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283287 Los(e)/Seite
Los 17
Leonid Leibowitsch Reznitski (1909-1990). Portrait of Lenin, three quarter length in brown suit, c.1970. Oil on canvas. Signed and indistinctly dated at lower left, signed again on the verso, with label of the Soviet Russian Kombinat Zhivopisnogo Iskusstva. 93.5 x 70cm (36 3/4 x 27 1/2 in). Provenance: Collection of the late Tony Banks, the Baron Stratford, MP and Minister for Sport (1943-2006)
Los 83
Benjamin Robert Haydon (1786-1846). Romeo and Juliet. Pen and ink drawing. Manuscript extract from Shakespeare’s play, in Haydon’s hand, on the verso. 23 x 18.5cm (9 x 7 1/4 in). Standing male nude figure study, with inset study of an arm. Pen and ink drawing. Signed in ink at lower right. 22.5 x 18cm (8 7/8 x 7 in). Sir William Allan PRSA (1782-1850). Pencil drawing inscribed The Regent Murray shot by Hamilton of Bothwellhaugh. Signed with initials at upper right, the sheet addressed to Madame Dufresne in Paris, and postmarked 1825, on the verso. 20 x 25cm (8 x 9 3/4 in); and with 3 portrait studies of male heads, 2 in pencil, 1 in charcoal, by various hands, all unframed (6). These 6 drawings, and the following 2 lots, were extracted from an album originally belonging to Elizabeth Dufresne, a neighbour of Sir David Wilkie in Rathbone Place, London, whose circle of mainly Scottish friends included William Allan. She modelled as the mother in Wilkie’s famous work, The Blind Fiddler. Benjamin Haydon was also associated with this group, as was the French emigré artist, Dufresne, whose marriage to Liz was short-lived, ending with her departure for France. Haydon wrote affectionately of her and this period of their association in his autobiography, where he even refers to them reading Shakespeare together. “Liz was as interesting a girl as you would wish to see and very likely to make a strong impression on any one who knew her: however, I kept clear, and she ultimately married the Frenchman”. It is probable the three portraits included in this lot are of related figures, and two have been tentatively identified as Wilkie and William Hazlitt.
Los 86
Attributed to Sir George Hayter (1792-1871). Two portrait drawings. One with a study of a hand on the verso. Charcoal drawings with touches of red and white chalk. 39.5 x 33cm (15 1/2 x 13 in) and 30.5 x 28cm (12 x 11 in), respectively. Unframed. With a small, mixed, group of figure studies by other hands (6)
Los 280
Henze (20th century). Portrait of an old man. Oil on canvas. Signed at upper right. 25 .5 x 20cm (10 x 8 in). With a pair of panoramic city views, both oil on board, another of a sailing ship, all indistinctly signed, also a 19th century drawing of an Italian landscape, and a reproduction print (6)
Los 332
A mixed group of prints. Including a large etching of a surgeon fighting with Death over a naked woman, a tribute to Andy Warhol titled Cuba’s Soup, a portrait of Nelson and a Turkish street scene. Etchings, screen print, stipple-engraving. Various sizes, largest 73.5 x 53.5cm ( 29 x 21 in), this one unframed (4)
Los 399
A small collection of desk items and associated objects, to include a pierced gilt metal mounted moulded glass inkwell and associated pierced gilt metal twin handled tray, a solid malachite ash tray, a gilt tooled leather mounted pen box, two magnifying glasses, a crocodile skin instrument case, a pot lid of F & R Pratt type, titled ‘THE ROOM IN WHICH SHAKESPEARE W.. .... 1564, STRATFORD ON AVON’, together with a portrait miniature of a bulldog in a moulded ebonised frame, three ivory letter openers, a glove stretcher and a pair of bone mounted boot pulls, all late 19th or early 20th century
Los 2
* Bell ( William Charles 1830-1904). Miniature portrait of a Gentleman, 1854, fine miniature portrait, water and body colour on enamelled copper, signed and dated on verso, near contemporary pressed glazed metal frame, presented in an American hinged cast resin case, image size 35 x 28mm. Examples of Bell’s work are in the Royal collection. A fine example in very good condition. (1)
Los 17
* Carpenter (William, 1819-1899). Portrait of Captain Eaton J. Travers, 32nd Bengal Native Infantry, March 1855, coloured chalks and black charcoal on grey paper, heightened with white chalk, signed Wm Carpenter, Kohat, March 1855, to lower right, 32 x 23.5cm (12.5 x 9.25ins), contemporary gilt frame, glazed, artist’s signature andinscription to verso ‘Captn Travers for Mrs James Leslie, no. 6 South Mall, Cork, dated Kohat, March 1855. Captain Eaton Travers saw action at the Siege of Mooltan, and afterwards was appointed to the first Punjab Infantry. He was engaged in frequent skirmishes with the Hill tribes of the region, for which he received the thanks of the Governor-General. He was killed at the Siege of Delhi, in 1857. (1)
Los 84
* Southworth (M. Esther, late 19th/ early 20th c.). Portrait of a young Romany woman, 1871, head & shoulders watercolour portrait, signed & dated to lower right corner, small oval blind stamp ‘E.S.W.’, scratch to background, 47 x 31.5cm (18.5 x 12.5ins), mounted, wooden backing board with Manchester Royal Institute exhibition label dated 1872 and National Bronze Medal printed paper label (1)
Los 128
* English school. Portrait of Archbishop Whitgift, early 19th c., half-length oil on copper portrait, captioned in gold, 9 x 7cm (3.5 x 2.75ins), together with Portrait of an Elizabethan lady with monkey and apple, early 19th c., half-length oil on copper portrait, captioned ‘Hunsdon’ in gold, 9 x 7cm (3.5 x 2.75ins), both in matching moulded gilt frames (2)
Los 129
* English school. Portrait of Edward Wodehouse, 1917, half-length oil on canvas portrait, captioned ‘Edward Wodehouse. Aetratis Suae XIX’ and with artist’s monogram HR or AR(?) and dated 1917, 76 x 63.5cm (30 x 25ins), gilt moulded framed. 2nd Lieut Hon Edward Wodehouse MC (b.12 Apr 1898-30 Mar 1918). The third son of John Wodehouse, 2nd Earl of Kimberley and Isabel Geraldine Stracey, Countess of Kimberley, of Kimberley House, Wymondham, Norfolk. He was educated at Eaton and served with the 16th (The Queen’s) Lancers. During the First World War the Regiment served continuously in France and Flanders in the 3rd Cavalry Brigade with the 5th Lancers. Brigadier (later General) Gough, a 16th Lancer, commanded the Brigade. The First World War did not provide any great scope for cavalry warfare; as a result there were few incidents where the cavalry came into its own. Of particular note was the charge of Lord Strathcona’s Horse at Moreuil Wood on the 30th March 1918. In this action the Strathcona’s counter attack on the advancing Germans, prevented them breaking through the thin British line. The 3rd Cavalry Brigade supported the Strathcona’s and the 16th Lancers played a leading part protecting the Canadian right flank. The 16th were positioned outside the wood and prevented German reinforcements reaching the positions that the Strathcona’s were trying to clear. Lord Strathcona’s Horse is today one of the allied regiments of The Queen’s Royal Lancers. Edward Wodehouse was killed in action on 30 March 1918 at the age of 19. (1)
Los 150
* Portrait Miniatures. A pair of portrait miniatures of a young gentleman and a young lady, early 19th c., both head and shoulders in profile facing to dexter (brother and sister?), watercolour on thin ivory with wooden backing, matching oval gilt metal mounts set into black stained wood with oak gilt metal picture hooks with oak leaves, both images approx. 65mm (2.5ins tall), wooden mounts both with minor chips (2)
Los 162
* Thornton (R., late 19th/early 20th c.). Portrait of a gentlemen in Bavarian costume, late 19th or early 20th c. oval oil on card, 21.5 x 16.5cm (8.5 x 6.5ins), in later 19th c. velvet-lined frame, with moulded gilt decorative border of acorns and leaves, glazed, together with another similar oil on wood panel of a Bavarian gentleman smoking a pipe, 21.5 x 16.5cm (8.5 x 6.5ins), gilt frame (2)
Los 184
* Sandys (Frederick Augustus, 1829-1904). Pencil studies for a prostrate female figure used in the engraved illustration for Christina Rossetti’s ‘Amor Mundi’, c. 1865, four full-length pencil studies on paper with one further garment detail, two of the figures finished with full facial details (including one with face-down reflection), three of the studies with full clothing details, some white bodycolour to paper extremities, 165 x 245mm (6.5 x 9.75ins), framed and glazed with a copy of the finished wood engraving laid under the glass . Provenance: Family of Anthony Crane, grandson of Walter Crane and son of Lionel Crane and Winifred Sandys. Winifred was the daughter of (Anthony) Frederick Sandys, the English painter and draughtsman. Frederick Sandys, son of the portrait painter Anthony Sandys, was born and trained at Norwich. Working in a Pre-Raphaelite vein Millais thought highly of him and Rossetti, with whom he lived briefly in Cheyne Walk, Chelsea, considered him to be ‘the greatest of living draughtsmen’. He contributed numerous drawings for periodicals of the day including Cornhill Magazine and Good Words. In the 1860s he began to exhibit paintings, the best known being ‘Vivien’ (1863), ‘Morgan le Fay’ (1864), ‘Cassandra’ and ‘Medea’. He also made a number of chalk drawings of men of letters, including Tennyson, Browning and Matthew Arnold. ‘Sandys’s own favourite among his wood engravings was the ‘Amor Mundi’, which appeared in The Shilling Magazine (1865) as an illustration for Christina Rossetti’s poem. The ‘Amor Mundi’ [a reversed image of the example included in this lot] is a beautiful, slightly unpleasant, and extraordinarily suggestive drawing, depicting two lovers strolling down the easy part of sensuality to the hidden hollow where death lies waiting. Not Death as he is usually symbolized, but the dead and corrupted body of this very woman, now hanging in foolish soulless laughter on her lover’s arm. A rat gnaws at the tattered wrist of the corpse, whose flesh Christina describes as ‘pale’, but to which Sandys has given the terrible hues of putrefaction, ’ (Forrest Reid, ‘Illustrators of the Eighteen Sixties’ (1928), p. 60. (1)
Los 199
* Hollar (Wenceslaus, 1607-1677). Generosissima Dna. Elisabetha Haruey Filia Dni Haruey Baronis Kedbroock, 1646, eng. portrait after Van Dyck, approx. 25.5 x 18cm (10.25 x 7in), tipped-onto line & wash backing paper, together with engraved title-page to ‘Philosophia Universa Serenissimo Principi, Maximiliano Com. Pal. Rheni, Utriusq; Bau. Duci, S.R.I. Archidapifero Electori Dicata, Auctore R.P. Thoma Comptono Carleton.., Antwerp, 1649, approx. 34 x 21cm (13.5 x 8.25in), tipped onto card, plus two other prints by Hollar (4)
Los 220
* Hubbard (Eric Hesketh, 1892-1957). The Fair Gound, etching, signed , titled and numbered 57/100 below image, 20 x 29.5cm (8 x 11.5ins), together with a signed woodcut by the same artist, plus The Mower, etching, signed, titled and numbered 33/50 below image, 20 x 15cm (8 x 6ins), and Short (Frank), The New Inn, Poole, etching, signed in pencil below image, 25 x 17.5cm (9.75 x 7ins), plus Osborne (Malcolm), Female portrait, etching, signed below image by artist, 23 x 17.5cm (9 x 7ins), and Blaylock (Thomas Todd), The Ebbing Tide, woodcut printed in colours, signed and titled below image, 17 x 25cm (6.75 x 9.75ins), and, Woollard (Dorothy C.)Ye Old Lattice Inn, etching, signed in pencil below artist, 19.5 x 27cm (7.75 x 10.75ins) (7)
Los 430
* Vasey (Gladys, 1889-1981). The Black Gloves (portrait of the artist’s daughter Madeleine), 1953, oil on canvas, signed lower right, 91 x 61cm (36 x 24ins), framed. Gladys Vasey (1889-1981) pursued a long and active career as a portrait artist in the tradition of John Singer Sargent, William Orpen and Augustus John. She was born in Sale, and attended art classes by William Fitz, a Polish teacher in Manchester, and was a fellow student of the young L. S. Lowry. In 1943 she moved to Llanyblodwel, near Oswestry. She exhibited regularly at the Manchester Academy of Fine Arts from 1930, as well as the Royal Cambrian Academy, the Royal Society of Portrait Painters, the Society of Women Artists and elsewhere. Solo exhibitions of her work were held at the National Library of Wales, Aberystwyth, in 1973 and 1991. Robert Meyrick, Gladys Vasey, A Retrospective Exhibition, National Library of Wales, Aberystwyth, 1991, no. 37 (illustrated in colour). This work was painted for the Diamond Jubilee Annual Spring Exhibition of Modern Art at the Atkinson Art Gallery, Southport, and subsequently at the Manchester Academy of Fine Arts, 1954, Royal Cambrian Academy, 1954, and the Society of Women Artists, 1962. (1)
Los 432
* Vasey (Gladys, 1889-1981). A Welsh Innkeeper (portrait of Dai Edwards, Black Lion Hotel, Talybont, Ceredigion), 1953, oil on board, signed lower right, 40.5 x 33cm (16 x 13ins), framed. Robert Meyrick, Gladys Vasey (1889-1981), A Retrospective Exhibition, National Library of Wales, Aberystwyth, 1991, no. 39. (1)
Los 159
A French ormolu and porcelain mantel clock, 19th century, in the Louis XV style, the 3¼ inch dial with ring of Roman numerals and painted with a garland of roses to the centre, under a portrait decorated urn pediment over putti decorated oval side panels, within scrolling leaf mounts on a bow-front base, with short feet, the eight day movement stamped `no. 3605`, the case stamped `Filmourey`, (at fault), 27cm wide, 33cm high
Los 65
A pair of Gebruder Heubach porcelain cabinet plates the cavetto of each enamelled with a half portrait of Auguste Strobel and Anna Kauler after originals by Joseph Carl Stieler, but signed W**lster.S (one indistinctly) within raised gilt and enamelled borders, 24.5 cm diameter, green backstamps, red captions an impressed ‘24’, circa. 1910.
Los 68
A pair of Continental porcelain portrait plaques of oval form each enamelled with a half portrait of a wigged gentleman, one with neck scarf and red gilt trimmed jacket, the companion with open shirt, blue waistcoat and black cloak, 11 cm high, late 19th century, together with floral and foliate cast gilt metal ribbon crested frames.
Los 381
Frederick Millard (1857-1937) Portrait of a Newlyn fisherwoman, half-length monogrammed under frame bottom right oil on canvas 30 x 22cm. Provenance: Professor Stanley Wright, Principal Falmouth College of Art late 1940s. Thence by family descent. Fred Millard appears in the photograph of students in Lauren’s studio in Paris in about 1881/82 (see fig.3 Artists’s of The Newlyn School, Caroline Fox & Francis Greenacre). He arrived in Newlyn from Reigate in May 1884, and Stanhope Forbes reported that he is ‘a decent quiet fellow and an acquisition to our Society’. Millard shared a wooden shanty with Ralph Todd which served as a studio in the corner of a meadow. He exhibited three pictures at The Royal Academy and at Suffolk Street. It seems he left Newlyn around 1890. By 1920 he was reported to be living in Falmouth, there is however, little known of his latter years.
Los 383
Sir William Russell Flint (1880-1969) Portrait of Miss Paget, three-quarter length seated, wearing a brown silk dress with lace collar and cuffs, a gold locket on black velvet band around her neck initialled and dated WRF 1906 top right watercolour heightened with white and gum arabic 34.5 x 23.5cm. Provenance: The vendor is a direct descendent of the sitter. It is known that the sitter, a Miss Paget, lived at Came, Hadley Wood, Barnet.
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283287 Los(e)/Seite