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283284 Los(e)/Seite
Los 296
Edward Stratton Holloway (American/Pennsylvania, 1859-1939), "Beach Scene with a Young Man and Child Picking Flowers", probably 1885, oil on canvas, signed lower right, remnant of paper label with date en verso of stretcher, 30 in. x 50 in., framed. Provenance: "Greenwood" broadly inscribed in pencil on lateral rail of stretcher. Note: The most significant features of this atmospheric scene are the relative frequency of houses along its beachfront, the large driftwood tree on which the child is sitting, and the small ship on the horizon at the upper right. This last is clearly a coasting vessel, having only a single smokestack, as well as cargo derricks: it is shown (nearby) as steaming east or southeast toward more open water, with a dense plume of smoke blown back toward its recent port by a strong onshore wind. By the very nature of the American east coast, the ship`s near entry into the Atlantic, on this trajectory, the setting of this painting is either the New Jersey shore, northerly Atlantic beaches of Delaware, or the Virginia beach. The first of these options seems out of the question, when we consider which 19th-century towns the artist might have visited: the only spot this close to Sandy Hook, on the Jersey shore, was the fashionable watering-place of Long Branch, which Winslow Homer had very memorably shown, already in 1869 to possess very high dunes. Similarly our third option is hardly feasible, since Virginia Beach was so exiguously populated in 1885. On the chance that our ocean-going cargo ship might have left from Delaware Bay, this scene may be an 1885 `portrait` of Rehoboth Beach, which in the 1880s was increasingly popular with patrons from Washington and Baltimore. Given the proximity to Holloway`s base in Philadelphia, this scene likely represents one of the smaller clusters of homes between Cape May and Atlantic City. Edward Stratton Holloway was born in upstate New York. By age twenty-two he was already exhibiting regularly at the Pennsylvania Academy of Fine Arts, where he had also attended art classes. He showed pictures from 1888 at New York`s National Academy of Design, from 1897 at the Art Institute of Chicago, and in 1904 at the St. Louis World`s Fair, where he was awarded a medal. For forty-six years, he worked as an author and art director at the Philadelphia publishing house of J. B. Lippincott—which makes it all the more likely that his coastal excursions may have been limited to weekends. The unusually bold signature on this closely observed and beautifully painted scene, with its reminiscences of the Barbizon style that he would have mastered as a pupil, bespeaks both the energy and confidence of his age. References: Carr, James F.,ed.. Mantle Fielding`s Dictionary of American Painters, Sculptors and Engravers. New York, 1965, p. 173; Baedeker, Karl. The United States: a Handbook for Travellers. Leipzig and New York, 1971, p. 223-224, 225-226, 331.
Los 353
After Gilbert Stuart (American, 1755-1828), "Lansdowne Portrait of George Washington", probably 19th c., oil on canvas, signed "A. Q. Goguille" lower right, extensively inscribed en verso, 73 in. x 48 1/4 in., unframed. Provenance: Dr. [George] Crozat Collection. Restored in 1971 after hurricane Camille by A.P. Trovaioli[sic], Grand Bay, AL, 1971. Illustrated: Louisiana State Museum: Handbook of Information. Cabildo, 1934, pp. 66 and 136.
Los 368
Attributed to George Peter Alexander Healy (American/New Orleans, 1813-1894), "Portrait of a Seated Gentleman Holding a Book", c. 1855-60, oil on canvas, unsigned, 36 in. x 29 in., framed. Note: This spectacular portrait was painted either in Chicago – where Healy lived from 1855 to 1867–or in New Orleans (where the artist worked for two to three winters in the late 1850s and then from 1860-1861). Every hallmark of Healy`s well-known style is present in this painting. Almost uniquely among American artists of the period, he favored the extended format of a three-quarter-length sitting figure. He was also partial to carefully-delineated chairs, of which a typical model is included here. The gentleman`s suit, with its wide lapels, velvet collar, multi-buttoned silk waistcoat, wide cravat, and upturned collar points, is specific to the late 1850s. This portrait bears striking resemblance to an earlier portrait his brother Thomas Cantwell Healy painted of "F.A. Metcalfe" in 1853. In that painting, the carved chair and the (reversed) arrangement of hands holding the book are direct antecedents to the composition employed here. Most importantly, the gentleman`s physiognomy, detailed setting and costume in this portrait are a stylistic reprise of two 1860 masterworks by Healy: "Lewis Conner Jurey" and "Thomas Garten Blewett". G.P.A. Healy was able to combine diplomatic manners and great personal charm with obvious skill, making him a truly international celebrity, whose natural talents and affable character appealed equally to royalty, gentry, and patriots. He was encouraged by Thomas Sully and patronized by Mrs. Harrison Grey Otis to make the first of his thirty transatlantic crossings, to study in Paris with Baron Gros (and later with Thomas Couture). He became one of the favorite painters of King Louis-Philippe of France, and the King and Queen of Romania; after long residences in Paris, London, and New York, he settled in Chicago, where he made a specialty of painting generals, statesmen, and presidents (his 1864 Seated Lincoln, at the Newberry Library is one of his most celebrated works). His fame only intensified over the remaining thirty years of his life, and it has aptly been remarked that his cosmopolitanism prefigured and rivaled that of John Singer Sargent in the next generation. References: Mills, Sally. "Healy, G.P.A.". Grove Dictionary of Art, Jane Turner, ed., vol. 14. London, 1996, pp. 277-278; Kelly, Franklin et al.. American Paintings of the 19th Century, National Gallery of Art. Washington, 1996, pp. 298-300; Colonial Dames. Louisiana Portraits. New Orleans, 1975, pp. 146.
Los 920
Will Ousley (American/Louisiana, 1866-1953), "Old Cypress Tree at Ousley`s Landing at Bagdad", signed lower right, pencil-signed, titled, inscribed and a "Self Portrait in a Palette" en verso, 24 1/2 in. x 15 1/4 in., framed. Note: Will Ousley`s inscription en verso elaborates his thoughts on the painting, "Sacred Memories: I was baptized at this place May 10th by Rev. J.A. Terry, Baptist minister, Baptist Church at Lakeview, LA., 56 years ago and still live to praise the Lord for his many blessings to me." Sentiment of the Painter: "The greatest thought that comes to me as I paint the things I see, is that it`s only God who can make a tree...Take it from me, for this great and might tree was once a little mutt like me".
Los 924
American School, 19th c., "Portrait of a Boy and Girl", 1839, oil on canvas, faintly and indistinctly signed and dated upper right, "The Gilcrease Museum, Tulsa, OK" exhibition label en verso, 39 in. x 30 in. Exhibited: The Gilcrease Museum, Tulsa, OK, Feb. 16-April 15, 1990. Note: A label affixed en verso by a conservator states an artist name and date of "C.G. Fanton 1839".
Los 935
Manuel Joachim de Franca (Portuguese/American, 1808-1865), "Portrait of Fannie T. Blow as a Child (1851-1885)", 1853, oil on canvas, signed and dated lower left, sitter identified on period label affixed to stretcher and with inscription on canvas en verso, 24 in. x 20 in. oval, period frame. Provenance: Descended in the family of William Clark, Explorer and Governor of the Missouri Territories.
Los 8030A
A collection of WWII RAF uniform items and accessories including two service dress jackets, one pair of trousers, a sheepskin gilet with fleeced collar (Irvin style), peaked hat, booklet, 1941 Air Ministry 1941 dated holster and belt. Belonged to Flight Lieutenant Samuel John Hobday 1875980. He was a Lancaster and Wellington bomber wireless operator / air gunner during WWII. The lot includes a portrait of him in this uniform.
Los 6
Antoine Stevens (né en 1987) Sans titre 2014 Acrylique et bombe aérosol sur toile signée en bas à droite, contresignée et datée au dos 60 x 81 cm Lillois d’origine, Antoine Stevens expérimente le pochoir, la bombe aérosol et la peinture acrylique sur les murs de sa ville en 2003. Après une première série axée principalement sur le portrait, il oriente rapidement son travail vers une peinture dynamique mêlant expression, sentiment et mouvement. Mise à prix: € 400
Los 41
Léo et Pipo (collectif créé en 2008) Léo et Pipo, portrait neutre 2014 Collage sur toile signée et datée au dos 60 x 81 cm Au-delà de la seule création artistique, le duo d’artistes s’intéresse surtout à la mise en espace de ses œuvres au cœur même de la ville, proposant une interaction avec le passant ou le spectateur. L’érosion du temps, les intempéries, les gestes potentiellement destructeurs : tout concourt à donner à leurs créations un caractère éphémère en prise avec le monde réel. Mise à prix: € 400
Los 397
Mounted and framed display of WWII war medals comprising war medal with mention in despatch oak clasp, defense medal, 1939-1945 star, Africa star with North Africa clasp and Burma star, mentioned in despatch certificate to flying officer G Whittle, Royal Air Force Volunteer Reserve also a photograph portrait
Los 35
Portrait of Woman by Clemence Dane book of poems by H.W. Harding with dedication to Clemence Dane and three large black and white photographs of Richard Addinsell (composer of the Warshaw concerto) and cartoon by Tom Titt (Jan Junosza De Rosciszewski). Condition report: see terms and conditions.
Los 353
J.M. MOORE (CIRCA 1840) PORTRAIT OF MRS LITTLEHOLE SEATED WEARING A BLUE DRESS AND WHITE BONNET, and PORTRAIT OF MRS ROGERS, A PAIR OF WATERCOLOURS, the first signed and dated 1839 lower left, inscribed verso Mrs Littlehole, Marlow, the second inscribed verso Mrs Rogers, wife of Charles Rogers Esq., Strange Park, Radnorshire, framed and glazed in ornate gilt period frames, each 28cm by 21cm (2)
Los 374
ENGLISH SCHOOL, 17th/EARLY 18th CENTURY, A PORTRAIT OF WILLIAM SHAKESPEARE, OIL ON COPPER, half-length, depicted holding a quill with an image of the Globe Theatre bottom left, in a giltwood period frame bearing a plaque indistinctly inscribed with his motto "Non Sans Droit" and the words "Of Ryghte we Hayle Thee Mayster of the Globe Thee whom Bens Venomd Shaftes or Snareful Praise have neer had Powre to Bereave or Robbe o` the Poets Highest Meede the Living Dayes". 18cm by 14cm Note: This portrait was widely known during the second half of the 20th century as the "Ogden" portrait of Shakespeare and, prior to that, as the "Norwich" or "Boardman" portait. Nothing is known of the history of the picture prior to 1820 when it was bought by Boardman, Sub-Chamberlain of the City of Norwich from a local auctioneer. Mention was made at the time of this purchase of provenance from Lord Audley. The painting was exhibited in 1864 at the Tercentenary Celebrations in Stratford-upon-Avon. From the 1870`s to 1945 it was owned by the Firth family of Norwich. The picture was bought at Sotheby`s in 1945 by a Mr. C. K. Ogden who apparently had it cleaned by a Viennese restorer called Hans Beran who, we are informed by documents in the possession of the vendor, restored a Romney portrait of Mrs Fitzherbert and a Holbein in a collection at Basle. It was exhibited in London as part of "Shakespeare`s England" exhibition at 190 Queen`s Gate in 1964 and the portrait was discussed in an article published in the New Statesman on 9th October of that year.
Los 104
Thomas Willem Van Oss, N.S. (British, b.1901) Three quarter length portrait of Vice Admiral Edward de Faye Renouf, R.N., standing in full ceremonial dress on the deck of a warship oil on canvas, signed lower right 38½ x 28¼in. (97.75 x 71.75cm.) * Vice Admiral Edward de Faye Renouf, CVO, CB (1888-1972) was the son of Edward Binet Renouf (1862-1929) and Lilian Mary De Faye of Jersey. He joined the Royal Navy in 1903 and served during WW1 as a Torpedo Officer on the Dreadnought battleship HMS Conqueror. From 1934-36 he was commanding officer of the cruiser HMS Orion and he commanded the ships HMS Sheffield and HMS President during WW2, also serving as Naval ADC to the King from 1939-40 and as Rear-Admiral commanding the 3rd Cruiser Squadron from 1940-41. He became Vice-Admiral in 1943 and retired the same year, completing his career as Naval Assistant to the Deputy First Sea Lord on HMS President in 1945. He retired officially to Jersey and acted as Chairman of the Sea Cadets Committee for many years. See Illustration.
Los 216
Frank Thomas Copnall (British, 1870-1947) Almost home pastel and watercolour, signed and dated `95 lower right 29½ x 48in. (75 x 122cm.) * The scale and quality of this atmospheric work suggests that it may have been an exhibition piece. The artist exhibited widely at the Royal Academy, Royal Society of Arts and the Walker Gallery, Liverpool, and was president of the Liverpool Art Club. He was best known for his later portrait work. See Illustration.
Los 353
An 18ct yellow gold and enamel portrait pendant brooch in the 19th century style, the oval brooch with dark blue enamel and floral sprigged frame and pierced scroll border, hinged pierced foliate bale, enclosing a hand painted portrait of a lady, her ring, earring and arm set with four tiny diamonds, 4.2 x 3.6cm. See Illustration.
Los 354
An 18ct yellow gold portrait pendant brooch in the 19th century style, the oval matted gold pendant with pierced scrollwork border, set with eight small round cut rubies, with pierced foliate bale, enclosing a hand painted portrait of a lady, her earring and necklace set with two tiny diamonds, 4 x 3.3cm. See Illustration.
Los 355
An 18ct yellow gold portrait pendant brooch in the 19th century style, the oval pendant with pierced foliate scroll border and conforming hinged bale, enclosing a hand painted portrait of a lady in early 19th century dress, her earring and necklace set with two tiny round brilliant diamonds, 3.8 x 3.2cm. See Illustration.
Los 586
An important silver figure of a First World War Soldier by Goldsmiths and Silversmiths of London 1918, exquisitely modelled in the form of a WWI snare drummer in full military regalia, his intricately decorated snare drum hung to his left, a drumstick held in his left hand resting on the upper surface, a bugle with tasselled straps hanging to his right, adorned with various satchels and roll pack, on a hallmarked square base seated upon an ebonised stepped plinth, the front bearing a hallmarked silver presentation plaque inscribed, `Presented to Mrs Sanders from the Officers, Warrant Officers, N.C.O`s and Men of the First Battn. The Essex Regiment, in the affectionate memory of the late Brigadier General A.R.C. Sanders C.M.G D.S.G.O who Commanded the Battn. from 9th April to 7th Sept 1918`, 13in. (33cm.) high including plinth; to also include a framed pencil portrait of Brigadier-General Sanders, various press cuttings and obituaries to frame verso, 15½ x 11½in. (39.5 x 29.25cm.). (2) *Arthur Richard Careless Sanders was born on 20 January 1877. Entering the Army, he was commissioned a 2nd Lieutenant in the Royal Engineers on 18 January 1897. Advanced to Lieutenant in January 1900 and Captain in January 1906, he served on the North West Frontier of India during 1908. Serving in the Great War, he was promoted to Major in October 1914 and received the brevet of Lieutenant-Colonel in June 1915. For his service as a General Staff Officer he was awarded the D.S.O. and the French Legion of Honour. Promoted to Brigadier-General, on 9 September 1918 he took over command of the 50th Brigade of the 17th (Northern) Division in France. Commanding his brigade in the advance from the Canal du Nord to the Selle, Brigadier-General Sanders was killed in action on 20 September 1918. In the early morning he had gone up to inspect the front about the Quentin Redoubt. After daylight he was returning to his Brigade H.Q. and as he crossed the railway, he was caught in machine-gun fire from Gouzeaucourt and killed on the spot. He was buried in the Five Points Cemetery, Lechelle, Pas de Calais, France. After his death the London Gazette announced the award of a Bar to his D.S.O. for service as a Lieutenant-Colonel with the 1st Battalion Essex Regiment. Aged 41 years at the time of his death. ** The company Goldsmiths and Silversmiths was founded in 1898 by Gibson and Langman, the company was subsequently purchased by Garrard and co. See Illustration.
Los 589
A comprehensive collection of WWI Guernsey R.G.L.I. memorabilia belonging to Private Edwin Despres Falla of the Royal Guernsey Light Infantry, to include war medals, 15ct gold locket, silver pocket watch, vesta case, bullet brooch, military issue wrist watch and personal silver cased wrist watch, a lock of hair, a fragment of marble inscribed `Nov 4 1917 Arras`, photographs, postcards, letters, diary, wedding photograph and marriage certificate, 1st Royal Guernsey Militia `B` Company I.D. card, militia hat, dog tags, Service New Testament Bibles, war grave photograph, framed death plaque etc., together with a large framed portrait photograph of Private Falla in uniform and a framed official Royal condolences letter and scroll. (qty.) * Private Edwin Despres Falla was a bandsman for the L`Islet Salvation Army Corps and a Private in the 1st Battallion of the RGLI, son of John D. and Annie S. Falla of St Sampsons, married to Lavinia S. Falla (neé Quevatre). He was wounded in action by shrapnel on March 19th 1918 and succumbed to his wounds the following day in a field hospital run by the Australian Red Cross. He was buried with full honours at Cemetery B.3, Nine Elms, Poperinghe, Belgium. See Illustration.
Los 606
Samuel Shelley (British, 1750-1808) a fine portrait miniature of Marianne de Gastine, wearing a white lace dress, tied fichu and a single strand pearl necklace, white ribbons in her powdered hair, oval watercolour on ivory, 4 x 3.3cm., within a pierced gilt scroll frame with suspension loop. * Marianne de Gastine was the daughter of Major De Gastine, a French refugee in the Dutch service. She was married at The Hague to Anthony Aufrère (b.1704-d.1781), Rector of Heigham, Norfolk from 1732-1782. See Illustration.
Los 608
Charles Hayter (British, 1761-1835) a portrait miniature of Anthony Aufrère (1704-1781), Rector of Heigham, Norfolk from 1732 to 1781, oval watercolour on ivory, 6.2 x 5.1cm., some fading, within a gold frame with dark blue enamel verso, centred by an oval opalescent guilloche enamel compartment containing a lock of hair tied with tiny seed pearls and gold wire. See Illustration.
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283284 Los(e)/Seite