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283287 Los(e)/Seite
Los 225
Attributed to John Constable (British, 1776 - 1837) Portrait of an elegant lady in Regency dress, oil on canvas, relined, 54 x 46 cm Provenance : Property of a Lady, Dorset John Constable, RA was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home-now known as "Constable Country"-which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling". His most famous paintings include Wivenhoe Park of 1816,[3]Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, Constable was never financially successful. He did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England and inspired the Barbizon school. To make ends meet, Constable took up portraiture, which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker, "Constable's incapacity as a religious painter cannot be overstated."
Los 237
English School, 19th Century, Portrait of Grenadier Guardsmen, oil on board, signed with monogram “PT”, framed, 23 x 18.5 cm The tunic type jacket came in , in 1856 at the very end of the Crimean War and replaced the cut-away coat with tails. It would mean that the grenadiers in this painting were late 1850's early 1860's. The guardsman appears to be carrying the rather long Enfield Rifled Musket with a socket bayonet, i.e one with a handle like knife. The standard infantry firearm gradually became shorter and "Sword Bayonets" (blades with handles rather than spikes without handles) in decades post 1860. The Grenadier Guards (GREN GDS) is an infantry regiment of the British Army. It is the most senior regiment of the Guards Division and, as such, is the most senior regiment of infantry. It is not, however, the most senior regiment of the Army, this position being attributed to the Life Guards. Although the Coldstream Guards was formed before the Grenadier Guards, that regiment is ranked after the Grenadiers in seniority as it was a regiment of the New Model Army.
Los 242
Follower of Bernardo Strozzi (1582-1644) The Madonna and Child, oil on board, framed, 25 x 20cm Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.
Los 50
An early 18th century French gold, gilt metal and enamel open face verge pocket watch with porcelain portrait, signed Gilbert, Paris, with French discharge marks for 1715-1717, gilt dial with Roman numerals, the gilt and enameled case with oval porcelain backing painted with three subjects, 44mm (glass broken)
Los 120
•LAURENCE STEPHEN LOWRY RA (1887-1976) A self portrait of the artist, signed in pencil to the margin, label detailing the 1925 original oil from which this print is taken and stating this print to be a limited edition 215/300 verso, colour print, 13" x 10", and the companion limited edition Lowry prints of the artist's mother and father (3). See illustration
Los 147
ENGLISH SCHOOL, early 19th century A portrait study of a young boy wearing a ruffled collar, buttoned jacket with steps of foliage in the background, possibly a portrait of Louis Burnand, ownership inscription and dated 1819 verso, watercolour en grisaille and charcoal heightened with white on buff paper, 7.25" x 6.5"
Los 153
JOHN RAPHAEL SMITH (1752-1812) Portrait of Richard Dagley (1765-1841), old label describing details of the sitter verso, with old inscription to the back board and printed stock number, pastel, 9.5" x 8". See illustration. Richard Dagley became a genre painter after being apprenticed to Thomas Cousen, a jeweller and watchmaker, where he worked enamelling intricate scenes on the backs of watches and jewellery. Between 1805 and 1815 it is recorded that he was working as a drawing master in a ladies school in Doncaster. It is at this time that this portrait of him could have been executed by Smith who was also working in Doncaster. Similar pastel portraits by John Rafael Smith survive in the National Portrait Gallery. Provenance: Acquired from Gordon Bennett Antiques, Dorchester 1999. Private collection, Dorchester.
Los 180
CIRCLE OF JEAN FRANCOIS MILLET (1814-1875) Side profile portrait of a woman wearing a bonnet, charcoal heightened with white chalk, 9" x 7". This sketch is recorded in the Bedford House, Chiswick Mall W4 catalogue by Mui, Bigg & Co. Wednesday July 28th, 1926, lot 383, described as part of a lot containing two Ford Maddoc Brown pictures as "A crayon drawing, female study (by or attributed to JF Millet unframed)".
Los 225
SIR WILLIAM ORPEN (1878-1931) A profile portrait of a young man, signed lower right, charcoal, 14.25" x 9.75". See illustration. Provenance: With a letter stating that this work was gifted from Orpen to the mother of the current owner, whilst studying together at The Metropolitan School of Art, Dublin, in around 1894. Private collection, Wareham.
Los 305
ENGLISH SCHOOL, 16th century (?) A portrait of a gentleman, his left hand resting on his sword, his right hand on his hip, above his right shoulder a vase of flowers and the inscription 'Fatto a tempo', with wax seal bearing a coat of arms verso, oil on panel, 30" x 24.75". See illustration. Provenance: Private collection, Ireland.
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283287 Los(e)/Seite