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Preisdatenbank abonnierenCOMMEMORATIVE MEDALS, Sweden, Carl X Gustav, hollow Silver Medal, in two halves united by a rim, 1658, by Pieter van Abeele, armoured bust three-quarters right, hair lond and wearing plain collar, rev equestrian portrait to right, in armour and wearing tall plumed hat, INVIA VIRTUTI NULLA EST AN 1658, 64mm (Frederiks 10/10a, fig 17,18; vL II, 439). Good very fine.
COMMEMORATIVE MEDALS, Turkey and the Ottoman Empire, 1551, Holy Roman Empire, Ferdinand I (1503-1564), Bronze Portrait Medal, by Leone Leoni, bust right in decorated armour, wearing Badge of the Golden Fleece, FERDINAND D G RO HVNGA BO REX C, rev the naked River God of the Danube reclines amidst rushes, holding oar and urn, IN SPEM PRISCI HONORIS, beaded border to both sides, 72mm (Att 36; Arm II, 236; Domanig 76; Humphris, European Medallions, 36). An early aftercast, thin flan with integral suspension loop, somewhat ‘sandy’ surface, very fine and extremely rare. The medal expresses Ferdinand’s desire to re-capture the Danube from the Ottomans
COMMEMORATIVE MEDALS, Turkey and the Ottoman Empire, 1566, Selim II (1524-1566-1574), uniface Lead Portrait Medal, 1566, probably German, facing bust wearing turban, 12. SELIM. – 2. 1566. 8, 30mm. Fine. A curious piece, perhaps from a series of rulers. Selim II was the son of Sülieman the Magnificent and Khourrem (Roxelana)
COMMEMORATIVE MEDALS, Turkey and the Ottoman Empire, 1788, Poland, Stanislaus August (1732-1764-1795), Victories over the Turks since 1696, Copper Medal, by F and D Loos, Equestrian portrait to left, the horse rearing over Turkish prisoner, trophies to either side, rev Poland, as Victory, her sword raised, stands amidst trophies, PROPRIO MARTE TUTA, 51mm (HCz 3309; Sommer A22). Extremely fine.
MILITARY MEDALS, World War I, Indian Army, Death Plaque, named to Allah Ditta. Extremely fine. The Plaque is sold with the original foolscap-size (battered) envelope addressed to “Must- Matab Bibi Mother of deceased Sepoy Allah Ditta...”, post-marked “2 Nov 17”, and containing the photograveur portrait of Queen Mary with her facsimile message of condolence and signature, and further letter from Frances Chelmsford in native script. The Commonwealth War Graves Commission has 34 entries for Allah Ditta of whom 13 have the rank “Sepoy”, however only 4 Sepoys are listed as killed prior to November 1917. The full list is sold with the lot. There are further entries for Ditta alone, but none are ranked as Sepoy.
Joan Crawford, actress, a dedicated and autographed portrait photographic print, in original posted envelope (1953), another, and a selection of period actor postcard prints, including Cyd Charisse, Donna Reed, Shelley Winters, Ricardo Montalban, Diana Dors, Dennis Price and Greer Garson, many in original posted envelopes
Francis Bacon; 1970 brown leather Playboy diary (page a month) with entries in his hand. Entries only covering the first three months of the year in various coloured inks, including January 1st: “Portrait of ??? delivered” January 3rd: “Head of GD [George Dyer] for Sonia”:. 11th January: “Head for Sonia”; 16th January: “Start tryptich studies of the human body 1970”. Sunday 25th January: “Finished first panel” 5th February: “Finished second panel”:. 22nd February: “Finish ? tryptich: 1970”:. In red ink through the whole of March: “Finish tryptyches and two landscape by Easter” The word triptych is mis-spelt throughout. Provenance: The Robertson Collection.
Francis Bacon: The Fortnum Diary for 1966. Brown leather pocket diary with presentation inscription 'To Francis for Christmas and a marvellous New Year - Paul'. This diary has two days per page and seems to indicate that Bacon could have planned his work flow and/or kept a record of completed works. There are approximately thirty entries in Bacon's hand including:- 4th February: "Portrait of George staring at blind cord.": 2nd March: "George No. 2.": 2nd April: "Henrietta No. 2.": 17th April: "Isabel No. 2.": 23rd May: "Michael Leris," with an address in Paris: 21st October: "Start three heads of Isabel." : 29th October: "Second head.": 4th November: "Third head finished.": 2nd, 3rd and 14th December: References to paintings of George [Dyer]. 15th December: "Commence two figures on bed": 29th December: "Finish two figures on bed.": 30th December: "Commence small portrait self, George and Isabel." [Isabel Rawsthorne] .Provenance: The Robertson Collection
Francis Bacon working documents, 1. Photo booth black and white strip of four passport type photographs of a man wearing a checked shirt and tie; 2. A single photograph of a man, slightly larger than passport size, no markings. The strip 8" x 1½", the single photograph 2½" x 1.75". Bacon took a large number of passport photographic strips of himself and other people. He was clearly interested in the multiple views provided and he created this effect in paintings such as four studies for a self portrait 1967. The idea of differing images in sequence follows on from his study of Eadweard Muybridge's photographic work. Many such photographic strips were found in his Studio after his death. Provenance: The Robertson Collection
Francis Bacon black and white photographic prints and typewritten schedule of paintings for Exhibition Metropolitan Museum of Art, New York, October 1973. Twenty five works are listed with their reference numbers and, where appropriate, their Paris catalogue numbers. Photographs, as follows: No. 8. Portrait of George Dyer in a mirror 1968. 11½" x 8½". Marlborough typewritten label on reverse. No. 12. Self Portrait 1970. 8.75" x 9.75". Pencil reference number on reverse, label and backing missing. No. 13. Study of George Dyer 1971. 12.75" x 8.75". Pencil reference mark on reverse. Detached black mount with Marlborough typewritten label. (No. 14. Study for Portrait of Lucian Freud - Sideways. Black backing and label only. No photograph.) No. 15. Study for Portrait July 1971. 11½" x 8½". Marlborough typewritten label on reverse of detached black backing. (No. 22. Self Portrait 1969. Mount and label only No photograph.) And other photographic prints of Bacon paintings; 1. Two studies from Portrait 1976. Small diptych. This painting was not exhibited at New York but is shown on the typewritten Marlborough label on reverse as being "to be exhibited Madrid 1976 (right panel)". 8" x 7½". 2. Study for Crucifixion 1962, right hand panel original version, designation in pencil on reverse and stamped Marlborough Fine Art Ltd. 9½" x 7" 3. Three studies for Portrait of Lucien Freud 1965 ref TW4170/s with Marlborough label on reverse. 4. Three Studies of Henrietta Moraes 1969. Ref 5146/F 3½" x 9½" Total of eight photographic prints in this lot Provenance: The Robertson Collection
Michael Wishart (1928-1996): Hand-written letter to Francis Bacon from Park Farm, Pulborough, Sussex, dated March 12th/13th 1978. Two pages written on both sides, 10" x 8", signed Michael. Michael Wishart was a long time friend of Francis Bacon from the 1950s, he was a writer and a painter. The letter refers to "odious and silly" remarks made when Bacon was drunk. He also says "most of your recent released work seems innovated and habitual as well as repetitive in a boring way". "I am nearly 50.... and despise myself for not daring to take my life". On Lucian Freud he says "I find the paint and colour boring and repetitious, I think Lucian's worthwhile work ended with Caroline". For financial reasons he refers to his sale of Lucian's portrait of his mother and his self portrait, he finishes "thanks again for writing, I only minded the insults so much because I once loved and still admire you so very, very much". In a PS he refers to a letter from Graham S. [Sutherland] having written to him enthusiastically about his book. Provenance: The Robertson Collection
'Prudence Cuming Associates Ltd., Dover Street, London; Black and white photographic print, "Figure writing reflected in a mirror, 1976", with oval yellow paint mark, stamped on reverse, and marked in pencil 69311. This photograph provides interesting and very clear illustration of the way in which Bacon might seek to add to, or change, paintings. This picture would have been sent to the Marlborough Gallery, and a photograph would have been returned to Bacon. In this case the photograph has acquired a yellow oval paint mark. The picture has then obviously been recalled to the Studio and re-worked, incorporating the yellow paint mark and other minor alterations such as writing on the pad and changes to the crumpled newspaper on the floor. Bacon's views on chance and the effects of its inclusion in finished works are well known. He would sometimes send a painting to Marlborough, subsequently get it back in the Studio and later go on with it. Bacon was also acutely aware of the fact that smudged footprints, finger prints and paint marks acquired in the Studio could change the character of a painting. The finished painting is illustrated for comparison purposes in the Tate Gallery catalogue for the Exhibition of 22 May - 18th August 1985. Illustration no. 99. Examples of the incorporation of paint marks into finished paintings can be seen amongst items in this sale in, for example, lot 2018 where white paint marks were added to Portrait of George Dyer in a mirror. Provenance: The Robertson Collection
Francis Bacon, destroyed canvas, sketch for a portrait, on a dark green ground, 14” x 12”, with the face crudely cut out leaving only a small part of the top head and of the neck. Bacon was well known for destroying paintings and in one of the David Sylvester interviews in the 1970s he explained that he tended to destroy the better paintings because he took them further and, in doing so, lost all their qualities. It is said that after his death approximately one hundred destroyed canvases were found in his Studio and about half of these were the same size as the four in this sale. In every case the head area of the portrait has been cut out making it impossible to identify the sitters. This portrait almost certainly dates from the 1970s. Provenance: The Robertson Collection
Francis Bacon, destroyed canvas, oil sketch for a portrait, 14" x 12", on a dark ground, the centre having been crudely cut out leaving only the shoulders and forehead and possibly part of one ear. From the hairline it is tempting to suggest that this was possibly a portrait of George Dyer, but no firm attribution could be made. (See general note on lot 2034 above) Provenance: The Robertson Collection
Oil on canvas, by an unknown hand, 14" x 10". This portrait is not attributed to Bacon and is painted on the "right" side of the canvas. It is, however, an interesting picture because of its probable significance to Francis Bacon. It is very rare to see paintings in photographs on the walls of his Studio which were reserved for photographs, mixing paints or other working documents. From photographic evidence it is clear that this lot did, however, hang on the Studio wall both at Reece Mews and previously at Overstrand Mansions Battersea. It appears in illustration 75 on page 82 'In Camera Francis Bacon' by Martin Harrison, although the white background appears much cleaner at that time. It can be seen again in Christies' catalogue The Collection of the late Miss Valerie Beston, February 2006 lot 456, a photograph by Cecil Beaton said to have been taken in 1960. The painting was therefore in a prominent position for over 20 years and must have held particular personal significance for Francis Bacon having been painted by a close friend, relative or lover. Could it have been painted by Peter Lacy? Further research may reveal the answer one day, but as Bacon was clearing Lacy items from his Studio that day in 1978 perhaps this was also an item of Lacy memorabilia that he no longer wanted to keep. Provenance: The Robertson Collection
Francis Bacon, Study of a Dog at Rest, oil on canvas, on a green background, 14” x 12”. Given Bacon's way of producing finished paintings, this would appear to be a painting in preliminary form with the outline of the dog showing clearly on the canvas. This would not seem to be a completed painting but Bacon frequently discarded canvases, returning to them at a later date, perhaps in this case this was one to which he meant to return but did not do so. His method of working from a background to a shape or form and on to a finished work is illustrated by this and the two following lots which appear to be in varying stages of completion from basic outline onwards. Dogs and other animals were often subjects for Bacon. Animals made an appearance in Bacon's work as early as "Figures in a garden 1936," although they appear less often in the last two decades of his life. The animals he painted most were dogs and primates, the greater number of works dating the 1950s. "Dog 1952" is in the Tate, "Man and Dog" is in the Albright Knox Gallery, New York and "Study for a running dog c 1954" is in The National Gallery of Art Washington. With very few exceptions Bacon is said to have painted always in portrait rather than landscape format and we are illustrating these in portrait format although they could equally be orientated in a landscape format. Provenance: The Robertson Collection
Francis Bacon, Study for a portrait, oil on canvas, 14" x 12". This study is painted in dark colours with white highlights, on a dark green ground. Although the identity of the sitter cannot be firmly established, there are marked similarities to other studies of Lucian Freud. See 'Francis Bacon Portraits & Heads', plate 47 ‘Study for Head of Lucian Freud 1967’, private collection; and Bacon "Portraits & Self Portraits" with introduction by Milan Kundera' plates 80, 81, and 82; Also a photograph in this sale lot 2018 three studies for a portrait of Lucien Freud. Provenance: The Robertson Collection
Luigi Renault Leghorn (c19th): S S Cairo of Whitby - Capt Fred Corner - Turnbull line Whitby watercolour signed and titled 39cm x 64cm This ships portrait is sold along with two portrait photographs of Fred Corner by his father in law Frank Meadow Sutcliffe (Fred was married to Jessamine), other ephemera and two drawer brass telescope by Keohan of London the property of George B Corner
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