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Preisdatenbank abonnierenAutographs. Frederick William IV. 1841. Autograph letter - Frederick William (Kaisers father) and an album - autographs and portrait photographs, including Duc D'Orleans, Amelia of Portugal, Alberto Santos-Dumont with sketch and photograph. European nobles, British Royalty, 19th century actresses, Robert Peel, virtuosi etc.
19th century and later cabinet photographs. Mainly German and Russian. 1. Portrait of an one year volunteer Wachtmeister of the 3rd Jager Regt. of Horse, wearing Pickelhoube and showing schlager scar. 2. Cabinet portrait. TRH Princess Beatrice and Pr. Henry of Bathenberg. 3. Cabinet portrait. Lieutenant. ca.1890. Infantry Regiment 16. 4. Cabinet portrait. Possibly The Shah. 5.Elliott and Fry, a faded carte de visite of an Eastern Potentates entourage in uniform. 6. Other cabinet photographs and cartes,
Frederick Rhead for Foley Pottery. An Intarsio and Urbato mantel clock c. 1897 - 1900 with inscription "Prithee Whats O`Clock" with a portrait of a chestnut haired maiden with a dandelion, the circular dial with Arabic numberals flanked on four sides by sunflower heads. Marked The Foley "Intarsio", height 13 1/2"
ROSA C. PETHERICK, 19th/20th century A portrait of "Freda, daughter of T.W.G. Arnet?", monogrammed in red lower right and dated `96, old artists label verso, watercolour, 13.25" x 8" The mount of this painting bears a presentation label for F.J. Garrad in recognition of faithful work and service at Christchurch Sunday School Addiscombe, January 1897.
DANTE GABRIEL ROSSETTI (1828-1882), Portrait of Alexa Wilding, Coloured chalks, 16 ½ x 13 ½ inches; 42 x 34.3 centimetres Provenance: An important English private collection. Sold by a descendant of one of the Artist`s most important patrons. The drawing shows Alexa Wilding, seen with her face turned to the left. Treated in rich colours, the model’s eyes are a clear blue and her lips and skin seen as a rosy complexion. Her hair, which is parted centrally and swept back to the nape of her neck, is a lustrous chestnut colour. Despite having been so highly worked and immaculately finished in the area of the head, the drawing remained unfinished in its lower part - with the chemise and the outline of the shoulders blocked in in strokes of dark coloured chalk. The model’s clasped hands, resting on her breast, are indicated in a chalk outline. Neither dated nor previously recorded, and unrelated to any finished painting by Rossetti, the drawing is likely to have been made in the later 1860s. Rossetti first encountered Alexa Wilding (her first name was in fact Alice, although in due course she adopted the more exotic ‘Alexa’) in 1865, when she was about eighteen. According to the account given by Rossetti’s studio assistant Henry Treffry Dunn, he had first spotted her walking in a London street and immediately had besought her to allow him to paint and draw her. On that occasion she failed to appear at his studio as had been arranged, but by chance Rossetti saw and spoke to her again, persuading her that his intentions were honourable, so that in due course she began to serve as a model. Within a year, he had embarked on the series of paintings of her, of which Venus Verticordia (1864-8; Russell-Cotes Art Gallery, Bournemouth) Monna Vanna (1866; Tate, London), Sibylla Palmifera (1866-70; Lady Lever Art Gallery, Port Sunlight) and La Ghirlandata (1873; Guildhall Art Gallery, City of London) are among the most famous. During the second half of the 1860s and early 1870s, Rossetti relied upon Alexa Wilding to be available to him as a model, finding her a patient and biddable sitter, and with a kind of beauty which was passive enough to allow her to adopt a wide variety of personifications and roles. Over a period of several years he paid her a small salary that she should be exclusively available to him. Alexa Wilding’s personality is hard to gauge, either from the accounts of people who knew her, or on the basis of her representation in Rossetti’s paintings and drawings. Dunn described her as a woman whose ‘lovely face [was] beautifully moulded in every feature, [and] full of a quiescent soft mystical repose that suited some of his [Rossetti’s] compositions admirably, but without any variety of expression’. W.M. Rossetti found her physiognomy more demonstrative, describing ‘a head of fine and rather peculiar mould, eminently strong in contour and also capable of much varying expression’. F.G. Stephens believed that ‘in regard to her form and air, he [Rossetti] never adopted a more exquisite form of womanhood, per se’ than ‘the beautiful Miss Wilding’, explaining that Rossetti’s representations of Alexa were quite personal and dependent upon his own feelings for her: So many differently inspired versions did Rossetti give us of the beauty of Alice Wilding. Nevertheless, I dare say, not a little of her charm existed mostly in the passionate heart of the painter; yet I well remember that nothing he drew of her, diverse as the delineations were, seemed less than an exact likeness’. Alexa made occasional visits to Kelmscott Manor in Oxfordshire, although she was only permitted to go there when Jane Morris was not in residence. In 1873 she attempted to gain her financial independence by setting up a boarding house in London, although in the mid-1870s she was still receiving money from Rossetti. Gradually, however, she drifted out of his circle, and by the late 1870s was modelling for him only on rare occasions. Two children were born to her, in 1876 and 1877, although Alexa seems not to have been married to their father. The second version of Rossetti’s Sancta Lilias of 1879 (Virginia Museum of Fine Arts) was his last painting for which she served as a model. H.T. Dunn described how Alexa, after Rossetti’s death in 1882, made an expedition to the churchyard at Birchington-on-Sea in Kent to lay a wreath upon his grave. She herself died in 1884, aged thirty-seven. The Auctioneers are grateful to Christopher Newell for cataloguing this lot and confirming the autograph status of this previously unknown work.
ATTRIBUTED TO ARTHUR DEVIS (1712-1787) A full-length portrait of a lady wearing a blue silk dress and leaning on a column within a garden landscape, oil on canvas, 21.5" x 15.5", it has been suggested that this is the work of Edward Haytley.Provenance: With Leger Galleries, London, March 1977,The late David von Simson, Dorset.
ROGER ELIOT FRY (1866-1934) Self portrait, the artist wearing a dressing gown and holding a paint brush in his left hand, signed lower left and dated `25, the reverse painted with a still life study of flowers in a vase beside a painted box, oil on canvas, 21" x 17" Provenance: The Fry family collection, Bristol. Joe Fry (1915-1950), racing driver. Pat Fry (1920-2012) (nee Grant), and thence by descent. Exhibited: Arts Council Exhibition, London 1952 (no. 29). Published: Virginia Woolf, "Roger Fry: A Biography", London 1940, reproduced as the frontispiece. The present work can be compared to other self-portaits by the artist, now at King`s College, Cambridge and The Courthauld Gallery, London. The fact that Fry is wearing pyjamas and a dressing gown may indicate that he was convalescent at the time it was painted. The still life painting on the reverse probably dates to around 1916-1917, and depicts pottery from the Omega Workshops designed by the artist. The auctioneers are grateful to Richard Shone for his assistance in cataloguing this lot.
THE WINTHROP MACKWORTH PRAED ARCHIVE, 4vols of handwritten text including poems by WMP and others, one volume belonging to Helen Bogle (wife of WMP), a volume of memorial cuttings relating to WMP on the occasion of his death in 1839, 7 volumes of poetry by WMP, including "Every-Day-Characters", with illustrations by Cecil Aldin, 1896, two copies of the two volumes sets of "Praeds Poems" and two other volumes of poems and a volume of essays by WMP, together with two copies of a poet in Parliament by Derek Hudson, 1939, and presentation copy of "Sketch of a Young Lady" 1838, and "A Pledge of Friendship" 1828, given by WPS to his sister, a silver trophy awarded to WMP for winning the Oration Prize at Trinity College, Cambridge in 1823, 10.5" high. English School (19th century) A portrait of WMP writing in an interior setting, oil on canvas, 30" x 25". See illustration
William Henry Brooke ARHA (1772-1860) Ascent of the Galtee Mountains Oil on canvas, 35.3 x 53.4 cm (14 x 21") Signed and inscribed on artists label verso No1. Ascent of the Gaultee (Sic) Mountains/ W.H. Brooke, 17 Newman Street Exhibited: London, Royal Academy, 1823, no. 333 Literature: The Knight of Glin and Anne Crookshank, The Watercolours of Ireland, London, 1994, pp.95-96 (where illustrated as a lithograph) The son of the Irish history painter, Henry Brooke (1738-1806), William Henry Brooke spent much of his career in London. He is best known as an illustrator of books and periodicals alongside a successful practice as a portrait and genre painter. He was a regular exhibitor at both the Royal Academy from 1810 until 1826 and the Royal Hibernian Academy from 1827 to 1846. Based on a sketch by the antiquarian and writer, Thomas Crofton Croker, the amusing scene depicted is described in great detail in his book, Researches in the South of Ireland, London, 1824, pp.32-33. Three smartly dressed tourists, Croker himself on the left, his wife Marianne and Marianne's father, the landscape painter Francis Nicholson, all uncomfortably ensconced in a simple farmer's cart with but a few sheaves of hay to cushion the bumps of an unmade mountain track. Marianne holds on to the cart and her sketch book with a grim forbearance while the two men appear rather more nonchalant. All of this to the great amusement of the local bareback cart driver who no doubt had the double pleasure of schadenfreude and payment to boot.
Joseph Milner Kite (1862-1945) Portrait of a Breton Girl Oil on canvas, 40.5 x 30.5cm (16 x 12") Signed Exhibited:"Peintres Anglais en Bretagne" Exhibition, Musée de Pont-Aven, June - September 2004 No.36 In its relaxed brushwork, radiant colouring, and effect of dramatic sunlight, and its sympathy for its subject, a little Breton girl in bonnet and white collar, this is a quintessential example of one of Milner-Kite's portraits or figure studies, painted most likely at Concarneau in the early twentieth century. Strong sunshine falls upon the neck and shoulder of the girl, highlighting the healthy colouring of her cheeks and the dazzling white (and pink) bonnet and white collar, and casting a shadow on the front of her face. The figure is dramatically set against freely-brushed green foliage, while a little plant grows in front of her, suggesting her immersion in verdant nature. Always striking in Milner-Kite's work is his cheerful palette: vibrant blues, pinks, greens, reds, umbers, siennas and whites. Joseph Milner-Kite (1862-1945) Joseph Milner-Kite was an English artist of the late 19th and early 20th Century who became a long term resident in France, and who was a central figure in the artists' colonies of Pont-Aven and Concarneau in Brittany. He was a friend of several Irish artists, notably John Lavery, and Roderic O'Connor his close contemporary, with whom he became a lifelong friend. His path crossed with many other Irish artists; indeed, he is a key figure in understanding the work of W.J. Leech, Katherine McCausland, Aloysius O'Kelly and Samuel Taylor in Concarneau in the early 20th Century. Milner-Kite developed a vibrant Impressionist style. His Breton work distinctively combines free impressionist brushwork and radiant sunlight, and a 'Fauve' palette, with mid-19th Century Realism, his insubstantial figures casting substantial shadows upon the ground. Milner-Kite was born in Taunton, Devon in 1862, the son of a chemist. He moved to London in 1881, then to Antwerp, where he was a student at the Academie Royale, 1881-83. he spent four seasons in the 'Antiek' class. He was an exact contemporary of Walter Osborne at Antwerp, and is said to have met O'Connor there. In 1883 Kite moved to Paris, studying at the Academie Julian in the atelier of Bouguereau and Laurens. Here he met Lavery. Kite made painting excursions to Normandy to Pont-Aven in 1886, Grez-sur-Loing in 1889, ad lived in Tangiers, 1887-89. He met up with O'Connor in Paris and Grez. In 1889, Kite settled permanently in Paris, living in Montparnasse. During the late eighties, he exhibited in England, and at the Paris Salon, and was an exhibitor at the Salon National in the nineties. In the early 20th Century, Kite and O'Connor were regular habitues of 'le Chat Blanc' cafe in the circle of other expatriate artists and writers, including Gerald Kelly, Somerset Maugham and Clive Bell. Much of Kite's career was spent in Brittany, and he spent severl winters in Concarneau. he painted scenes of the fishing fleet and market of fishermen at work in Breton festivals, as well as portraits and landscapes. Most characteristic of Kite are his informal studies of barefoot girls and fisherboys, standing at the water's edge, casting enticing reflections in the sea ... Undoubtably his relaxed, colourful pintings provided a formative influence on O'Kelly, Taylor and other Irish artists at Concarneau. Kite met up with Lavery in Beg-Meil in the summer of1904, and he retained contact with O'Connor in Paris through the 1920's and thirties. After O'Connor's death in 1940, Kite wrote to his widdow Rennee : ' I always considered him my best friend. I cherished both the man and his talent,' (J. Benington 'Roderic O'Connor' 1992, p.155) Julian Campbell
Daniel O'Neill (1920-1974) Self Portrait on Western Shore Oil on board, 45 x 56cm (17¾ x 22") Signed Exhibited: "Gerard Dillon - Art and Friendships" Exhibition, Adams, Dublin, July 2013 and The Ava Gallery, Clandeboye, August 2013, Cat. No. 18 Literature: "Gerard Dillon, Art and Friendships", illustrated p.19 *********NOTE**********
Seán O’Sullivan RHA (1906-1964) F. McCormick - Abbey Prayer Oil on canvas, 105 x 72cm (41¼ x 28¼â€) Signed F.J. Mc Cormick (1890 - 1947) was the stage name of the Abbey actor Peter Judge who was born in Skerries. He joined the Abbey Players in 1918 and appeared in over 500 Abbey Plays and took part in five tours of America. He is closely associated with Sean O’Casey playing Seamus Shields in the first production of “The Shadow of a Gunman†and his subsequent portrayal of Joxer Daly in “Juno and the Paycock†(1924) was considered a definitive characterisation. Another portrait of him by O’Sullivan and Cecil Ffrench Salkeld are in the Abbey Theatre Collection and he was also caricatured by Grace Gifford.
Smeaton (John) Reports of the Late John Smeaton, F.R.S., Made on Various Occasions of his Employment as A Civil Engineer, 1837, 2nd edition, 2 volumes bound as one, 4to., portrait frontis, 72 plates, recent half calf; Smiles (Samuel), Lives of the Engineers.., 1862, 3 volumes, portrait plates, calf (re-backed); Jones (Richard Lambert), Reminiscences of the Public Life of Richard Lambert Jones, 1863, frontis, original cloth (5)
Congreve (William) The Works of Mr William Congreve, in three volumes, Consisting of his Plays and Poems, 1761, printed by John Baskerville for J. & R. Tonson, 3 vols., portrait frontis, five plates, contemporary calf (some wear, joints cracking); Drake (Nathan), Literary Hours or Sketches Critical and Narrative, 1800, second edition, 2 vols., tree calf (spines worn, joints cracked); Moore (Thomas), Lalla Rookh, An Oriental Romance, 1817, Longman Hurst ..., 4to., not illustrated, half calf (worn, board detached); Scott (Walter), The Lady of the Lake, A Poem, 1810, John Ballantyne ..., 4to., portrait frontis, contemporary calf (worn)
Scurry (James) The Captivity, Sufferings and Escape of James Scurry, who was detained a Prisoner during Ten Years in the Dominions of Hyder Ali and Tippoo Saib, 1824, portrait frontis, original printed paper boards (worn); Bruce (James), Travels Between the Years 1768 and 1773, through part of Africa, Syria, Egypt, and Arabia, into Abyssinia, to discover the Source of the Nile, 1805, 12 plates as called for, calf (worn); Adams (Wm.), The Modern Voyager and Traveller through Europe, Asia, Africa, & America, 1830-28, 4 vols., folding map in each, hand coloured plates, calf; with five others (11)
M`Leod (John) Voyage of His Majesty`s Ship Alceste, along the Coast of Corea, to the Island of Lewchew .., 1818, portrait frontis, 5 hand-coloured plates, cloth-backed boards (worn); Sale (Lady), A Journal of the Disasters in Affghanistan, 1841-2, 1843, John Murray, first edition, 2 plans (1 folding), original cloth (spine worn); Chaillu (Paul du), Adventures in the Great Equatorial Africa ..., 1890, signed presentation copy, a.e.g., half morocco; Johnston (Jas), China and Formosa, the Story of the Mission ..., 1897, original cloth; Mill (James) The History of British India, 1826, 6 vols., third edition, 2 folding maps (one hand-coloured), defective bindings, boards detached; Gell (William), Pompeiana: the Topography, Edifices and Ornaments of Pompeii, 1832, 2 vols., plates, cloth; with seven others (19)
Halford (Frederick M.) Dry-Fly Entomology .., 1902, second edition, 28 plates including hand-coloured fly patterns, original cloth; idem, Modern Development of the Dry Fly ..., 1923, portrait frontis, 43 colour and sepia plates, original cloth; Skues (G.E.M.), Side-Lines, Side-Lights & Reflections, Fugitive Papers of a Chalk-Stream Angler, nd., Seeley Service, first edition, plates as called for, original cloth; idem, Nymph Fishing for Chalk Stream Trout, 1939, first edition, plates as called for, dust wrapper; idem, The Way of A Trout with a Fly, 1921, first edition, 3 plates, original cloth (some waterstaining); with five others by Skues, later editions (10)
de Lille (Abbe) The Garden: or, The Art of Laying Out Grounds, translated from the French of Abbe de Lille, 1789, library bookplates to front pastedown, half calf; Mawe (Thomas) & Abercrombie (John), The Complete Gardener; Being a Gardener`s Calendar ..., 1832, portrait frontis, 5 plates, diced calf (worn); Hibberd (Shirley), New and Rare Beautiful-Leaved Plants .., 1870, 54 chromolitho plates, original cloth (binding weak) (3)
Wake (William) Three Tracts Against Popery, written in the Year MDCLXXXVI, 1687, Richard Chiswell, 4to., comprising; An Exposition of the Doctrine of the Church of England, in the Several Articles proposed by Monsieur de Meaux ..., 1687; A Defence of the Exposition of the Doctrine of the Church of England, against the Exceptions of Monsieur de Meaux ..., 1686; A Discourse of the Holy Eucharist, in the Two Great Points of the Real Presence and the Adoration of the Host ..., 1687; title page to each part, a.e.g., early morocco gilt; John (Archbishop of York), Fifteen Sermons, Preach`d on Several Occasions, 1700, portrait frontis, presentation inscription from the author, early morocco gilt; Prayer book, Meditations and Prayers, to be used Before, At and After the Receiving of the Holy Sacrament of the Lord`s Supper, 1700, gilt embossed endpapers, a.e.g., contemporary morocco gilt extra
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