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Preisdatenbank abonnierenContinental School (19th century) Portrait miniature of a lady in a purple dress, wearing a portrait miniature of a male figure in regal costume, possibly a sultanwatercolour on ivory6cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. PERQL5BJ.
Royal Autograph - Charles III (b.1948 -) and Diana (1961-1997) as Prince and Princess of Wales, hand signed Christmas card, postmark registered 10 Dec 1982 Buckingham Palace, signatures show some fading particularly to Diana, but both clear, opposing a family portrait photograph with baby Prince William, with original Buckingham Palace envelope
A 19th century portrait miniature together with a rolled gold easel stand. The lot to include an oval portrait miniature of a gentleman's profile painted on ivory, in a gold tone metal case having glazed compartment with hairwork set with seed pearls and gold tone wirework to verso. Frame unmarked, tests indicate rolled gold. The lot to also include a rolled gold easel stand AF that can be used to display the portrait miniature. Sold as found with split to top of easel frame. Unmarked. Portrait miniature measures 6.4cm x 4.5cm. Easel stand measures 7cm x 5.7cm. Weighs 36.9g. All weights, measurements and sizes are approximate. Ivory submission reference: DY32RTJ7.
A hallmarked 9ct gold photo window locket pendant. The hallmarked 9ct gold locket having two windows in a 9ct gold locket with metal beadwork border. The locket having a portrait photograph of a lady inside. Hallmarked for Birmingham, 1912. Maker's mark AJH. Measures 3.5cm x 4.4cm (including bale). Weighs 6.9g. All weights, measurements and sizes are approximate.
An early 19th Century Staffordshire spill vase, modelled as two nesting birds on tree stump base, mounted on wooden lamp base, height of figure 23cm, overall height including shade 52cm, together with a Staffordshire portrait figure, girl with sheep on naturalistic base, overall height 46cm. (2)
A collection of continental ceramics, to include a Sevres plate with a central cartouche containing a portrait, decorated with florals and gilt to the pink ground, diameter 24cm, three other plates including two reticulated examples, and a small floral encrusted vase. PLEASE VIEW CONDITION REPORT
WW2 John Cruickshank VC Signed Legends Victoria Cross Ltd Edition Aviation Portrait Prints. Published by Legends of which has been signed in pencil. 24 x 16 inches this lovely print shows John in his RAF uniform. John Alexander Cruickshank VC (born 20 May 1920) is a Scottish former banker, former Royal Air Force officer, and a Second World War recipient of the Victoria Cross (VC), the highest award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. Cruickshank was awarded the VC for sinking a German U-boat and then, despite serious injuries, safely landing his aircraft. He is the last living recipient to have been awarded the VC during the Second World War. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Leo Whelan (1892?1956)ÿ "Portrait ofÿa Young Womanÿc.ÿ1940," oil on canvas unsignedÿapprox. 21" x 17" (53cms x 43cms) gilt tipped and black moulded frame. ÿ While theÿidentity of the sitter in this portrait by Leo Whelan is unknown, it isÿpossibleÿthat she was a relative, family friend or an employee in the Whelan family business. The artist's parents, andÿlaterÿhis sisters, ran a small hotel at their home at 65 Eccles Street, and Whelanÿoften used members of the family as models, with the kitchen and rooms of theirÿhome as a setting. In later years he also had studios on Dawson Street, andÿLowerÿBaggot Street, where leading members of society would sit for theirÿportraits.ÿHowever, it is works such as these, often private, non-commissionedÿwork, thatÿWhelan excels as an artist. Hisÿskillÿas a portraitist is evident in the way heÿhas captured the essence of theÿsitter; a youngÿwoman with a bright and convivial personality. Dressed in anÿembroidered blouseÿover which she wears a fur stole, the woman is depictedÿlooking directly at theÿobserver, smiling, with her head tilted slightly. The style andÿsubject matter comparesÿfavourably with the paintings of William Orpen, whoÿtaught at the MetropolitanÿSchool of Art when Whelan was a student there. Theÿhandling of light, theÿability to depict textures and surfaces, and the skill inÿcapturing a likeness,ÿare all reminiscent of Orpen. Among Whelan?s fellow studentsÿat theÿMetropolitan School were Sean Keating, Margaret Crilly and Patrick Tuohy, who equally show the influence of Orpen in their work.ÿInÿ1911, Whelan exhibited for the first time at the Royal Hibernian Academy; fiveÿyearsÿlater he was awarded the Taylor Art Scholarship and over the succeedingÿyears heÿwent on to become one of Ireland?s leading portrait painters: among hisÿsitters wereÿMichael Collins and Harry Boland. Elected a member of the RHA inÿ1922, heÿshowed annually with the Academy until 1956.ÿ Peter Murray, 2024
John Watson Gordon (1788-1864) (attributed to)ÿ ÿ ?Portrait of a Scottish Military Officer Holding a Sword, c 1840? O.O.C.,ÿ approx. 91cms x 71cms (36" x 28"). (1)ÿ Aged perhaps fifty, with a high forehead, dark eyebrows and an astute expression, this officer is depicted half-length, facing left, his head turned towards the observer. Dressed in a dark jacket with a high collar?similar to a No. 1 dress uniform?the officer wears a belt, the buckle of which is adorned with a crest. Although in full dress uniform, he is bareheaded, and with his right hand grasps the hilt of a regimental sword, the design of which dates to the Napoleonic period. Alongside the sword can be discerned a ?Balmoral Bonnet?, a dark blue beret with a red toorie, or bobble, likely belonging to a Scottish regiment. In the background, on the right, can be seen palm trees on a rocky coastline, suggesting that the sitter served overseas, perhaps in India or the West Indies. The detail such as the hand grasping the sword is a characteristic of the portraiture style of John Watson Gordon, where sitters often hold objects such as books, and can be seen in Gordon?s 1830 portrait of Sir Walter Scott, where the novelist?s hands rest on a walking stick. ÿ John Watson Gordon was a second cousin of Walter Scott, and a nephew of the portraitist George Watson. Born in Edinburgh in 1788, he received some tuition from his uncle, and also from Sir Henry Raeburn, a family friend. After the death of Raeburn, Gordon became the leading portrait painter in Scotland. In 1826 he was a founder member of the Royal Scottish Academy and the following year exhibited for the first time at the RA in London. In 1850 he succeeded William Allan as President of the RSA. Among his sitters were the Earl of Dalhousie, Lady Nairne, J. G. Lockhart and Thomas de Quincey, but it is his later, more spartan, portraits that can be compared to the present work, which dates probably to the 1840?s. The Watson-Gordon chair of art history at Edinburgh University was endowed by the artist?s family in his memory. Although a fine portrait, the attribution of this work to Gordon is tentative, as he was both prolific and successful and other artists would have emulated his style. Peter Murray, 2024 Provenance: From the collection of the late Thomas Teevan, Dublin.
Irish or English School 20th century "The New-Born,"ÿ c 1935 Oils on canvas For many years a part of the Yeats family collection, this understated and fine painting depicts a group of people gathered around a mother and child, in a woodland setting. In style, the painting is reminiscent of the Post-Impressionist work of Paul Serusier or Paul Signac, but is characterised by a more delicate colouring. The composition is ambitious, with eight figures gathered around the couple and their child, seated at the base of a tree. The faces of the assembled people are not painted in detail, lending this work a mysterious and other-worldly quality. On the basis of style and provenance, a tentative attribution to Anne Yeats can be suggested. On the reverse of the canvas is an unfinished portrait, which although partly obliterated, seems to relate to a theatre production. In the late 1930?s, Anne Yeats designed costumes and sets at the Abbey Theatre.ÿ Another attribution is suggested by an inscription on the stretcher, ?R Benham, The Chine, Grange Park N 21? and, in the same hand, the title ?No. 1 ?The New-Born? ?. Like Bedford Park, where the Yeats family lived for several years, ÿGrange Park was an Arts and Crafts estate built in the early years of the twentieth century. R. Benham could refer to the artist Ronald Benham NEAC (1915-1993).
George William Russell (?AE?) (1867-1935) 'Portrait of a Young Girl in a white Dress holding Flowers,' O.O.C., 62cms x 51cms (24.5" x 20" ). (1) The term ?Celtic Twilight? accurately describes the art of George Russell, with many of his paintings depicting scenes of childhood. He delighted in creating a fantasy world, peopled with mythological beings. In such paintings, suffused with the glow of wistful nostalgia, his figures, generalized rather than specific portraits, are enveloped in a haze. This portrait of a young girl however is more formal, and depicts an actual rather than an imagined person. Dressed in a white muslin pinafore dress over a blue blouse, her dark hair tied with a bow, the girl sits in a chair looking out at the observer with a curiously determined expression. In her hands she holds a small spray of flowers. The background is a uniform brown deepening to a dark shadow behind the girl, and the initials of the painter ?AE? are painted the top right corner. The identity of the sitter is not known; it may be an early portrait of Kitsy Franklin, whose mother Victoria Franklin was the sister of the writer Susan Mitchell, who edited the Irish Statesman and was a close friend of Russell. Adopting the initials ?AE? as his signature or monogram, Russell is remembered today as one of the leading cultural figures of the Irish Literary Revival. In addition to being a painter, he was also an influential economist, editor, and promoter of rural development. Practical, and well versed in politics and economics, Russell nonetheless also believed in the existence of a spiritual world, inhabited by ethereal beings. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he espoused Theosophy and esoteric religions, giving expression to this vision through a prolific output of paintings, novels, plays and poetry. Born in Lurgan, Co. Armagh, as a child Russell moved to Dublin with his family. After studying at the Metropolitan School of Art, in 1887 he began working for the Irish Agricultural Organisation Society, and edited the IAOS newspaper, The Irish Homestead. Alongside these practical concerns, he found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ?Hermetic Society?. He was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). His plays include Deirdre, (1902), while his first book of poetry, Homeward: Songs by the Way, published in 1894, was followed by his 1913 Collected Poems. In addition to painting, plays and poetry, Russell wrote on agricultural policy and political theory, in The Building up of a Rural Civilisation (1910), and The National Being (1916). He was highly regarded as an artist, and, in 1913, with the support and encouragement of the lawyer John Quinn, his paintings were shown at the Armory Show in New York. Encouraged also by William Butler Yeats, Russell painted murals depicting his mystical visions, at 3 Upper Ely Place, headquarters of the Theosophical Society. He also painted portraits, of Yeats, Lady Gregory and others. Dr. Peter Murray
Marshall C. Hutson (1903-2001)ÿ(Attributed to) Bust of Roger Casementÿ bronze, approx. 48cms (19?) high. While the attribution of this bust of Roger Casement to Marshall Hutson, an artist who worked in Cork for over seventy years, is tentative, it fits with both Hutson?s interest in Kerry and other portrait busts he sculpted. One of the most famous Irish patriots of the early twentieth century, Casement has been depicted in bronze by several artists, including Joe Neeson, Gary Trimble and Mark Richards. Although the present work is not signed, its subject matter and style point to Hutson. Born in Nottingham, Marshall Hutson studied at the School of Art in that city. Moving to Ireland in 1930, he worked as vice-principal of the Crawford School of Art until 1962. Accomplished in many branches of the arts, including wood and stone carving, painting and graphic design, he painted murals, including one of early steam trains in Kent railway station. In 1958 he carved a stone crest of the City of Cork, to replace the royal coat of arms on the headquarters of the Cork Harbour Commissioners. He also carved works for the City Library, College of Commerce, and UCC. Among his bronze portrait busts is Miche l MacLiamm¢ir as Mark Antony. When the film Ryan?s Daughter was being filmed on the Dingle peninsula, Hutson made regular visits to record, in sketches and drawings, both the Kerry landscapes and film sets. A regular exhibitor at the Royal Hibernian Academy, from 1931 until the 1980's, he was elected ARHA in 1958.
John Butler Yeats, RHA (1839-1922) "Patrick O'Leary," O.O.C., half length portrait of a young Gentleman wearing long black cloak and cravat, [studio], approx. 44cms x 35cms (17 1/4" x 14"),ÿsigned lower right, m/ss label on reverse 'Patrick O'Leary, Dublin, by J.B. Yeats 1872 painted in London' gilt frame. (1) Provenance:ÿNelson Bell Collection - The Bell Gallery, Belfast
Frank McKelvey, RHA, RUA (1895-1974) "Portrait of a Man," O.O.C.ÿ92 h x 71 w cms (36? x 28?) An understated and dignified portrait by Frank McKelvey, depicting a man dressed in a grey business suit, with matching waistcoat, white shirt and grey silk tie. The identity of the sitter is not known, and few clues are provided by the setting, in terms of architecture or context. Seated in a wooden chair beside a desk, the man?perhaps a senior civil servant, accountant or bank manager?is pleasant looking, with thinning hair. He wears a wedding ring, wristwatch and horn-rimmed spectacles. He has a candid and open expression, and although seated at an angle, with his hands folded, his head is turned slightly so as to look directly at the observer. ÿ Although a leading member of the Northern landscape painters, and best known for his Impressionist/Realist views of coastline and countryside, from the outset of his career McKelvey was also a talented portrait painter. In 1918, while a full-time student at the Belfast College of Art, he won the Taylor art competition with his painting The Grandmother. In Queen?s University there are ten portraits by him, while in the Ulster Museum there are thirteen portrait drawings, of US presidents of Ulster extraction. ÿ Born in Belfast in 1895, McKelvey attended evening classes at the Belfast College of Art, before enrollingÿ in 1911 as a full time student. He also trained as a poster designer for David Allen and Sons. Over the following years he painted views in the vicinity of Bessborough, Co. Armagh, where his in-laws had a farm. While the Realism of his early work gradually gave way to a more Impressionist palette and approach, McKelvey never swayed from providing an authentic depiction of life of the Irish countryside and coastline, and this ability to capture likenesses is evident also in his portraits. Early in his career, McKelvey was commissioned by Thomas McGowan to paint a series of views depicting the older parts of Belfast city: these are now in the collection of the Ulster Museum. In 1920 he established a studio in Royal Avenue and over the following years became a member of the Belfast Art Society, the Ulster Society of Painters and, in 1930, the Royal Hibernian Academy. In 1924, after marrying he settled in Co. Down, but two years later moved back to Belfast. In New York McKelvey was one of a number of Irish artists shown at the Hackett Gallery, while in Dublin, in 1937, he had his first exhibition at the Victor Waddington Gallery. A founder member of the Royal Ulster Academy in 1930, he last exhibited with the RUA in 1969. McKelvey?s favourite locations for painting landscape were Co. Armagh, the Antrim Coast and, in later years, Co. Donegal. Dr. Peter Murray, 2022
Augustus Burke RHA (1838-1891) ÿ "Portrait of Walter Osborne," Oils on canvas 60cms x 50cms (24? x 20?). (1) Inscribed verso ?Mrs. Segrave. Provenance: Matilda Segrave; John Talbot; thence by family descent Exhibited: Milmo-Penny Fine Art, Dublin, October 1992. This head and shoulders portrait of his friend Walter Osborne depicts the sitter in a formal and slightly sombre mode, set against a neutral background, wearing a brown jacket, waistcoat, wing collar and black necktie, and looking at the observer with a candid, expressionless gaze. Although the face is youthful, Osborne?s hair, still black, is greying at the temples, and his moustache is also greying. As Osborne was born in 1859, and Burke died in 1891, this portrait most likely dates from the late 1880?s. It captures something ofÿ the vulnerability of Osborne, who died from pneumonia, aged just 43. The son of equestrian painter William Osborne, he had studied at the Royal Hibernian Academy Schools, winning several prizes. Like several of his fellow students, and encouraged by Burke, he moved on to study at the Academy of Fine Arts in Antwerp and in later years, along with Nathaniel Hill and Burke, he painted at English seaside towns, including Walberswick, Hastings and Rye. Dr. Peter Murray
Botanik. John Parkinson. Theatrum Botanicum, The Theater of Plants. Or an Universall and Complete Herball. Composed by John Parkinson Apothecary of London and the Kings Herbarist. London bei Thomas Cotes 1640. Auf dem prächtigen Titelkupfer Darstellung der vier bekannten Erdteile Asien, Europa, Amerika und Afrika. Oberhalb Tetragrammaton. Die Titelreserve flankiert von Adam mit Spaten und Salomon. Unterhalb Portrait von John Parkinson, eine Arnikablüte haltend. 1755 Seiten. 2760 Holzschnittabbildungen und Errata. Folio. Ldb. mit 6 Bünden. Exlibris Sir Ed. Blackett Bart. S 1747 eingeklebt. John Parkinson (1567 - 1650) war Arzt und Botaniker, sowie Apotheker von König Jacob I. In seinem Theatrum Botanicum beschreibt er die med. Eigenschaften von 3800 Pflanzen.
Botanik. Johannes Zorn. Icones Plantarum Medicinalium. Abbildungen von Arzneygewächsen. 5 Bde. Im ersten Bd. Portrait von Carl von Linné. Titelvignette. Erste Ausgabe, (Bd. 6 erschien erst zur zweiten Auflage). Nürnberg, Raspische Buchhandlung 1779 - 1784. 500 kol. Kupferstiche von Leithner nach Thanner. 8°. OHldb. Bedeutendes botanisches Werk mit deutsch/lateinischem Paralleltext. Johannes Zorn (1739 - 1799) war Apotheker und Botaniker in Kempten.
Ernest Lumsden (1883-1948)Beached Boats, etching c.1934/46, 17.5 x 37.5cm; three further by the same hand to include: portrait of James McBey c.1923, 25 x 2.5cm; portrait of Marius Bauer, 33 x 25.5cm; and river landscape with buildings, 25 x 35cm; the latter two unframed (4)From a private collection of unframed etchings and lithographs produced as presentation prints to members of the Print Collectors’ Club c.1921-1998. More details available upon request.
Circle of Sir Thomas Lawrence (1769-1830)Portrait of a Lieutenant General, in scarlet dress uniform adorned with orders and decorations including the order of the Garter, the order of the Bath, the military general service medal with several bars, and other possibly foreign orders, oil on canvas, 116.5 x 86cm
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