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283284 Los(e)/Seite
Los 454
A large silver presentation steeplechase cup, "Essex Hunt Steeplechase the Welter Cup 21st April 1881", repousse with animals, scrollwork and portrait masks and raised on a knopped stem with spreading circular foot, London mark 1853, 1014 grams. Height 12 ins, diameter 7.25 ins (see illustration).
Los 1131
A George III oak livery cupboard, with detachable moulded cornice above a pair of portrait carved panelled doors, with turtle panels beneath with brass furniture opening to hanging space, the base fitted with three dummy and four further drawers foliate carved and with brass drop handles and oval backplates and raised on stile feet. Width 62.5 ins (see illustration).
Los 646
Lucy Dawson (British d.1954); chalks on paper, portrait of a terrier "Binkie", signed and inscribed 27.5 x 19.5cm, framed and glazed. Provenance: Binkie was the dog of Mrs Heywood of Hales Hall, Staffordshire. The mother of the current vendor was in service at Hales Hall working for Mrs Heywood from the age of 15 c.1930 and this was passed to her upon her retirement. This lot is accompanied by three postcards, one depicting Mrs Heywood and the other two with Mrs Heywood and her beloved terrier Binkie.
Los 1559
A good 19th century gilt metal and champlevé eight day four glass mantel clock, the gilt dial with central champlevé enamel mounted with numerous clear paste stones, signed Gibson & Co Ltd, Belfast, Paris make, the spring driven movement with deadbeat escapement striking a single gong, the gilt metal pendulum bob mounted with a circular painted ivory portrait miniature of a young lady surrounded by a border of clear paste stones, height 31cm (Illustrated).
Los 74
Early Australian Cricket books – to incl 2x reprints of the Australian Tours to England in 1882 and 1884 for the Third and Fourth series being a complete record of all the matches, with portrait & biography of each member – published in 1989 and 1990 respectively – both with D/J. Note the tour of 1882 culminated in Australia winning a Test Match in England for the first time. The ‘Sporting Times` then printed an obituary notice of English cricket, leading to the legend of the Ashes. Both appear unread (VG) (2)
Los 154
SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., R.S.W., R.A (SCOTTISH 1898-1973) PORTRAIT OF THE ARTIST ROBERT SCOTT IRVINE, 1925 Oil on canvas 91cm x 71cm (36in x 28in) Note: This is a very rare portrait by Sir WIlliam Gillies from the time when he was teaching evening classes at Edinburgh College of Art, long before he became Principal of the school. It depicts the artist Robert Scott Irvine (1906-1988), then a student in his final year at ECA. The two men were to become and remain fast friends. Scott Irvine became the youngest member to be elected to the Royal Scottish Society of Painters in Watercolour at the age of 28 and until his death was the oldest surviving member. Scott-Irvine`s works are in the collections of the Aberdeen Art Gallery, City of Edinburgh Council, Royal Scottish Academy, University of Edinburgh, McManus Galleries and Museum and the Scottish Arts Club.
Los 14
* KUSTODIEV, BORIS 1878-1927 Worker and Farmer. Cover Design for the Anniversary Issue of the Magazine "Petrograd" signed and dated 1923 Pencil and watercolour on paper, 27 by 23 cm. "Provenance: Collection of I. Angenitski, KievExhibited: Vsesoyuznaya vystavka proizvedenii B.M. Kustodieva, The Kiev State Museum of Russian Art, label on the reverse.Literature: Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad-Moscow, 1960, p. 205. Etkind, M.G. (ed.), Boris Mikhailovich Kustodiev, Leningrad, Khudozhnik RSFSR, 1967, p. 258. Boris Mikhailovich Kustodiev, Moscow, Sovetski Khudozhnik, 1982, p. 368, No. 2300, listed.Boris Kustodiev’s fame as an outstanding painter sometimes eclipses his evident success in the area of graphic design. However, there is no branch of graphic art in which the artist could not have demonstrated real mastery as a draughtsman and watercolourist. He practised easel-painting — both landscape and portrait graphics — as well as theatre design, book illustration, woodcut printing, magazine covers and propaganda posters. Kustodiev was a genuine virtuoso in all graphic techniques.Executed with the humour and elegance for which he is renowned, the economy of a poster design and a particular “fairground” decorativism unique to Kustodiev, the Cover we now present also has historical and artistic validation. For Kustodiev’s close friend, the artist Vsevolod Voinov, wrote in his diary for 1923 the following: “9 October. Around six o’clock went to Kustodiev’s. Boris Mikhailovich showed me his most recent works and those done in the summer, which I hadn’t yet seen. Among them the cover for the anniversary issue of Petrograd magazine. A splendid watercolour. It shows a peasant and a worker, sitting by a column, above which flies a red flag with the letters ‘USSR’. At the feet of the peasant, a mound of fruit and sheaves of corn. The worker reads aloud from a book. In the background, a village and a town. Cranes, a railway, factories, fields and so on. A beautiful sky with white clouds.” (M.G. Etkind, 1967, p. 258)."
Los 32
* CHEBOTAREV, KONSTANTIN 1892-1974 Portrait of the Artist`s Wife in an Interior mid-1920s Watercolour and gouache on laid paper, 47.5 by 31 cm. "With a pencil sketch on the reverse.Exhibited: Moscow Union of Artists, 1978, W82, inscribed on the reverse.Konstantin Chebotarev is one of the most interesting Russian masters of the first third of the 20th century. An outstanding representative of the Kazan school, who studied under the brilliant Nikolai Fechin, Chebotarev did not however become a conduit for the graphic ideas of his famous teacher. Having organised in 1917 an avant-garde association — the first in Kazan — of talented young people, called The Sunflower and fought with the White Army under Kolchak as it retreated eastwards (1918-1920), Chebotarev, returning to Kazan thanks to an amnesty, did not stop at that. In 1921 the artist became leader of a left front in art, becoming head of the creative group Vsadnik (The Rider), which not only in name but also in its very essence became the Russian heir to the tradition of the Munich-based Blaue Reiter group. Having fulfilled commissions in various applied areas, such as a series of books and sets of mounted engravings in limited editions (from six to 50 copies), Vsadnik entered the history of Russian art as the only case of a manifesto declaration of innovation in a single segment of figurative art — in graphic design. Chebotarev’s works in the 1920s, and those of his associates, feature many traits reminiscent of the dawn of the century, from the machinery and movement of Balla and Severini to Larionov’s Rayonism and Pechstein’s distorted angles. Apart from rare cases when editions of the Vsadnik group have been presented at auction, this watercolour is the first appearance on the international art market of an easel work by Chebotarev. The model is the artist’s wife and colleague, Alexandra Platunova (1896–1966), a book and magazine designer of such Moscow periodicals of the 1920s as Krasnaya Niva, Krasnaya Panorama, Prozhektor and others. The present work was owned by the artist’s family and was featured in a posthumous exhibition, which took place in 1978 at the Moscow Union of Artists on Begovaya Street."
Los 115
* PETROV-VODKIN, KUZMA 1878-1939 Self-Portrait c. 1913 Charcoal on paper, 38 by 30 cm. With a sketch on the reverse. This brilliant self-portrait by Kuzma Petrov-Vodkin is one more demonstration of the indisputable genius of this great master, whose influence on Russian art was truly boundless. Until a short while ago, this graphic masterpiece was held by a major European collection and appears now for the first time in this catalogue. The year of this drawing is important, for it was in 1913 that Petrov-Vodkin created several of his best works, among which was Bathing of a Red Horse.The superficially unfinished look of the drawing is deceptive and was intentional. The Self-Portrait is absolutely finished, and so convincingly complete that, with even the most fleeting glance at this extraordinary image, the viewer is riveted by the inquisitive look of the artist and is compelled to join in his philosophical self-submersion, his spiritual withdrawal from everyday reality.
Los 313
* FECHIN, NIKOLAI 1881-1955 The Little Cowboy signed Oil on canvas, 76 by 51 cm. Provenance: Stendahl Galleries, Los Angeles, label on the reverse. Property from the Estates of Walter and Sonja Caron Stein. Private collection, Europe.Authenticity has been confirmed by the expert V. Petrov.Related Literature: For similar works, see G. Tuluzakova, Feshin, Zolotoy Vek, St Petersburg, 2007, pp. 134 and 162.The Little Cowboy is one of Nikolai Fechin’s most brilliant portraits of childhood dating from his time in the USA. Painted in 1940 it is — like Fechin’s early masterpiece, the portrait of Varya Adoratskaya (1914) — not only an expression of the credo of this artist, arguably the best painter of children of the 20th century, but also in its way an act of escapism, a conscious retreat from the harsh reality of two world wars, day-to-day hardships and various social cataclysms. Fechin was especially fond of children’s portraits. Even with all the problems of working with child models, quickly tiring and constantly fidgeting, the artist was able to assemble a whole gallery of childhood images, executed with an unequalled lightness of touch and effortlessly communicating the essence of his models and, at the same time, notable for the depths revealed in the subject portrayed. Even the commissioned, formal portraits which were the artist’s bread and butter in America are without any trace of mawkishness or sentimentality and distinguished by the highest draughtsmanship and technical virtuosity. It is worth noting that the image of the little cowboy is not just a tribute to the local colour of Fechin’s American environment. He had lived for several years in the little township of Taos, in upstate New Mexico, at the foot of the Sangre de Cristo Mountains, and knew at first hand the life of the farmers and cowboys who inhabited this picturesque mountain terrain and would from time to time sit for the artist. Even later on, after he had moved in 1934 to a permanent home in Los Angeles, he often took the journey — beneficial for his tuberculosis-damaged lungs — south-westwards, to where the rancheros of Arizona and New Mexico as well as the local Indians would continue to model for him. The artist was especially happy to paint such portraits en plein air, under the hot sun, often placing his model against the light, filling the expanse of the canvas with a golden heat haze, and almost always preserving the "study-like" nature of his sweeping, virtuoso painting style. However, this image of the little cowboy is characteristic not only of this free technique: it also offers a striking contrast, with a clear distinction between the painting method adopted for the face, with light, almost invisible brushstrokes, and the impasto rendering of clothes and background. Despite the preparatory sketch-lines in the boy’s face being delicately worked to convey the young equestrian’s composure and concentration, it seems likely that Fechin painted the portrait in a single sitting, given the integrity and the immediacy with which he captures the pose and the child’s passion for horse-riding, and the vivacity and temperament of the painting technique. The spontaneous artistic freedom of the image structure and the precisely conveyed and idiosyncratic riding position of the wiry figure of the child give the portrait an inner dynamism. Yet we do not see the horse itself, nor a wagon — for despite all the child’s preoccupation and the tightly clenched reins the lad, seated by the artist on the corner of a chair or a chest, is only, it seems, playing at horse-riding. But the authenticity of the "cowboying" is of no concern to Fechin, for it merely provides the composition of the portrait and the fundamental reason for that childish seriousness, the boy’s concentration on some distant point. The artist is utterly and completely focused on the image of the boy. He delights in the gentle face, chubby lips, brown eyes and the flush of those apple cheeks. The precise balance between the areas of colour, with the boy’s denim dungarees and red cowboy scarf providing vivid flashes against a subdued grey background, tells us a lot about Fechin, a refined and sophisticated colourist, who can derive from three basic colours a wealth of shades vibrating with light. The Little Cowboy is not only an outstanding example of Fechin’s masterly painting skill but also an expressive image of childhood, the seriousness and gentleness of which embody the authentic lyricism inherent in the very best of this artist’s childhood portraits.
Los 508
* § TSELKOV, OLEG B. 1934 Portrait of a Collector signed, titled in Cyrillic and dated 1971 on the reverse Oil on canvas, laid on panel, 55 by 39.5 cm. Provenance: Acquired directly from the artist by the present owner. Private collection, USA.Authenticity has been confirmed by the artist.Related Literature: For similar works, see R.P. Turine, Oleg Tselkov, Bonfi, Moscow, 2002.
Los 546
ZVEREV, ANATOLY 1931-1986 Female Portrait signed with initials and dated 1957 Gouache on paper, 59 by 41.5 cm. Provenance: Acquired directly from the artist by the family of the present owner. Private collection, EuropeExhibited: Anatoly Zverev, Kouros Gallery, New York, July–August 1986. Anatoly Zverev, University Art Collection, Göttingen Museum, Germany, 1993. Anatoly Zverev, The Pushkin State Museum of Fine Arts, Moscow, 1994.
Los 558
ZVEREV, ANATOLY 1931-1986 Female Portrait signed and dated 1960 Oil on paper, 65.5 by 45 cm. Provenance: Acquired directly from the artist by the family of the present owner. Private collection, Europe.Exhibited: Anatoly Zverev, Kouros Gallery, New York, July–August 1986. Anatoly Zverev, University Art Collection, Göttingen Museum, Germany, 1993. Anatoly Zverev, The Pushkin State Museum of Fine Arts, Moscow, 1994.
Los 559
ZVEREV, ANATOLY 1931-1986 Self-Portrait signed with initials and dated 1962 Black ink on paper, 59 by 42 cm. Provenance: Acquired directly from the artist by the family of the present owner. Private collection, Europe.Exhibited: Anatoly Zverev, Kouros Gallery, New York, July–August 1986. Anatoly Zverev, University Art Collection, Göttingen Museum, Germany, 1993. Anatoly Zverev, The Pushkin State Museum of Fine Arts, Moscow, 1994.
Los 130
George Elgar Hicks 1884 - oil on canvas. Portrait of Mrs Rose B. Sykes (1863-1934), nee Gilliat, who married Charles Percy Sykes Esq, JP (1862-1899) of West Ella Hall, Yorkshire, on 29th April 1884, 20" x 23". 6,000-10,000 Provenance: By direct descent to the present owner. Rose Babington Gilliat was the daughter of John Saunders Gilliat, an American merchant of Winkfield lodge, Berkshire. She married Charles Percy Sykes of West Ella Hall, in 1884, shortly before this portrait was painted. Her eldest daughter Muriel Frances Sykes, b. 1886, married Thomas Claud Gurney in 1906. He was the step son of Colonel John Bourchier, Stracey-Clitherow of Hotham Hall, East Riding, Yorkshire and later of Boston House, Boston Manor, Brentford. Thomas Gurney`s sisters were The Countess of Dudley and Lady Trowbridge. Thomas and Muriel Gurney changed their name to Clitherow when they inherited Boston Manor. Their children later married into aristocracy.
Los 768
Three: Lieutenant John Tyrrell Champion Fallowes, Suffolk Regiment, killed in action, France/Flanders, 15 September 1916 1914-15 Star (Lieut., Suff. R.); British War and Victory Medals (Lieut.) in damaged card boxes of issue; Memorial Plaque (John Tyrrell Champion Fallowes) in card envelope of issue, extremely fine (4) £350-400 John Tyrrell Champion Fallowes was the son of The Rev. John Prince Fallowes, M.A. and Agnes Fallowes of Heene Rectory, Worthing, Sussex. He was educated at Haileybury College and Cambridge University. Whilst at the latter, he served in the Cavalry Officer Training Corps. Living in Canada when war broke out, he enlisted as a Private in the 4th Canadian Infantry. As such, he came to England with the first Canadian Contingent and was one of the first from the contingent to obtain a commission in the British Army. As a Lieutenant in the 9th Battalion Suffolk Regiment he entered the France/Flanders theatre of war, going up to the front in August 1915 and seeing action at the Battle of Loos. A former commanding officer wrote of him, ‘He is a very good and hard working officer, full of energy, and always ready for any service of danger.’ Lieutenant Fallowes was killed in action on 15 September 1916, aged 25 years. Having no known grave, his name is commemorated on the Thiepval Memorial. With named medal forwarding slip and copied research including m.i.c. and a portrait photograph of the recipient.
Los 783
Pair: Second Lieutenant John Fryer Bruce, Argyll & Sutherland Highlanders, who died of wounds, Flanders, 28 February 1918 British War and Victory Medals (2 Lieut.); Memorial Plaque (John Fryer Bruce) in wooden, glass-fronted case, extremely fine (3) £180-220 John Fryer Bruce was the only son of Michael Bruce, of Stedhouse, Caterham, and was educated at Wellesley House, Broadstairs, Winchester and Sandhurst. Appointed a 2nd Lieutenant in the 2nd Battalion Argyll & Sutherland Highlanders on 1 May 1917. He was dangerously wounded on 26 February 1918 - his first day in the trenches - while leading his platoon into their position in the front line. He died at Poperinghe two days later and was buried in the Nine Elms British Cemetery. With forwarding slip for the plaque mounted on the reverse of the case; together with copied research including portrait photograph of the recipient and a modern photograph of his headstone.
Los 797
Six: Flight Lieutenant J. C. Muirhead, Royal Air Force and Royal Air Force Volunteer Reserve 1939-45 Star; France and Germany Star; Defence and War Medals, these unnamed; Air Efficiency Award, E.II.R., 2nd issue (Flt. Lt., R.A.F.V.R.); France, Croix de Guerre 1939, mounted as worn, good very fine (6) £600-800 Campbell Muirhead was born in South Africa and was educated at Portobello Secondary School and George Herriot’s in Edinburgh. He joined the Royal Air Force soon after the outbreak of war, first serving as a ground gunner. Training to become a pilot, he failed the course in Arizona but determined to become aircrew, he then trained as a bomb aimer in Canada. As a Flying Officer he was posted to No. 12 Squadron, at Wickenby, Lincolnshire, in May 1944. During his training and then during his active service in Lancasters with 12 Squadron he recorded the events, day-by-day, in a diary which he was later to publish. He completed a tour of duty comprising 30 combat operations. For his wartime services he was awarded the French Croix de Guerre. In his book, he records (post 20 August 1944): ‘Opened this diary again to record award of French Croix de Guerre with Silver Star. This to me because, as I learned, 12 Squadron had extinguished its allocation of DFCs. Ah well, at least I got a kiss with mine. From a French General.’ With two books written by the recipient: Diary of a Bomb Aimer, Training in America and Flying with 12 Squadron in WWII, by Campbell Muirhead, edited and annotated by Philp Swan, this covering the period 2- February 1942-20 August 1944; together with The Diary of a Bomb Aimer, by Campbell Muirhead - and signed by the author, ‘For Keith, my younger son. Campbell Muirhead, 1st January 1987, Swinton, Duns, Berwickshire’, this covering the period 9 May 1944-20 August 1944; both with dustjackets. With a portrait photograph of the recipient in uniform. Also with photocopied relating to his service career.
Los 818
A good Great War Battle of the Somme M.C. group of four awarded to 2nd Lieutenant J. A. B. Paul, East Surrey Regiment, late Honourable Artillery Company, who was killed in action in October 1916 Military Cross, G.V.R., the reverse privately engraved, ‘2nd Lieut. John Andrew Bowring Paul, 7th East Surrey Regt., Ovillers, 1916, 29th July, 2nd Aug., 13th Aug., Killed at Geudecourt 10th Oct. 1916’; 1914-15 Star (2384 Pte. J. A. B. Paul, H.A.C.); British War and Victory Medals (2 Lieut. J. A. B. Paul), the whole contained in an old wooden display case, the outer lid set with the recipient’s Memorial Plaque (John Andrew Bowring Paul), and the interior including an inlaid portrait photograph and East Surrey’s cap badge, generally extremely fine (6) £1800-2200 M.C. London Gazette 26 September 1916: ‘For conspicuous gallantry when in charge of a working party. When a shell burst in an ammunition store, causing many casualties, he rescued and bound up several wounded men at great risk from exploding bombs. Later, on two occasions, he rescued officers under heavy fire.’ This incident took place on 29 July 1916, as related in the regimental history of the East Surrey Regiment: ‘On the night of the 29th, C Company sustained thirty-two casualties through an 8-in. shell landing in the Brigade advanced store containing bombs, S.A.A., VŽry lights and rockets. Several men were badly burnt by the VŽry lights and rockets, but only a few bombs exploded. 2nd Lieut. J. A. B. Paul, who was in charge of the working party, showed great coolness in extricating his men from their dangerous position, and for this and other gallant acts was subsequently awarded the Military Cross.’ John Andrew Bowring Paul was killed in action on 10 October 1916, while serving on attachment to the 7th Battalion, East Surrey Regiment - ‘He was an absolutely fearless officer and a great loss to the Battalion’. The son of William and Phoebe Paul of Lorne Lodge, Sutton, Surrey, he was 22 years of age, but has no known grave and is commemorated on the Thiepval Memorial. Sold with original illuminated memorial scroll, Buckingham Palace forwarding message for the Memorial Plaque and War Office forwarding letter for his campaign awards, this dated 10 November 1921.
Los 251
Military General Service 1793-1814, 4 clasps, Barrosa, Ciudad Rodrigo, Salamanca, Vittoria (M. Spratling, 3rd Foot Guards) together with a Daguerrotype portrait of the recipient in old age wearing his medal, this in poor condition, the medal very fine £1400-1600 Mark Spratling is recorded in the Pay Lists and Muster Rolls as serving from 1811 to 1814. From 1812 he served in Captain Francis Home’s company. He was later a railway signalman and died at 18 Cranbrook Street, Bethnal Green, on 8 January 1861, aged 69.
Los 139
Thomas Wheeler (fl. circa 1783-1810?). Profile portrait of a military officer; Profile portrait of a young lady, Silhouette painted on card, a pair, The first signed ‘T Wheeler Windsor Sept 1811’ verso, with old ink inscription to backboard ‘Major General Howard Vyse drawn by an officer’s daughter 1794’, in later hand to backing paper ‘Major Gen Howard Vyse by J Wheeler Windsor Sept 1811 (signed)’. The second with old ink inscription to backboard ‘Miss G A Vyse’, in later hand to backing paper ‘Miss G A Vyse 1 of pr by J. Wheeler Windsor Sept 1811’, Each 12.7cm x 9.7cm, ovals, In gilt gesso oval frames, See McKechnie, Sue ‘British Silhouette Artists and their Work 1760-1860’, p. 644-5 where a reference is made to a 1st August 1810 portrait of a Miss G A Vyse.
Los 141
Lucas Bateman (fl. circa 1775-85). Profile portrait of a girl, half length to dexter; Profile portrait of a boy, half length to sinister, Pastels, a pair, The first signed ‘L Bateman Delint 1779’, Later inscription verso ‘Very fine pastile by L Bateman 1779 Given by DM 1948’, The second signed ‘Lucas Bateman Delint 1779’, Later inscription verso ‘Very fine pastile by Lucas Bateman 1779 Given by DM 1948’, Each 13cm x 10.5cm, ovals, In gilt gesso oval frames, See Jeffares, Neil ‘Dictionary of pastellists before 1800’ online edition at www.pastellists.com/Articles/Bateman.pdf. The biography is very sparse with only three works noted. The figures here are cut out from separate sheets of paper, a technique borrowed from Nathaniel Bermingham. Our thanks to Neil Jeffares in helping to catalogue this lot.
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283284 Los(e)/Seite