Nicolaes Eliasz. Pickenoy, um 1590 Amsterdam – 1653/56, zug.Werke von der Hand des Künstlers in der Gemäldegalerie Berlin sowie im Stedelijk Museum in Amsterdam.PORTRAIT EINES EDELMANNSÖl auf Holz.102 x 82 cm.Links unten Signaturreste, links oben Wappen und Datierung „1634“.In dekorativem Rahmen.Der Dargestellte ist im Dreiviertelportrait in einem Innenraum mit nach rechts zusammengerafftem Vorhang zu sehen. Er trägt ein schwarzes Seidengewand und eine große weiße Halskrause. Seine rechte Hand hat er auf einen flachen Tisch gelegt, während er in seiner linken Hand wohl ein Paar Lederhandschuhe hält und seinen Arm in die Hüfte abgestützt hat. Er hat ein feines Gesicht, leicht gerötete Wangen, wenige Stirnfalten, und mit seinen braunen Augen blickt er aufmerksam und würdevoll aus dem Bild heraus. Das Gemälde ist von hoher Qualität und in der typischen Manier des Künstlers. Das Inkarnat in Feinmalerei und auch die weiße Halskrause bilden einen starken Kontrast zur dunklen Kleidung und dem Hintergrund. Teils rest., Platte leicht gewölbt.Anmerkung:Der Höhepunkt des Schaffens des holländischen Malers war die Zeit von 1630-1637, eine Periode, die durch ein hohes künstlerisches Niveau und zahlreiche Aufträge prominenter Mäzene gekennzeichnet war. Das Rijksmuseum Amsterdam und das Amsterdam Museum besitzen viele seiner besten Arbeiten. (14311511) (18)Nicolaes Eliasz. Pickenoy, ca. 1590 Amsterdam – 1653/56, attributedPORTRAIT OF A NOBLEMAN Oil on panel.102 x 82 cm.Remains of a signature lower left, coat of arms and date “1634” top left.
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Gillis van Tilburg d. J., 1615/35 Brüssel – um 1678BAUERN IN EINEM GASTHAUSÖl auf Holz. Parkettiert.43 x 42 cm.Rechts unten signiert „TILBORCH“.In dekorativem, breiten Rahmen.Im Innenraum eines Gasthauses zwei Männer an einem niedrigen Tisch sitzend, auf dem ein wertvoller silberner Deckelkrug mit Innenvergoldung steht, einer mit roter Jacke und einem Glas in der Hand, der andere sich gerade ein Pfeifchen stopfend. Links neben Ihnen ein kleines Mädchen auf einem Stuhl, das mit einem Löffel Suppe isst und dabei aus dem Bild herausblickt. Im Hintergrund weitere rauchende und trinkende Männer, teils vor einem Kamin, an dem ein Blatt Papier mit dem Portrait eines Mannes hängt. Für den Künstler typische Darstellung. (1431586) (10))
Jean-Baptiste Monnoyer, 1636 Lille – 1699 London, zug.STEINKARTUSCHE MIT EUROPA UND DEM STIER UND BLÜTENFESTONSÖl auf Leinwand. Doubliert.89 x 71,5 cm.Auf graviertem Messingschild bezeichnet.In barockisierendem Rahmen.Hochrechteckiges Gemälde Europa auf dem Stier nach Ovid darstellend. Das „Bild im Bild“ mit Trompe-l‘oeil-Rahmenleiste. Diese in eine bildhauerisch gearbeitete Steinkartusche mit Greifenköpfen und weiblicher Herme gestaltet. Umlaufende, fein gemalte Blütenfestons in starker Chiaro-Scuro-Auffassung. Der Raub der Europa womöglich von anderer Hand in Zusammenarbeit mit dem Blütenmaler entstanden. (1430355) (13) (†)Jean-Baptiste Monnoyer,1636 Lille – 1699 London, attributedSTONE CARTOUCHE WITH THE RAPE OF EUROPA AND FLORAL FESTOONSOil on canvas. Relined.89 x 71.5 cm.Inscribed on engraved brass plaque.In Baroque-style frame.Portrait format painting of Europa with the bull according to the legend of Ovid. Depiction of a “painting within a painting” set in a trompe l’oeil frame. Monnoyer, who specialised in flowers, may have collaborated with another artist for the depiction of the Rape of Europa scene.
Giovanni Maria Morandi, 1622 Florenz – 1717 Rom, zug.PORTRAIT DES LIVIO ODESCALCHI (1652-1713), HERZOG VON BRACCIANO, CERI UND SIRMIUMÖl auf Leinwand.221 x 193 cm.In vergoldetem Profilrahmen.Wir danken Francesco Petrucci für den Vorschlag zur Zuschreibung des vorliegenden Gemäldes auf der Grundlage einer digitalen Fotografie. Giovanni Maria Morandi wurde in Florenz geboren und ausgebildet, war aber vor allem in Rom als Portraitist tätig. Livio Odescalchi, hier in geharnischter Ganzfigur mit Marschallstab am Rande eines Schlachtfeldes gezeigt, war der Neffe von Benedetto Odescalchi, Papst Innozenz XI. Er kämpfte 1683 in der Schlacht von Wien, als die Heilige Liga die Türken besiegte, welche die Stadt belagerten. Im Jahr 1689 wurde Livio Odescalchi zum General der Chiesa Santa Romana ernannt und im selben Jahr wurde er aufgrund seiner Loyalität zu den Habsburgern von Kaiser Leopold I zum Reichsfürsten des Heiligen Römischen Reiches ernannt; 1713 verlieh ihm Karl III den Orden vom Goldenen Vlies. Ein Jugendportrait von Livio Odescalchi von Jacob Ferdinand Voet, das in der Walters Art Gallery in Baltimore aufbewahrt wird, kann als Beleg für die Identifizierung des Dargestellten auf dem vorliegenden Gemälde gelten. (1432081) (4) (10)Giovanni Maria Morandi,1622 Florence – 1717 Rome, attributedPORTRAIT OF LIVIO ODESCALACHI (1652-1713), DUKE OF BRACCIANO, CERI AND SIRMIUM Oil on canvas.221 x 193 cm.We would like to thank Francesco Petrucci for identifying the artist of the present painting based on a digital photograph.
François Hubert Drouais, 1727 Paris – 1775 ebenda, Kreis desGemäldepaarMÄDCHEN, DAS EINE KATZE STREICHELTsowie JUNGE, DER EINEN KLEINEN HUND HÄLT Öl auf Leinwand. Doubliert. Im Hochoval.Je 55,3 x 45,5 cm.In vergoldetem rechteckigen Prunkrahmen.Vor beigem Hintergrund das Halbportrait eines Mädchens, nach rechts gewandt mit blau bebänderten Hut und weißem Kleid, welches ihre rechte Schulter entblößt. Sie streichelt eine Katze in ihren Händen, welche mit grimmigen Blick und leicht geöffnetem Mund aus dem Bild herausblickt. Das andere Gemälde zeigt einen sitzenden Jungen in hellblauem Anzug mit glänzenden silbrigen Knöpfen und einem tiefen, mit Spitze besetzten Ausschnitt. In seinen Händen umfasst er ein kleines weißes Hündchen, das ihn ansieht. Beide Kinder mit feinem zartem Inkarnat und geröteten Wangen, mit ihren glänzenden Augen aus dem Bild herausblickend. Anmerkung: Das Portrait des Mädchens mit Katze existiert in verschiedenen Versionen, die teils vom Künstler signiert und datiert sind. Darunter eine, die bei Christie‘s in New York am 30. Januar 2014 unter Lot 293 angeboten wurde. (1430353) (18) (†)François Hubert Drouais,1727 Paris – 1775 ibid., circle ofA pair of paintingsGIRL STROKING A CAT and BOY HOLDING A SMALL DOGOil on canvas. Relined. In a vertical oval. 55.3 x 45.5 cm each.Notes: There are several versions of Portrait of a girl with a cat, some of which are signed and dated by the artist. Among them is one that was offered for sale at Christie’s in New York on 30 January 2014 under lot 293.
Camille Jean-Baptiste Corot, 1796 Paris – 1875 ebendaCOUBRON, UM 1870-73Öl auf Leinwand.55 x 40 cm.Rechts unten signiert.Gerahmt.Zertifikat von Lebeau & Dieterle.Die Figuren, die auf dem Allee-Weg wandeln, scheinen sich fast in einem architektonischen Gebilde zu bewegen, so sehr ist die Landschaft hier konstruiert. Die Wahl des Hochformats verstärkt den sehr geschlossenen Eindruck. Die Stämme der Bäume, die den Weg säumen, gleichen Säulen, die die Wölbung einer pflanzlichen Kathedrale bilden. Die Äste bilden die Kreuzgrate. Der einzelne Baum auf der linken Seite des Weges scheint der tragende Pfeiler der Konstruktion zu sein. Leicht dezentral nach links versetzt konkurriert der Weg mit der Baumreihe um die Aufmerksamkeit des Betrachters. Die fast anekdotisch positionierten Personen dienen als Maßstab. Der durch die Äste aufblitzende Himmel ist auch am Ende des „Gewölbes“ zu sehen – als winziger Punkt, aber dennoch wichtig, um dem Bild einen Fluchtpunkt zu geben.Das vorliegende Werk gehört in das Spätwerk des Künstlers. Dieser zog sich, vermögend geworden, 1874 nach Coubron zurück, wo auch das vorliegende Werk entstand.Corot zählt zu den bedeutendsten Landschaftsmalern des 19. Jahrhunderts. Obwohl ihm zunächst eine Kaufmannskarriere angedacht war, trat er mit 26 Jahren in das Atelier von Achille Etna Michallon (1796-1822) ein. Von ihm lernte er die Prinzipien der klassizistischen Landschaftsmalerei und wurde in der Pleinair-Malerei bestärkt. Aus seinen zahlreichen Reisen durch Italien brachte er Ansichten von Florenz, Rom und Tivoli zurück und bereiste anschließend Frankreich.Literatur:Abgebildet in André Schoeller, Jean Dieterle, L‘oeuvre de Corot par A. Robaut et Moreau-Nélaton, 1. Supplement, Paris 1948, Nr. 89. (1431803) (10) (†)Jean-Baptiste Camille Corot,1796 Paris – 1875, ibid.COUBRON, ca. 1870-73Oil on canvas.55 x 40 cm.Signed lower right.Certificate of Lebeau & Dieterle.The figures strolling on the boulevard almost seem to be walking inside an architectural edifice as the landscape appears to be constructed as such. The portrait format reinforces this very closed impression. The tree trunks lining the road are like columns forming the vault for a botanical cathedral.Corot is one of the most important landscape painters of the 19th century. He brought back vistas from Florence, Rome and Tivoli from his numerous travels through Italy and then went on to travel through France. The painting on offer for sale in this lot is a late work by Corot. In 1874, after having acquired some wealth he retired to the country, to Coubron where the present work was created.Literature:Illustrated of André Schoeller, Jean Dieterle, L’oeuvre de Corot par A. Robaut et Moreau-Nélaton, 1st Supplement, Paris 1948, no. 89.
Henri Baptiste Lebasque, 1865 Champigné – 1937 Le CannetPORTRAIT EINER JUNGEN FRAUÖl auf Leinwand.41,5 x 37 cm.Links unten signiert und datiert „Lebasque 99“.In vergoldetem Rahmen.Beigegeben ein Foto-Zertifikat von Denise Bazetoux vom 22. März 2007, sowie eine Mail-Bestätigung von ihr vom 26. Februar 2014, dass das Werk im von ihr herausgegebenen Catalogue Raisonné de l´Oeuvre d´Henri Lebasque, Band 1, Nr.480, S.152 aufgenommen wurde.Halbportrait einer jungen Frau vor beigem Hintergrund in hochgeschlossenem schwarzem Kleid mit rotem Saum und Verzierung am Kragen. Sie hat eine hochgesteckte Frisur, ein feines zartes Inkarnat und mit ihren braunen Augen blickt sie selbstbewusst aus dem Bild heraus.Provenienz:Rechnung über den Kauf von der Galerie d‘Art-Antiques, Le Castellet (mit Kaufrechnung vom 01. Oktober 2007). (1421011) (18))
Jean-Pierre Cassigneul, geb. 1935 Paris PORTRAIT EINER JUNGEN FRAUÖl auf Leinwand.46 x 46,5 cm.Rechts unten signiert „Cassigneul“, verso erneut signiert, datiert „2006“ und betitelt „Jeune femme de face“.Vor türkis-grünem Hintergrund in Nahsicht das Brustbildnis einer jungen Frau in schwarzem Kleid und großem breiten schwarzen Hut. Ihr Gesicht hat sie frontal dem Betrachter zugewandt; sie hat eine schmale Nase, rote Lippen und leicht geschlossene Augenlieder, die grünlich geschminkt sind. Mit ihren ausdrucksstarken grünen Augen schaut sie leicht energisch aus dem Bild heraus. Ein kräftiger rascher Pinselduktus beherrscht das Gemälde gegenüber den zarten, fast symmetrischen Gesichtshälften, von denen die rechte leicht verschattet ist. Für den französischen Künstler typische Frauendarstellung in Kleidung der eleganten Pariser Mode der Jahrhundertwende. Der in Frankreich wirkende Maler wurde besonders durch seine Frauenbildnisse bekannt, in denen er die Leichtigkeit sommerlicher Stimmungen zu erzeugen wusste, häufig stellt er junge Mädchen mit Strohhut dar, meist in mediterranem Umfeld. Sein Stil setzt die ehemalige Avantgarde der Nabis-Künstler fort, mit Reminiszenzen an Maler wie Jean Édouard Vuillard (1868-1940) oder Pierre Bonnard (1867-1947), zuweilen zeigen seine Bilder die Nähe zu Kees van Dongen (1877-1968). Der Maler veranstaltete bereits 17-jährig seine erste private Ausstellung in der Galerie Lucy Krohg in Paris. Zwei Jahre später besuchte er die Académie Charpentier und studierte dort unter Jean Souverbie (1891-1981), Professor an der École des Beaux-Arts in Paris. 1958 veranstaltete er seine erste Ausstellung und wurde daraufhin Mitglied des Salon d‘Automne. Neben weiterer Ausbildung durch Roger Chapelain-Midy (1904-1992) beteiligte er sich an mehreren Ausstellungen in Paris und anderen französischen Städten und stand anschließend unter Vertrag bei der Galerie Belles Choses in Paris. Ab 1965 stellte er international aus, wie etwa in der Galerie Tamenaga in Japan oder der Wally Findlay Galerie in New York. In den letzten Jahren von der Galerie Smith Davidson repräsentiert, war er in den Jahren 2015 bis 2017 auf mehreren internationalen Ausstellungen vertreten. (1430688) (18)Jean-Pierre Cassigneul,born 1935 ParisPORTRAIT OF A YOUNG WOMANOil on canvas.46 x 46.5 cm.Signed “Cassigneul” lower right, signed again and dated “2006” on the reverse and titled “Jeune femme de face”.Cassigneul had his first exhibition in 1958, following which he joined the Salon d’Automne, the Autumn Salon. He received further training under Roger Chapelain-Midy (1904-1992) and exhibited internationally from 1965. In the last years of his life he was represented by Smith Davidson Gallery, where he was included in several international presentations between 2015 and 2017.
Filippo de Pisis, 1896 Ferrara – 1956 MailandPORTRAIT DES GONDOLIERE BRUNOÖl auf Sperrholz.33,8 x 28,8 cm.Rechts unten signiert und datiert „(19)46“. Oben links Buchstabe „S“, Mitte links „B“.Beigegeben eine Bestätigung von Paolo Biscottini, vom Kuratoriumsausschuss des Catalogo dell´opera di Filippo de Pisis, Mailand, vom 4. Juni 2024 mit der Nummer 06030, in Kopie. Bildnis des jungen Mannes in flottem Pinselauftrag, wobei das Holz als Malgrund zur Geltung kommt. Die Farben auf Dunkelbraun, Graublau und Weiß beschränkt, die charakterisierende Physiognomie treffend erfasst. A.R. De Pisis ist der Künstlername, den der Maler Luigi Tibertelli annahm, in Erinnerung an seinen Vorfahren „Filippo da Pisa“, einen Feldherrn des 15. Jahrhunderts. In Ferrara stand er im Kreis um Giorgio de Chirico, Carlo Carrà und Alberto Savinio. 1920-1925 lebte er in Rom, anschließend in Frankreich, ab 1939 wieder in Venedig und Mailand. Er widmete sich Straßenszenen, Portraits von Arbeitern und mittellosen Einwanderern. Krankheitsbedingt zurückgezogen, setzte er seine Malerei fort, wurde 1953 mit dem Feltrinelli-Preis geehrt und war noch 1955 Teilnehmer der documenta I in Kassel. (1430252) (11)Filippo de Pisis,1896 Ferrara – 1956 MilanPORTAIT OF GONDOLIER BRUNO Oil on board. 33.8 x 28.8 cm.Signed and dated “(19)46” lower right. Letter “S” top left, “B” centre left.Accompanied by a confirmation by Paolo Biscottini from curatorship committee of Catalogo dell’opera di Filippo de Pisis, 4 June 2024, no. 06030, in copy.
Fernand Léger, 1881 Argentan/ Orne – 1955 Gif-sur-YvettePORTRAIT DE FEMME, 1952Serigraphie.Sichtmaß: 37x 28,5 cm.Links unten nummeriert: 124 / 200. Im Druck monogrammiert und datiert (19)52. Unten rechts mit Restsignatur.Hinter Passepartout und Acrylglas gerahmt.Fernand Léger war ein französischer Maler, Bildhauer, Grafiker, Keramiker und Filmregisseur. Sein Frühwerk wird dem Kubismus zugeordnet, insbesondere beeinflussten ihn Picasso und Georges Braque. Ab den 1920er-Jahren integrierte er zunehmend figurative Elemente in seine Gemälde. 1937 wurden einige seiner Bilder als „Entartete Kunst“ aus Museen beschlagnahmt. Sein Spätwerk hatte Einfluss auf die amerikanischen Künstler der Pop Art, etwa Roy Lichtenstein. Zur Beschreibung nicht geöffnet. (14316918) (13))
Domenico Robusti, genannt „Tintoretto“, 1560 Venedig – 1635 ebenda, zug.PORTRAIT EINES MANNESÖl auf Leinwand. Doubliert.42 x 33 cm.Verso auf der Leinwand bezeichnet „Domenico Tintoretto / Familia Chigi“. Keilrahmen mit Etikett und rotem Lacksiegel der Familie Chigi.In vergoldetetem reliefverziertem Kehlrahmen.Vor unbestimmtem Grund das wohl fragmentarisch auf uns gekommene Portrait eines leicht nach links gerichteten Mannes mittleren Alters mit rotem Kragen und Vollbart, vielleicht ein Mitglied der Familie Chigi. Die umfangreiche Herstellung offizieller Herrenportraits von Jacopo Tintoretto (1518-1594) definierte einen nahezu normativen Prototpy für venezianische Portraits Ende des 16. und Anfang des 17. Jahrhunderts, vielleicht sogar mehr noch als die unerreichbaren von Tizian (1485-1576). Der geschicktere und originellere Nachfolger Jacopos war sein Sohn Domenico, der auch ein ausgezeichneter Historienmaler war und an allen wichtigen öffentlichen Aufträgen der Serenissima beteiligt war. Dabei blieb er auch weiterhin der herausragendste Portraitmaler Venedigs seiner Zeit. (1421245) (13))
Guido Reni, 1575 Bologna – 1642 ebenda, nachPORTRAIT DER BEATRICE CENCI (1571 – 1599)Öl auf Leinwand.63 x 48 cm.In dekorativem Rahmen.Vor dunklem Hintergrund das Portrait der jungen Frau, halb in Rückenansicht, die ihren Kopf nach links zurückgewandt hat und mit zartem Inkarnat, rötlichen Lippen und braunen Augen aufmerksam aus dem Bild herausschaut. Sie trägt ein weißes Gewand und eine turbanartige Kopfbedeckung auf ihren dunkelblonden Haaren. Kopie eines Guido Reni zugeschriebenen Originals, das sich in der Galleria Nazionale d‘Arte Antica im Palazzo Barberini in Rom befindet. (14316813) (18))
Pendule mit Portrait des Henri IIHöhe: 38 cm.Zifferblatt signiert „Barancourt a Paris“ (Pierre Michel Barancourt, Meister in Paris ab 1779, einige seiner Uhren befinden sich zum Beispiel im Victoria & Albert Museum in London).Paris, Ende 18. Jahrhundert.Funktionen: Aufzugslöchlein über der vier und der acht, á jour gearbeitete Zeiger für Stunden und Minuten. Schlossscheibenschlagwerk mit Schlag auf Glocke. Nicht auf Funktionsfähigkeit geprüft.Gehäuse: Über vergoldeten Scheibenfüßen quadratische Marmorbasis mit gefüllten Kassetten und Lilienzier. Darauf das symmetrische Gehäuse in Form eines Postaments mit darauf montiertem Portrait des Henri II (1519–1559).Zifferblatt: Weiß emailliert mit schwarzen römischen Stunden, arabischen Minuten und Stabindizes. (1430703) (1) (13))
Französischer Maler der zweiten Hälfte des 18. JahrhundertsPORTRAIT EINER JUNGEN FRAU IN ANTIKISIERENDER KLEIDUNGPastell auf Papier, mit Leinwand hinterlegt.41 x 32 cm.Hinter Glas in vergoldetem Rahmen.Vor bläulichem Hintergrund die junge Frau in antikisierender Kleidung, nach rechts gewandt und dabei den Kopf leicht nach links gesenkt. Ihre rechte Schulter und Brust sind unbedeckt, während über der linken Schulter ein weißes Tuch, sowie ein blaues Band zu erkennen ist, das weiter geführt wird über ihr Haar, in dem zudem eine kleine Blüte steckt. Das Band wohl als Zeichen, dass sie noch unverheiratet ist. Sie hat ein feines Inkarnat, gerötete Wangen und mit ihren blauen Augen blickt sie seitlich aus dem Bild heraus. (14315017) (18))
Franz Seraph von Lenbach, 1836 Schrobenhausen – 1904 MünchenPORTRAIT EINER ELEGANTEN DAMEÖl auf Hartfaser.70 x 58,5 cm.Verso mittig unten Nachlassstempel, oben links mit Bleistift bezeichnet als „Prinzessin Trabbia 1885“.Vor bräunlichem Hintergrund das Portrait einer nach links blickende Dame im eleganten Kleid mit Schmuckstücken in ihren schwarzen Haaren. Sie hat den Mund leicht geöffnet und blickt seitlich nach unten aus dem Bild heraus. Bei der Dargestellten könnte es sich durchaus um die genannte Prinzessin Trabbia handeln, die wohl im Palazzo Butera Palermo wohnte und von der sowohl eine Kopfstudie von 1885 im Lenbachhaus, als auch ein Seitenportrait (Zeichnung) existiert, bei dem die Echtheit durch Lolo von Lenbach bestätigt wurde. Teils Kratzspuren, vereinzelt fleckig. (1430371) (18))
A late 19th century Victorian scrap album, bound in contemporary half morocco. Gilt initials M. L. C. to front board, extremities bumped and tired resulting in loss, spine rather rubbed. Containing scraps such as photographs taken from the Musee d' Anvers, Ghent, Bruges, Rouen, Notre Dame Paris, Tintern Abbey Nelson, America, Penzance, Lands End, and reproductions from museum artworks such as Descent from the Gross by Rubins & a portrait of William Shakespeare. Hand written dates from 1895 - 1900. Along with a collection of late 19th & early 20th century phoographs, some mounted, including portraits of people on motorcycles, family portraits & photographs of homes, photos of Cairo, Clifton Bridge, Llandudno, Park Street Bristol, Tenby, etc. A good collection.
A first edition of Elsa Lanchester, Herself, the autobiography of the acclaimed actress Elsa Lanchester, best known for her iconic role as The Bride of Frankenstein (1935). Published in 1983 by St. Martin’s Press, this hardcover book provides an insightful and witty account of her life, career, and marriage to Charles Laughton. Featuring a dust jacket with a striking black-and-white portrait of Lanchester, the book also includes press clippings related to her later life and health, making it a compelling piece for collectors and fans of classic Hollywood and biographical literature.Issued: 20th century Dimensions: 6.5"L x 1.25"W x 9.5"H Condition: Age related wear.
RCA Victor Dynagroove mono vinyl record The Song Is You featuring Joe Williams. This album highlights Williams' smooth and expressive baritone voice with jazz and pop standards such as Yours Is My Heart Alone, Sleepy Time Gal, and Prelude to a Kiss. The cover art presents a striking portrait of Williams, reflecting the warmth and elegance of his vocal delivery. Includes original sleeve and back cover notes detailing the tracklist and artist background.Issued: 1965Dimensions: 12.25"HCondition: Age related wear.
A vintage black and white portrait photograph of Walt Disney, measuring 8"L x 10"H. This classic image captures the legendary animator, film producer, and entrepreneur in a suit and tie with his signature warm smile. Printed on glossy photo paper with a clean white border, this photograph is perfect for framing and display. A must-have for Disney collectors and admirers of one of the most influential figures in entertainment history.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
A vintage vinyl record album titled The Bill Broonzy Story, Volume 1, released by Verve Records (MG V-3000-5). This folk blues collection features legendary blues musician Big Bill Broonzy, known for his influential contributions to Chicago blues and folk music. The album includes classic tracks such as Key to the Highway, Swing Low Sweet Chariot, and Joe Turner Blues. The cover artwork is a striking abstract portrait, adding visual appeal to this collectible edition. The lot includes the original box set with an accompanying booklet providing historical context about Broonzy’s career.Issued: 1961Dimensions: 12.5"HCondition: Age related wear.
This stunning display features two portraits of the legendary actress Elizabeth Taylor, including an 8.5" x 11" black-and-white photo hand-signed by Taylor in silver felt tip pen. Known for her beauty and iconic Hollywood roles, Taylor was a two-time Academy Award-winning actress whose career spanned over six decades. Accompanied by a vibrant color portrait, both images are elegantly matted in a purple display with a nameplate. The piece is authenticated with a Certificate of Authenticity (COA) from P.M.H. DOC. Overall dimensions: 20"L x 16"H.Dimensions: See DescriptionCondition: Age related wear.
Striking black-and-white autographed photograph of John Travolta, the award-winning actor known for iconic roles in Saturday Night Fever, Grease, Pulp Fiction, and Face/Off. This signed portrait captures Travolta in a candid moment, showcasing his classic Hollywood charisma. The bold signature in blue ink stands out against the image, making it a fantastic collectible for fans of classic and modern cinema.Issued: 20th centuryDimensions: 10"HCondition: Age related wear.
A vintage black and white portrait photograph of Roger Moore, personally signed by the legendary British actor. The inscription reads, "To Victor with best wishes, Roger Moore" in blue ink. The photograph showcases a young Moore in a classic pose, dressed in a tweed jacket and tie, reflecting his early career charm. Best known for his iconic roles as James Bond in the 007 film series and Simon Templar in The Saint, Moore's autograph adds significant collectible value to this piece. A fine addition for film memorabilia collectors and fans of classic Hollywood.Dimensions: 3.5"L x 5.5"HCondition: Age related wear.
A signed photograph of Arsenio Hall, featuring a close-up portrait of the renowned comedian and talk show host. The autograph is prominently placed on the lower section of the image in bold black ink. Accompanied by a Certificate of Authenticity from Golden State Autographs, verifying the signature's authenticity.Dimensions: 8"L x 10"HCondition: Age related wear.
A striking black and white photograph of Liza Minnelli, signed boldly in black ink. This glamorous portrait captures Minnelli in a classic pose, showcasing her signature short hair and radiant smile. The autograph is clear and prominently placed. Accompanied by a Certificate of Authenticity from Kinder's Autograph Trap, verifying its authenticity. Issued: 20th centuryDimensions: 10"HCondition: Age related wear.
A hardcover edition of The Films of Olivia de Havilland by Tony Thomas, published by Citadel Press in 1983. This book provides a detailed exploration of the illustrious career of the Academy Award winning actress, Olivia de Havilland, including insights into her most iconic roles. Featuring a foreword by Bette Davis, this volume is illustrated with numerous black and white photographs from her films, offering a comprehensive retrospective of her legacy in Hollywood. The dust jacket showcases a striking portrait of de Havilland, with a collage of film stills on the back cover.Artist: Tony ThomasIssued: 1983Dimensions: 8.75"L x 1"W x 11.25"HCountry of Origin: United StatesCondition: Age related wear.
A striking George Lucas signed photograph, featuring a contemplative black-and-white portrait of the legendary filmmaker. The signature appears in bold silver ink across the image. This framed collectible includes a Certificate of Authenticity from World Wide Graphs Inc., ensuring its legitimacy. The frame is a simple black design with a glass front, allowing for easy display. A fantastic piece for collectors of Star Wars memorabilia and film history enthusiasts.Dimensions: 9.5"L x 11.5"HCondition: Age related wear.
A signed black and white portrait photograph of Charlton Heston, featuring his bold blue ink signature across the lower portion of the image. The photograph presents a distinguished pose of the renowned actor in a light-colored blazer, with his name printed below. Charlton Heston was an iconic Hollywood actor known for his roles in Ben-Hur, The Ten Commandments, and Planet of the Apes. His autograph remains a sought-after collectible among film enthusiasts and memorabilia collectors.Dimensions: 8"L x 10"HCondition: Age related wear.
This is a signed black and white photograph of Margaret Hamilton, best known for her iconic role as the Wicked Witch of the West in the 1939 film The Wizard of Oz. The photograph, measuring 7"H, features a clear inscription and signature dedicated to Helen McDonough. Included with the portrait is a handwritten letter from Hamilton, offering a personal glimpse into her later years. Both items highlight the actress’s warm personality and enduring legacy in Hollywood. A treasured piece for collectors of classic cinema memorabilia.Dimensions: See DescriptionCondition: Age related wear.
A collectible novelty prop banknote from the fictional nation of Zamunda, inspired by the classic film Coming to America. This 100-pound note features a portrait of Prince Akeem, played by Eddie Murphy, wearing a crown. The front design includes intricate patterns, the denomination, and the inscription "Bank of Zamunda." The reverse side showcases a regal lion holding a sun emblem, symbolizing strength and heritage. A must-have for movie memorabilia collectors and fans of Coming to America.Dimensions: 6.25"L x 3"HCondition: Age related wear.
Movie prop coin from the 1988 film Coming to America, featuring the fictional nation of Zamunda. One side of the coin displays a regal lion emblem with "ZAMUNDA FIVE POUNDS 1988" inscribed, while the other side showcases a portrait of Prince Akeem, played by Eddie Murphy, with "ZAMUNDA" at the top and "AKEEM" below. This collectible piece is a must-have for fans of the classic comedy film.Issued: 20th century Dimensions: 1.5'' diameterCondition: Age related wear.
This 8"L x 10"H black and white photograph of renowned magician David Copperfield is hand-signed and comes with a Certificate of Authenticity (COA) from World of Autographs. Known for his legendary illusions and decades-long career in magic, Copperfield remains one of the most celebrated magicians in the world. The photo features a sharp portrait of Copperfield with his signature prominently displayed in black ink. This collectible is ideal for fans and memorabilia enthusiasts seeking a piece of magic history.Dimensions: See DescriptionCondition: Age related wear.
MGM Stereo Disc vinyl album featuring Jane Russell, catalog number E3715. This rare record showcases the sultry vocals of the iconic actress and singer, with arrangements by Joe Rotondi and Billy May. Released by MGM Records in 1959, the album includes classic tracks such as Fine and Dandy, Take Love Easy, and Born to be Blue. The album cover features a stunning portrait of Jane Russell, while the back provides details about the recording and its high-fidelity stereo quality. A must-have for collectors of classic Hollywood memorabilia and vintage vinyl.Issued: 1959Dimensions: 12.5"HCondition: Age related wear.
Sir John Lavery RA RSA RHA (1856-1941) Portrait Interior with Oriental Screen (c.1886) Oil on panel, 42 x 28cm (16 ½ x 11”)Provenance: Private Collection, IrelandIt says much for John Lavery’s precocity that when he returned to Glasgow at the end of 1884, he sought subject matter in the social life of the city. A door had shut upon the goatherds and washerwomen that he had painted at Grez-sur-Loing as he moved on to the pleasures and pastimes of the urban middle classes who had recognised his talents. Tennis, croquet and yachting were new sources – as indeed were the simpler rituals of coming and going and dressing for an occasion. A visitor arrives, she sits for a moment and is offered a cup of tea. Au Bal, the watercolour, speaks for itself. An attractive young woman, a fan dangling from her wrist, consults her dance card – a face, a form and an action, isolated and observed across a crowded room (figs 1&2 in printed catalogue). Lavery’s work for the next fifty-odd years would abound in such scopophilia.The same contingency is inferred in the present work.There is, however, enough information in the model’s face in the present lot for us to suggest that she could be none other than Bella Cullen, who posed for Lavery’s A Fair Flower, (figs 4&5), a work exhibited at the Glasgow Institute of the Fine Arts in February 1887. Cullen was the short-lived consumptive teenage daughter of an Irish miner who lived in Paisley.Although elements of the present work remain unresolved, Lavery’s Portrait interior with oriental screen points to future ambitions. A career would be built on portraits of seated women and men – in many instances essayed in small unfinished oil sketches that indicate no more than simple studio props and the placing of arms and limbs. How someone sits or stands could be as revelatory as facial expression. A few swift notes were often enough to take us to the vivid sense of anticipation that animates the present study.Prof. Kenneth McConkeySee illustrations referenced in this note in our online Flip / E-catalogue Fig 1 John Lavery, A Visitor, 1885, 46 x 46 cm, National Gallery of Ireland, Dublin Fig 2 John Lavery, Au Bal, 1885, 30 x 30 cm (approx), Private Collection Fig 3 John Lavery, Portrait of a Young Lady, 1886, 77.5 x 64.2 cm, Private Collection BON150316 Fig 4 John Lavery, A Fair Flower, 1887, 38 x 26 cm, Private Collection 010904 Fig 5 John Lavery, Portrait interior with oriental screen, c. 1886, the present picture (detail).
Sir William Orpen RA RHA (1878-1931) Portrait of a gentleman, head and shoulders (life model from the Dublin School of Art 1908) Oil on canvas, 60 x 50cm (23½ x 19¾")Provenance: Collection of Norah O'Kelly, RHA (1886 - 1964); Mr Hamilton Hunter, 1942; Purchased at auction in 1964; thence by descentWith accompanying statutory declaration dated 27th August 1942, of the original sale between Ms O'Kelly and Mr Hunter detailing that Orpen painted the work while a visiting professor in the Dublin School of Art and gifted the work to Ms O'Kelly who was student there at the time.
Mary Swanzy HRHA (1882-1978) Pont Du Gard Oil on canvas, 53.3cms x 45.7cms (21" x 18") Signed lower left, and versoProvenance: With Pyms Gallery, London, label versoMary Swanzy was a keen traveller for much of her life, so perhaps it is not surprising that she found the inspiration for most of her best work during time spent abroad. That includes a visit to Eastern Europe and, most famously, the South Seas, but also Paris and the South of France (the latter, notably, in 1918). A notably strait-laced individual, her temperament seems at odds with the bohemian circles in which she worked in Paris: she seemed to relax considerably in warmer, more laid-back environments. On her way back from her South Sea trip, stopping off with a friend in Santa Barbara in 1924 to paint for a time, she wrote to Sarah Purser, responding to the idea of visiting Spain: “…for painting, I still long for the tropics.” Perhaps, she suggested, Purser could explore Ceylon with her. “However,” she continues “if one could recapture the rapture of those…days in Provence, one would be tempted.”Van Gogh and, perhaps more than any artist, Cezanne, had established Provence as essential painterly terrain, and Swanzy was recurrently drawn to the South of France, spending time in St Tropez, Grasse and Nimes - the location for this fine painting - and more. Highly regarded in France, she exhibited regularly in avant garden circles. Location and style are often the best way to date her work, and the exceptional freedom and direct observation evident in this work with its atmospheric celebration of warmth and light, seeming to evoke the “rapture” she mentions to Purser, place it apart from her sustained exploration of a form of Orphic Cubism, close to the work of Ukrainian-born Sonia Delaney, (nee Stern) and her husband Robert.It’s reasonable to infer the influence of Cezanne in the colour palette, broad brushstrokes and volumetric organisation of the elements of landscape, with the celebrated Roman aqueduct on the Gardon River mentioned in the title (though the actual structure is simplified in the painting).Born in Dublin (her father was instrumental in establishing the Royal Victoria Eye and Ear Hospital), she attended Alexandra College with spells in France, Germany and Switzerland, going on to the Metropolitan School of Art and studies in Paris. Her family envisaged her becoming a portrait painter but she was reluctant if more than capable (society would not take a woman seriously as a portrait painter, she felt). She exhibited widely and consistently even as she travelled. From around 1926 she lived in London while continuing to exhibit in Ireland. Her later work took a dark, allegorical turn, with Surrealist elements and a tendency towards obscure, fantastical symbolism.Aidan Dunne, February 2025
Frank Albert Rinehart (American, 1861-1928) and Adolph F. Muhr (American, 1860-1913). Platinum print photograph titled "Bartelda - Apache" depicting a portrait of a Native American man in profile, 1899. Signed and dated in negative along the lower left; titled in negative along the lower center; inscribed "No. 1386" in negative along the lower right.Sheet; height: 9 1/4 in x width: 7 1/4 in. Matted; height: 18 in x width: 14 in.Condition: There are no tears, creases, or losses. The sheet is slightly toned. There are no signs of restoration. Not framed.
Illuminated English letters patent or diploma of nobility dated August 5th, 1763. Ink on vellum manuscript. Featuring an elaborately executed gilt foliate border; the first line depicting a royal portrait of King George III followed by arms of Ireland, Scotland, and Great Britain with military trophies. Three additional coats of arms along the left edge, including the Duke of Northumberland and the House of St. George. With the Great Seal of England in brown wax attached by plaited gilt cords. Signed and endorsed "John Lodge Deputy Clerk & Keeper of the Rolls" along the verso. Dated "the fifth day of August in the third year of the Reign of King George the Third." With wooden case featuring with finely tooled leather and marbled paper lining, manufactured by trunk maker, Samuel Barlow. This lot is a notable example of Early Modern script and illustration, indicative of the addressee's power and influence.Provenance: From the Collection of Elwood Rafn; Private Minnesota Collection.(Document, approximately without seal) height: 31 in x width: 30 3/4 in. (Case) height: 3 1/2 in x width: 33 in x depth: 10 1/2 in.Condition: There are no major tears or losses. Wear throughout commensurate with age including creases, toning, and some soiling, especially along the extreme edges. Undulation throughout consistent with being rolled. Heavy wear to the case including splits and wormholes in the wood, large losses to the leather along the left and right sides, and tarnishing to the metal components. The lock operates; however, the case is lacking a key.
Signature of 18th President Ulysses S. Grant framed with an etching portrait of the President. The etching with "B.W. Smith N.Y." in print below bust. The ink signature on a sheet of paper with the heading "Head-Quarters Armies of the United States...186."(Signature, sight) height: 2 in x width: 4 in. (Etching, sight) height: 4 in x width: 3 1/2 in. (Framed) height: 9 1/2 in x width: 6 1/4 in x depth: 1/2 in.Condition: Thee are no visible tears, creases, losses, or repairs. Both sheets are housed under an acidic mat. Mat burn and toning to both. Framed under glass; light wear to the frame. Not inspected out of frame.
Lesley Dill (American, b. 1950). Photo-lithograph on silk portrait printed over an Emily Dickinson poem, 1999. Pencil signed and dated along the lower right.Sight; height: 17 1/4 in x width: 14 1/2 in. Framed; height: 26 in x width: 22 1/2 in x depth: 1 in.Condition: There are no tears, losses, or restorations. Loose strings throughout, likely original to the work. Floated in frame. Framed under glass. Light wear to the frame. Not inspected out of frame.
After Andy Warhol (American, 1928-1987). Screenprint in colors on paper from Warhol's "Marilyn" series depicting Warhol's signature portrait of Marilyn Monroe. With two stamps from The Andy Warhol Foundation for the Visual Arts, Inc. along the verso.Height: 36 in x width: 36 in.Condition: The colors are bold and bright. There are no tears, creases, or losses. The work is not framed.
Sir Jacob Epstein (British/American, 1880-1959). Bronze bust titled "Third Portrait of Esther (With Flower)" depicting the artist's daughter Esther Garman (British, 1929-1954) with a solemn expression and floral form along the left of her chest, 1949. With a lovely verdigris patina throughout.Provenance: From the Collection of Alvin and Arlene Greenbaum; Doyle Auctions, New York, April 2023, Lot 84; Private Minnesota Collection.Height: 24 in x width: 17 /2 in x depth: 9 in. Weight: 50 lbs 3 oz.Condition: Due to the nature of the material, it is difficult to discern whether it has been compromised; however, there are no major breaks, losses or signs of restoration to the bronze. Some scratches and scuffs throughout. Verdigris patination throughout, likely original to the artistic process. There are a few cracks forming along the apex of the woman's head. Dust and debris gathered along the recessed areas. Several pieces of felt affixed to the underside.
Wilhelm von Gloeden (German, 1856-1931). Albumen print photograph titled "Portrait of Maria Intelisano of Castelmola," 1911, depicting a young girl who was the niece of the parish priest of Castelmola. Inscribed "BC 261" and dated "20-11-1911" in pencil along the verso.Von Gloeden is best known for his photographic works portraying young men in classical poses and settings reminiscent of Greek or Italian antiquity.Height: 15 in x width: 11 in.Condition: There are no major tears or losses. The sheet is toned. Some soiling throughout, particularly along the upper left edge and lower right corner of the image. Inscribed along the verso. The work is not framed.
Peter Hurd (American, 1904-1984). Portfolio of eight deeptone offset reproductions. Published by The University of New Mexico Press and printed by R.R. Donnelley & Sons Co., 1950. Part of the "New Mexico Artists" series, no. 11. Including: The Oasis, The Valley in Summer, The Wildcat Well, Portrait of Peggy, Portrait of Jose, The Shepherd, Shower on the Prairie, and The Bonfire.(Overall) Height: 16 3/4 in x width: 12 1/2 in.Condition: There are no tears, rips, creases or losses. Some toning to the sheets, especially along the extreme edges. Spots of yellow accretions along the lower edge of the title page. Some wear to the folder including discolorations, stains, and evidence of moisture exposure.
Pablo Picasso (Spanish, 1881-1973). Graphite sketch on graph paper titled "Self Portrait with Marie-Therese Walter," depicting two portraits along the front of the artist and his lover and model, Marie-Therese Walter (French, 1909-1977). She was the mother of their daughter Maya Widmaier-Picasso (1935-2022). The verso of this piece renders several sketches of various objects including a wardrobe cabinet, a ball, a cage, a snail, a human figure, a dog, and an elegant hound voiding his bowels.Provenance: The Estate of Marie-Therese Walter, France; Private collection, Minnesota.Literature: Josep Palau I Fabre, "Pare Picasso," Barcelona: Ediciones Poligrafa, 1977.Lot Essay:A multi-faceted artist who worked as a sculptor, painter, printmaker, and theater designer, Pablo Picasso is known as the co-founder of the Cubist movement and regarded as one of the most influential artists of the 20th century.The artist was born on October 25, 1881 in Malaga, Spain to Don Jose Ruiz y Blasco (1838–1913) and Maria Picasso y Lopez. His father was a naturalist painter of birds and game as well as a professor of art at the School of Crafts and a curator of a local museum. From the early age of seven, Picasso received formal traditional artistic training from his father, copying work from old masters and rendering the human body through the use of live models and plaster casts.This training took place throughout Picasso’s childhood. In 1891, his family moved to A Coruna where they resided for four years while his father took a position at the School of Fine Arts there. Picasso’s artistic capabilities grew, and even Ruiz claimed that his son had surpassed his own talents. In 1895, his sister, Lola, died from diptheria, and the family moved once again, this time to Barcelona. As a professor at the School of Fine Arts, his father persuaded the institution to let Picasso take the entrance exam for advanced classes at the mere age of thirteen. Though this process typically took a month to complete, Picasso finished in a short week and was accepted into the advanced courses. At age sixteen, Picasso’s father and uncle sent him to the Real Academia de Bellas Artes de San Fernando in Madrid. However, soon after enrollment Picasso stopped attending classes but was instead invigorated by attractions such as the Prado with artistic works by masters Diego Velazquez, Francisco Goya, Francisco Zurbaran, and El Greco.By the time Picasso married his first wife, Olga Stepanovna Khokhlova, in 1918, he had risen to success and acquired some fame and fortune as a forerunner of the Cubist movement, though this contrasted greatly with his humble “starving artist†beginnings and continuing bohemian lifestyle. Khokhlova came from high society and introduced her new husband to formal dinner parties and life of the rich in Paris during the 1920s. This clashed with Picasso’s own world views and inevitably led to the couple’s demise.A long-standing secret affair began in 1927 between Picasso and the then 17-year-old Marie-Thérèse Walter. In 1935, Marie became pregnant and it was then that a friend told Khokhlova about Picasso’s mistress. Khokhlova and Picasso separated, never divorcing, until Khokhlova’s death in 1955. On September 5, 1935, Marie and Picasso’s child, Maria de la Concepcion, called "Maya", was born. Though Picasso financially supported Marie and Maya throughout his life, he never married her and had a number of affairs with other women.Marie was a model and muse for many of Picasso’s paintings, sculptures, and drawings including the sketch seen in this lot. She is typically portrayed as bright and blonde in contrast to the weeping woman persona of Picasso’s other lover, Dora Maar. Though the sketch on the recto of the artist and his lover is masterful and typical of Picasso’s greatest works, the verso renders drawings of dogs, a snail, and other random objects created for the amusement of his daughter, Maya. Both sides demonstrate Picasso’s virtuoso and ability to be playful yet skillful in his artistic works.Height: 5 3/4 in x width: 3 3/4 in.Condition: The drawing is in good condition overall. The drawing is executed on graph paper and has a deckled edge along the right. There is a paper loss along the lower right. A repair to a 1 inch tear that goes from the upper right edge, diagonally downward. Some areas of skinning along the upper left and right corners. Some light surface soiling. Some minor losses and one small tear along the lower edge. The drawing bears light impressions of the drawings on the verso. The drawing is not framed.
Portrait of Madame de PompadourOil on canvas72 1/4 x 59 3/8 inches (183.5 x 150.7 cm) Frame 88 1/2 x 72 inches (225 x 183 cm)Qty: (1)In fair condition.In fair condition.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
JAMES ELDER CHRISTIE NEAC (SCOTTISH 1847 - 1914), THE WOODCUTTERS oil on canvas, signed, titled versoframedimage size 61cm x 35cm, overall size 82cm x 56cm Label verso: Louise Kosman, EdinburghNote: James Elder Christie was a portrait and genre painter. Christie received his artistic training at art school in Paisley and South Kensington. He became known for his portraits, paintings of children, moral allegories and illustrations to the poetry of Robert Burns. He won two gold medals at the Royal Academy in 1876 and 1877. In the 1870s Christie attended life classes in M. Barthe's studio in Limerston Street, in Chelsea, classes which Whistler also attended at this time. On 9 November 1882 he was elected an artist member of Glasgow Art Club, resigned on 15 February 1889. In 1893 he moved back to Glasgow, and was re-elected to the Club on 20 December 1894, and finally elected as an honorary member on 29 December 1913. Following a period in Paris, Christie joined the New English Art Club. Forty-five or his paintings are held in UK public collections.
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936), MORNING CHORES oil on canvas, signed and dated 1878framedimage size 24cm x 34cm, overall size 29cm x 39cm Comment: 1878 was a significant year for Gemmell Hutchison as the Royal Scottish Academy accepted the first three examples of his work and they continued to accept many submissions from him right up until the year of his death. Note: Robert Gemmell Hutchison was born at 35, North Richmond Street, Edinburgh on 1st July 1855. He was the first child of George Hutchison, a brass founder, and his wife Margaret Forman. Soon after his birth, the family moved to 37, Carrubbers Close, Canongate. It is not recorded which school Robert attended but he did not enjoy the experience! He was described as “scraping from class to class with as little work as possible, and, as soon as he could, leaving it gladly”. From the census of 1871, the family was still at 37, Carrubbers Close and had increased to seven; three sons and four daughters. With encouragement from his mother of whom he “always speaks with great reverence”, he was determined to become an artist and aged 17, enrolled at the Board of Manufacturers` School of Art in Edinburgh (also called the Trustees Academy). One of his instructors here was William McTaggart. He also attended the Royal Scottish Academy (RSA) Schools. At this time, he received valuable advice and help from the artist J. Campbell Noble RSA and thus encouraged, he sent some of his paintings to the RSA Annual Exhibitions. After several rejections, he was eventually successful in 1878 when he had three small landscapes exhibited: Youthful Labour, Quiet Pastures and A Country Well. One of these was bought by the Royal Association for the Promotion of the Fine Arts in Scotland and for which Hutchison received the sum of six guineas. He submitted the paintings from his studio at 1, India Buildings, Edinburgh. On 24th June 1879, Robert aged 23, married Janet Boe who was 21 and the daughter of a grocer in Biggar. The marriage took place at 4, Morningside Park, Edinburgh. On the marriage certificate he listed his occupation as “artist (figure painter)” and his address as 38, Jamaica Street, Edinburgh. The couple had nine children only five of whom survived infancy. These were four daughters; Jane (1880-1956), Marion Maud (1887-1963), Roberta Louise (1889-1966), Ann Carr Forman (1893-1978) and a son, George Jackson Hutchison who was born in 1895. After a period spent painting landscapes along the Fife coast, Robert began to specialise in scenes of Scottish rural life especially those involving children and in the year after his marriage, he had a painting The Empty Cradle exhibited at the Royal Academy (RA) in London. His studio was now at 53, George Street, Edinburgh. There followed five exhibits at the RA over the next decade. He continued to exhibit annually at the RSA and in 1886 was awarded a prize for his painting Boys Guddling Trout. From 1888 onwards he also exhibited at the Royal Glasgow Institute. At the 1891 Census he was an “artist, figure and portrait”, living at 4, Melville Place, Edinburgh with his wife and four daughters. His son George was born at the same address four years later. He began to paint and exhibit widely throughout Britain. A favourite location was Carnoustie in Angus where he had a house, “Coral Den”, in William Street. He also painted at Machrihanish, at Musselburgh and on the Farne Islands. Robert was elected to many prestigious institutions throughout the British Isles including the Royal Scottish Society of Painters in Watercolour, (RSW) in 1895, the Royal Society of British Artists (RBA), 1896, the Royal Institute of Oil Painters (ROI), and Associate of the Royal Scottish Academy (ARSA) in 1901. In 1903 he exhibited a work Bairnies Cuddle Doon at the Paris Salon. He was awarded a gold medal and the painting was purchased by the Scottish Modern Arts Association. He was awarded a second gold medal at the Paris Salon Exhibition of 1928 for his painting The White Seam. This was bought by Paisley Corporation and is now at the Paisley Museum and Art Gallery. Hutchison was elected to full membership of the RSA in 1911, replacing William McTaggart who had died the previous year. Several examples of Gemmell Hutchison's paintings have sold at auction in recent years for figures over and around £100,000. He retains his position as one of Scotland's best loved artists of the late 19th and early 20th century.
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