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283287 Los(e)/Seite
![ALAN SUTHERLAND (BRITISH, 20TH CENTURY) Portrait of a Smiling Lady, oil on canvas, signed lower right and dated '[19]59', 59c](https://cdn.globalauctionplatform.com/228f2232-b04e-400e-9d69-a4e200ceea53/d4968fec-1dbb-4012-b9b7-939fb30dbde5/468x382.jpg)
Los 528
Attributed to EDWIN HARRIS The Letter, portrait of Newlyn model Louisa Cook Thomas Beckerleg Circa 1890 Oil on linen (fragment) Unsigned 37 x 39.5cm Note: The simply dressed model in black blouse with brooch at her neck, pauses thoughtfully whilst composing a letter, pen poised, inkwell open before her. Although unsigned, this is a classic Harris composition; a charming rather than gritty subject, acutely observed and masterfully executed. The familiar dark haired sitter gazes wistfully into space. As in so many of Harris's compositions she is lit from a single light source - the window to her left, a light net curtain hangs at the window and a plant, probably a geranium, is positioned on the right of the window. The brushstrokes are fine and controlled, the depiction of the face and hands are particularly beautiful and accomplished. Only in the white areas of paint such as the curtains and paper are the brushstrokes looser and less refined. Although damaged, this is a charming work by a very adept hand. Condition Report: Much scratching and surface damage, some paint lifted, though face and hands mostly unaffected. The linen was probably mounted on board but has subsequently been removed. 1cm hole centre right
Los 250
DAME LAURA KNIGHT RA Fragment from 'Ernest The Tramp and his Wife' depicting the head and upper right hand side of 'Mr Ernest' holding a duck, against swirling clouds in an azure sky Oil on canvas Unsigned, painted circa 1913 157 x 157 x 260cm, an extremely large triangular section of a major work by Knight This painting was 'lost' for many years, the only known record of it being a black and white photograph in the files of the Witt Library at the Courtauld Institute. This section of the painting has languished for decades at Trewoofe in Lamorna, Cornwall, the property of Laura Knight's close friends, neighbours and fellow artists Charles and Ella Naper. The complete painting is illustrated on page 24 of Rosie Broadley's book 'Laura Knight Portraits' which accompanied the National Portrait Gallery's 2013 exhibition. The handsome Mr Ernest was well documented in Knight's autobiography 'Oil paint and grease paint'. He and his equally striking wife were described as 'tramps' by Laura but this is not a derogatory description as she held them in very high regard, relying heavily upon them to organise the Knight's move into Oakhill, their Lamorna home in 1913. Laura found him a wonderful subject and in this excerpt she describes him: "He was like a Greek God, six feet four inches high with gold curls, perfect features and torso." He was clearly an extraordinary character; childlike, yet speaking six languages, with the strength of an ox, landscaping the whole of the garden at Oakhill with granite boulders and also iron pergolas that he carried on his back all the way from Penzance, some five miles away. We do not know how the work came to be in the possession of the Napers, but they were intimate friends with Laura and painted together frequently. The Napers had a very large studio at Trewoofe where many paintings, mostly by Charles Naper were stored well into the 1960s. As it was such a large painting it is not surprising that it was kept in the Naper's capacious studio but we do not know why it remained there after the Knights left Lamorna. Another quote from Knight's autobiography might give some clue: "What nightmares these big canvases are to an artist! The storage and the bore of them if they are not disposed of". This triangular fragment was cut to fit the gable end of the Napers' studio, presumably by Charles as some kind of draught excluder. We must conclude that the rest of the painting depicting the gypsy-like beauty of Mrs Ernest, has long since been destroyed. However, it is wonderful that this segment has survived, as it comes from a very important period in Knight's work, one of tremendous output where she had recently and joyously discovered working from the subconscious. There is an vigorous exuberance in the work of this period and it is very apparent in this portrait of Mr Ernest. Although a fragment, this is a significant work by one of this country's best loved artists.
Los 42
After STANHOPE ALEXANDER FORBES Portrait of a woman Oil on canvas Bears signature 50 x 43cm Condition Report: Condition issues: · Two holes in the bottom left hand segment of the canvas (see image), and two repaired holes (see image of back) · Craquelure visible across the whole of the painting, most cracked to the hair and neck but possibly has been some attempt to lessen its appearance. · Areas which fail to fluoresce under UV to the hair, background and a little to the dress. · Signature “Stanhope A. Forbes” also fails to fluoresce.
Los 346
Miss S A Harding (British, 19th Century) - Portrait of Mrs Margaret Carter, mother of Elizabeth Carter (1717-1806), oil on canvas, 44 x 36 cm. Provenance: By descent at Carter House, Deal, Kent. Old inscription re the sitter to the reverse. A damage by her eyes, foxing to her chest, dirty and with craquelure overall. Inscribed to the reverse: "copy of a portrait of Margaret, wife of Nicholas Carter, DD, Rector of Woodchurch in Kent, and sole daughter and heir of Richard Swayne Esq. of Bere Regis in the County of Dorset, mother of Elizabeth Carter and John Carter Esq. of Deal in Kent, and Margaret, wife of Thomas Pennington ... copied by Miss S A Harding, 1861" Elizabeth Carter (1717 - 1806) was one of the most remarkable and learned women of the 18th century. Tutored by her clergyman father, she taught herself ancient and modern languages, history, geography, astronomy and mathematics. She was also most proficient in needlework and domestic science. Elizabeth Carter rapidly gained a reputation as a poet, essay writer and translator of Epictetus, the Greek philosopher. She made a decision not to marry so that she could continue to study and write and remain independent. She became a member of the 'Bluestockings' a group of likeminded, freethinking literary women. She was praised in society circles as an example of what women could achieve in the enlightened 18th century England. Modern feminists now acknowledge that she made female intellectual endeavour respectable.
Los 349
English Provincial School (circa 1665) - Portrait of William Mitchell Sale of Canterbury, three-quarter length, oil on canvas, 92 x 72 cm. Provenance: By descent within the Pennington family at Carter House, Deal, Kent. William Mitchell Sale married Martha Pennington of Canterbury, and had an only daughter, who married Thomas Pennington, Rector of Thorley. Lined canvas. Prominent craquelure and stretcher bar marks. A few scattered losses and areas of retouching but generally in good condition. Dark scratch across sitter's head. Varnish is dull, yellowed and uneven. Unframed.
Los 465A
John Hutchison after Thomas Gainsborough (Scottish, 19th Century) Portrait of the Hon. Mrs Thomas Graham, head and shoulders signed on the reverse "John Hutchison" oil on canvas 75 x 49cm (29 x 19in) Thomas Gainsborough's original full length portrait is in the National Gallery of Scotland. Mrs Graham's portrait was painted a year after her marriage to the Hon. Thomas Graham. She fell ill and died during her journey to France in 1792, and after her death her husband could not bear to look at her portrait again and it was lost for many years, before being given to the National Gallery of Scotland. The present portrait probably dates from 1891 when the head was reproduced as a print by Thomas G Appleton. Two tears in canvas which have been repaired from reverse. Paint layer has large drying cracks in many areas. The surface has an uneven gloss. A few small losses to gilding on frame. Blacks are coalescing. Under glass.
Los 153
Early Possibly 18th Century German Oil on Board "Old Master Portrait of a Woman" In Elaborate Gilt Wood Frame. Unsigned, although there appears to be a Hand Written genealogy En Verso, Dating back to the 18th Century. Craquelure or in Good Condition. Measures 8-1/2 Inches by 6-1/2 Inches. Frame Measures 14-1/4 Inches by 12-1/4 Inches. Shipping $85.00
Los 1106
Sir William Oliphant Hutchison (1889-1970), Portrait of Her Majesty the Queen, oil on canvas, 245cm x 153cm., in a carved giltwood frame surmounted by a coronet. DDS Illustrated Provenance: Bramshill House Police Training College, Hampshire. For details about Bramshill House, please visit www.bellmans.co.uk and refer to our 'News' page.
Los 1798
A gentleman's gold graduated curb link watch Albert chain, detailed 9, fitted with two swivels, weight 13 gms, a Victorian silver oval hinged bangle, with engraved decoration, Birmingham 1884, a propelling pencil, with engine turned decoration, a 9ct gold mounted oval shell cameo brooch, carved as the portrait of a lady, two unmounted oval shell cameos, a Sterling brooch, with a floral motif, a blue paste set pendant, with a neckchain and a Fiorelli silver pendant necklace.
Los 1814
A single row necklace of graduated pale opal beads, a single row necklace of black beads, a 9ct gold mounted oval shell cameo brooch, carved as the portrait of a lady, a vary coloured agate set oval link bracelet, on a snap clasp and a costume set, comprising; a brooch, a ring and a pair of earrings.
Los 1818
A 9ct gold and half pearl set bar brooch, in an elliptical design, with a beaded and wirework border, Birmingham 1908, a gold and seed pearl set brooch, with a swallow motif, detailed 9 CT, a 9ct gold, amethyst and seed pearl set bar brooch, an oval shell cameo brooch, carved as the portrait of a lady and six further brooches, in a variety of designs.
Los 2437
A Doulton Lambeth salt glazed stoneware ovoid jug, in brown and buff, to commemorate the Emin Pasha Relief Expedition, 1887 - 1899, Out Of Darkness Into Light, applied in light relief with a portrait oval of H M Stanley, flanked by symbols of Enterprise and Valour, above the names of the party, 20cm, impressed marks, Rd No 147521 Condition Report: Handle with metal staple repairs
Los 2438
A Doulton Lambeth waisted cylindrical salt glazed stoneware jug, The Handy Man, transfer printed in sepia tones on a buff ground, centred with a rifleman flanked by portrait ovals of Capt. P M Scott and Capt. H Lambton, amongst sinuous Art Nouveau foliage, reeded handle, spreading circular base, 20.5cm, impressed mark; a Doulton Lambeth ovoid jug, to commemorate General Gordon, applied in light relief with an oval portrait cameo, 19cm, impressed marks (2)
Los 2440
A Doulton Lambeth salt glazed stoneware ovoid jug, transfer printed in brown on a buff ground, in commemoration of Queen Victoria's Diamond Jubilee 1897, the motto Dei Gratia Victoria Queen & Empress, She wrought her people lasting good, above a pair of portrait ovals, 19cm, impressed mark; a similar tapering cylindrical mug, 11cm, impressed mark (2)
Los 2442
An early 20th century Royal Doulton salt glazed stoneware jug, in brown and tan, to commemorate The Coronation of King George V and Queen Mary, 1911, applied in light relief with portrait ovals, 15.5cm, impressed mark, pattern number 7558; a similar waisted cylindrical beaker, applied with a raised shield, flanked by royal monograms, Coronation Cup, June 22 1911, The Loyal Parish of Saint Peter, Hambledon, Surrey, 10cm, impressed mark; another (4)
Los 2444
A late Victorian Doulton Lambeth salt glazed stoneware cylindrical jug, Worlds Columbian Exposition 1893, sprigged with an American eagle flanked by portrait cartouches of George Washington and Christopher Columbus, further applied in low relief with bands of stars within a border of cobalt blue, scroll handle, 19cm, impressed mark, pattern 8886; a Doulton Lambeth salt glazed stoneware ribbed cylindrical jug, in shades of brown and tan, the central oval reserve applied with a ship at full mast, flanked with the motto, Christopher Columbus Sighted America, October 12 1492, single loop handle, 23cm, impressed mark, pattern 8388, c.1890; a Doulton Lambeth salt glazed stoneware ovoid jug, the central oval portrait cameo of Christopher Columbus above an American eagle in flight, in shades of brown on a tan ground, 16.5cm, impressed mark, pattern 8517, c.1890 (3)
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283287 Los(e)/Seite