATION/COMMEMORATIVE PLAQUE, Dublin 1973, mark of Royal Irish Ltd, engraved with portrait of Eamon deValera, President of Ireland 1959-1973. The reverse inscribed: ''Don Dochtúir B. Alton, Le Buíochas agus Mór Mheas; Eamon deValera, Meitheamh, 1973''. No.144 from a limited edition of 2500. 28cm diameter
Los 112
GEORGES ROUAULT (1871-1958)'Christ de Profil' Passion from Les Fleurs de Mal (1937)Colour aquatint, 34 x 23cmProvenance: With Willie Viertler, London, from whom purchased by Dr Alton, 1978.Printed as part of twelve aquatints published by Ambroise Vollard in 1938, whom Rouault had a long and somewhat troublesome relationship with for over two decades. Although Vollard provided Rouault with a studio on the top floor of his own house where he could work undisturbed, he also liked to monopolize the work of his artists in order to isolate them from other dealers and patrons. These aquatints on woven paper were created as illustrations for an edition of Baudelaire’s volume of poetry Les Fleur de Mal first published in 1857. It would go on to become very important for the symbolist and modern movement. Rouault was a deeply spiritual individual and this manifested itself in his artwork, as reflected in this adoring portrait of Christ. The face expresses a deep confidence with the head held up reminiscent of Eastern Orthodox icons reflecting Christ’s victory over death won on the cross. In this work there is a clear influence of Rouault’s early training as an apprentice of stained glass in which the hard, opaque brushstrokes and thick outlines resemble the lead borders of the windows. His bold washes of paint set against ominous shadows lead to the creation of a highly distinctive and expressive style tied partly to cubist strategy of an abstracted fracturing of space and the Fauvist tendency for rich intense colours.
Los 177
STYLE OF RIZA-I ABBASI, PERSIA 17TH CENTURYTwo galloping hunters in a landscape, their backs turned to shoot arrows at a leopard behind themPen and ink, 10 x 16.7cmA Nasta'liq inscription, top right handside, gives a date of AH1052/AD1642Provenance: from the H. Kovorkian Collection; With Spink & Son, London from whom purchased by Dr Alton in 1979. Literature: cf. The Brush of the Masters: Drawings from Iran and India by Esin Atil (The Freer Gallery of Art) Nos.27-60, in particular No.43. Riza-I Abbasi (1565 - 1635) was the leading Persian miniaturist of the Isfahan School working for the ruler Shah Abbas I during the Safavid dynasty (1500-1736). He is considered to be the last great master of the Persian miniature, revolutionising the medium with his inventive calligraphic style and colour palette. Details of Riza’s birth and early life are uncertain, he was most likely born in Mashad, where his father, the miniature artist Ali Asghar, is recorded working with the atelier of the governor, Prince Ibrahim Mirza. Riza probably received his training from his father and joined the workshop of Shah Abbas I at a young age. Apprenticeship at this time meant the imitation of an earlier master’s style or incorporating elements of their subject matter into newer compositions. However, unlike earlier Persian artists, Riza-I typically signed his work, with his first dated painting appearing in 1601. The majority of his work was single miniatures for the albums or muraqqas of private collectors. These works usually showed one or two figures executed with a strong air of naturalism in terms of pose and gesture. The background of the images were not overly detailed with often very simply drawn outlines used to describe the scene, although at times they were rendered in gold, a more ornate style formerly used for border paintings. Riza-I used pen and ink for his drawings often with a varied palette of monochrome to full colour. Idealized figures of stylishly dressed and beautiful young men proliferate his work suggesting their popularity amongst his patrons and the larger Persian art market. The treatment of line was crucial to his calligraphic drawings in which it had to convey form, gesture and the character of the individual represented. It did not function in the traditional manner to simply outline the figure, as often there was no further description or embellishment, but rather to encapsulate the entire aesthetic content of the work. Riza-I’s signatures have caused much confusion amongst art historians as he used numerous different names over the course of his career. There is also a general lack of chronological order to his use of different signatures. For the most part his earlier works were signed Aka Risa, which, confusingly, is also the name of a contemporary Persian artist who worked for the Mughal Emperor Jahangir in India. Later he adopted Riza-Abbasi in homage to his patron, Shah Abbas I. In the early 20th century, there was much debate, as to whether the two were the same figure. It is now accepted that they were, although there is a marked shift in style in his mid-career towards a darker palette and more densely drawn line. Riza-I Abbasi temporarily left the Shah’s employment apparently seeking greater independence and freedom to associate with Isfahan’s lower social class. In 1610, he returned to the court, most likely due to a shortage of income, and continued in the employ of the Shah until his death.The style he pioneered remained influential for subsequent generations of Persian painters; several pupils were prominent artists, including Mu’in, who painted his portrait many decades later as well as Riza’s son, Muhammed Shafi Abbasi.His work is housed in many museums and libraries across the world. He is well represented in Russian collections with thirteen known works by him, including a book dating from 1601-2 which is in the National Library of Russia. He may also have worked on the ambitious, but incomplete Iranian national epic, Shahnameh (Book of Kings), now in the Chester Beatty Library in Dublin.
Los 2268
A gold and diamond set cluster ring, detailed 10 K, a 9ct gold and diamond set single stone ring, a gold ring in an abstract design, three further rings, an oval shell cameo brooch, carved as the portrait of a lady, eight further brooches, a gilt metal oval hinged bangle, a neckchain, a pair of silver cufflinks, a circular pendant locket, having engraved decoration, a 9ct gold and diamond set earring, a pair of opal earstuds, six various cultured pearl earstuds and two further cultured pearls, (29).
Los 2290
A gold mounted coral cameo ring, the rectangular coral cameo carved as the portrait of a classical lady, between foliate split shoulders, detailed 18 CT, ring size N and a gold mounted coral cameo pendant, the rectangular coral cameo carved as the portrait of a differing classical lady. Illustrated
Los 963
J Hutton (early 19th century) an English portrait miniature on card of Thomas Hill, Civil Engineer, painted March/May 1842, with inscription to reverse, 8cm high, in a gilt oval frame, together with a portrait miniature of a woman in a similar frame, two early 19th century portrait miniatures on ivory of young men in ebonised frames and another early 19th century portrait miniature. (5)
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283325 Los(e)/Seite