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283287 Los(e)/Seite
Los 1341
A lady's gold cased, pendant fob watch, detailed 750, by Garrard, the matt gilt dial with black Roman numerals and with black hands, the case front with a portrait of Queen Elizabeth the Queen Mother 1980, in celebration of her 80th year, the case back decorated with The Royal Arms and detailed 4th August 1980, with a case.
Los 362
Sir Luke Fildes, R A (1843-1927) 'Nina', oil on canvas, signed and dated 1923, also signed, inscribed and dated on reverse, 49cm x 36cm Fildes was born in Liverpool and began his artistic career at The Warrington Art School aged 17. He then moved to London to study at the South Kensington Schools before embarking on a career as an illustrator with the Graphic Magazine. He was one of the few Victorian artists to depict the reality of poverty in Britain's cities. With his Royal Academy Exhibits 'The Doctor', 1891 and 'Applicants for admission to a casual ward', 1874 winning him international accolades. Fildes also was a highly successful portrait painter whose commissions included the Coronation portraits of King Edward VII and Queen Alexandra. He was knighted in 1906 (see illustration opposite)
Los 55
JOSEPH CRAWHALL SENIOR 'CAPTAIN LEMUEL GULLIVER' PLATE painted glazed porcelain, of circular form, painted in colours with a portrait of Lemuel Gulliver and bearing inscription "Drake and Columbus long att th' unknown Shore, Vespucci, at his best - but half seas o'er ...etc." inscribed verso 'Joseph Crawhall/ Newcastle on Tyne/ April 1876' with bearded man monogram 23.5cm diameter
Los 38
French School, portrait miniature on ivory of a pretty maiden in 18th century style, bust length, wearing flowers in her hair against a sky ground, within yellow metal and seed pearl set surround, brooch fitting, 2.5cm diameter, along with an oblong mourning brooch, set with seed pearl border enclosing vacant central aperture and engraved 'Rosina', 2.5cm wide (2)
Los 118
A pair of 19th century Dutch candlesticks of square tapered form with canted corners, having detachable nozzles, the knopped stem cast with oval portrait medallions and trophied panels between scroll and stylized foliate borders, the raised base with similar medallion and trophied ornament, 1308gm, 42.06oz.
Los 318
Robert O. Lenkiewicz (1941-2002). Self-Portrait at Lower Compton. signed twice and inscribed with title on the reverse circa 2000. oil on canvas. 58 x 58cm. In 1978, Lenkiewicz exhibited the Self-Portrait Project, a return to his interest in the myth and philosophy around reflection as a metaphor and an ironic look at the notion that the self-portrait is somehow revelatory of the 'essence' of the sitter:. 'the more I looked at the question of aesthetics the more I doubted whether there was any sense in the concept of self, personality, identity, individual, etc. If one had been born ten minutes earlier and a hundred yards further down the road, what would that entail for the idea of one's self, rattling like a marble inside the six walls of being? - the notion that there was some unique, specific 'youness' that occupied some part of your actual corpse or its immediate vicinity. very conventional schmilosophical humbug'. The 1978 Project was the painter's fullest working through of the theme which resulted in various statements about the self image:. 'I wondered what it would be like just to paint myself; to paint what I saw in the mirror repetitively. Well, within half a sitting I became aware that all I was doing was painting a picture of a mirror; there just happened to be something there reflected in the mirror.'. The present work is a fine example of the painter's iconic self-portrait circa 2000.
Los 341
Circle of John. Closterman (1660-1711). Portrait of a gentleman. seated, three-quarter length, wearing brown jacket with a red wrap and a lace cravat, holding a botanical book, in a library interior; with a companion portrait of his wife and daughter, she seated, three-quarter length, wearing red dress, a pet spaniel on her lap, her daughter standing at her side, holding a rose. oils on canvas. a pair. each 124 x 101cm, each contained within elaborate carved wood and gilded frames. (2). Note: The sitters are thought to be ancestors of the Russell family, see lot 337.
Los 348
Circle of Michael Dahl (1659-1743). Viscount Sunbury;. a standing three-quarter length portrait, wearing a blue silk coat, waistcoat and breeches, a view to Windsor Castle beyond. oil on canvas. inscribed Sunbury, dated 1734 bottom right. 125 x 99cm, contained within a pierced carved wood and gilded frame. Viscount Sunbury: George Montagu-Dunk, 2nd Earl of Halifax, K.G., P.C., (1716-1771), British Statesman. The son of the 1st Earl of Halifax, he was styled Viscount Sunbury until succeeding his father as 2nd Earl of Halifax in 1739. Biography:. Educated at Eton and Trinity College, Cambridge; 1748 - President of The Board of Trade. While filling this position he helped found Halifax, the capital of Nova Scotia, which was named after him, and he helped foster trade, especially with North America; 1761 - Lord Lieutenant of Ireland; 1762 - First Lord of The Admiralty; 1762 - Secretary of State for The Northern Ireland Department. Became a confident of George III; 1770 - Lord Privy Seal; 1771 - June, death of 2nd Earl of Halifax. Halifax was Lord Lieutenant of Northamptonshire and a Lieutenant General in the army; he was very extravagant. He left no children and his titles became extinct on his death. Lord Eford speaks slightly of Halifax and says he and his mistress, Mary Anne Faulkner, had 'sold every employment in his gift'.
Los 253
A Crystal Palace commemorative Opening Medallion, 1854, The Rt. Hon. The Earl of Oxford, 1742, HRH Prince Albert, President of The Royal Commission, 1851, Edward VII, Queen Alexandra coronation medallion, brass profile portrait medallion of a Roman emperor and Bluchet Von Wahlltatt, 1816 (7)
Los 465
Arthur Scott (20th century), Beach scene, watercolour dated 1937, 22x34cm, E Banks, Musical notes, gouache, 35x45cm, John Strickland Goodall (1908-1996), Female profile portrait head, Pencil signed verso, 32, 18.5x15cm, English School (mid 19th century), Cathedral, Chapel, Castle Rock N.Devon, Town Landscape, Folio of watercolours
Los 229
Jacob Kramer (Russian, 1892-1962) Portrait of Jacob Epstein, 1930, original lithograph, signed and inscribed in ink, 56 x 40cm. Presentation proof dedicated by the artist "To Charles Webb from Jacob Kramer 1935" Although published in an edition of 50 numbered proofs, impressions of this print are now scarce
Los 230
Jacob Kramer (Russian, 1892-1962) Self-portrait, circa 1933, signed and inscribed in pencil lower right "Jacob Kramer", "Self-portrait - To Ella and George with best wishes from Jacob, 1950" , lithograph, 53 x 39cm. An outstanding presentation proof of this striking self portrait. No impression of this scarce print is documented in Millie Kramer's volume on Jacob Kramer's work. This penetrating self portrait is amongst the finest of Jacob Kramer's few known lithographs. Born in the Ukraine, he came to England with his family in 1900 and settled in the Jewish community in Leeds. Jacob had already learned the rudiments of painting from his father, who had been a court painter in their homeland of Russia, and the young boy's innate talent was recognised immediately. His artistic development was heavily influenced by his contact with the members of the Vorticist group, with whom he exhibited in 1915, although he did not join them, choosing instead his own artistic path. His mature style can best be described as Expressionist although it reflects the influence of Cubist ideals. A profoundly serious and sensitive man, Kramer instilled into his art a deep sense of religious conviction revolving around the Jewish community in which he lived and worked. He began printmaking in 1916 and, as far as is known, was entirely self-taught in this branch of art. He remained closely associated with the city of Leeds throughout his life and the city has paid tribute to him by naming the Jacob Kramer College of Art in his honour. This lithograph is thought to date from around 1933, although it appears that Kramer dated individual impressions upon presentation to friends. This impression, from the only edition of 30 signed proofs, is inscribed 1950. On smooth cream wove paper, with full margins. Applied to firm card backboard, as prepared by the artist himself
Los 296
SPOTSWOOD (J) The History of the Church and State of Scotland, 4th edition London: for R Royston 1677, folio, portrait frontispiece, full calf; SPELMANN (Henry) Glossarium Archaiologicum, 3rd edition London 1687, folio, portrait frontispiece, full calf; TYRRELL (James) The General History of England, 3 vols in 5, London 1697-1704, folio, full panel calf; WATSON (William) The Clergy-Man's Law, 3rd edition, folio; BLOUNT (Thomas) A Law- Dictionary and Glossary, 3rd edition, 1717, folio; most with bookplate of John Orlebar 'of the Middle Temple Esq' overleaf of titles, some age staining, rubbing, lacking labels, cracking and splitting to some joints (9)
Los 298
LAMBERTY (Mr de) Memoires pour Servir ˆ L'Histoire du XVIII Siecle, vols 1 to 6, La Haye: Chez Henri Scheurleer 1724-28, 4to; GROTIUS (Hugues) & Jean BARBEYRAC. Le Droit de la Guerre et de la Paix, 2 vols Amsterdam: Pierre de Coup 1724, 4to, portrait frontispiece, bookplate of John Orlebar 'of the Middle Temple Esq' overleaf of titles, some age staining, calf, gilt spines lack labels, some cracking to joints and age staining; GUICCIARDINI (Francesco) I Primi X Libri Dell' Historia D'Italia; Gl Ultimi Dieci Libri, 2 vols, In Venegia Appresso Gabriel Giolito de Ferrari 1567, 4to, old sepia ink facsimile titles, woodcut portrait and colophon, some water staining, 18th rubbed calf, lacking spine labels (10)
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283287 Los(e)/Seite