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283287 Los(e)/Seite
Los 1
* Sterry (Eleanor S., late 19th/early 20th c.). Alice Dorothy Marsh as a little girl, oval watercolour, inscribed to verso, approx. 215 x 180mm (8.5 x 7ins), framed and glazed Ella Sterry was a portrait and miniature painter who exhibited at the Royal Academy and the Royal Miniature Society between 1897 and 1910. This work was exhibited at the Royal Academy. (1)
Los 1
* Davidson (Thomas, fl. 1863-93). Portrait of Charlotte Corday, oil on wood panel, signed with initials, approx. 9.5 x 6.25 in (24 x 16cm), period carved and pierced gilt frame (damaged) Marie Anne Charlotte de Corday de Armont (1768-1793) was the assassin of Jean-Paul Marat. Corday approved of the French Revolution in its early stages, and remained an enthusiastic supporter of the Girondists. Marat was a member of the radical Jacobin faction which would later initiate the Reign of Terror; he was a journalist, exerting power through his newspaper, The Friend of the People. Cordays decision to kill Marat was stimulated by her repugnance for the September Massacres, for which she held Marat responsible. Corday went to see Marat on the evening of the 13th July on the pretence of offering him information about a planned Girondist uprising. Marat conducted most of his affairs from a bathtub because of a debilitating skin condition, as he copied down the names given to him by Corday she plunged a dinner knife into his chest, piercing his lung, aorta and left ventricle. At the trial, Corday testified that she had carried out the assassination alone, saying I killed one man to save 100,000. She was executed under the guillotine on July 17, 1793. Marat became a martyr and the anti-female stance on many revolutionary leaders was increased by Cordays actions - The Revolution now turned with full force on Marie Antoinette, the Kings imprisoned widow. (1)
Los 1
* Sperling (Johann Carl Gottlieb, b.1790 ). Portrait of Prince Gustav von Saxe-Weimar, 1848, orig. pastel portrait, seated half length in a chair, signed & dated, approx. 365 x 260mm (14.5 x 10ins), octagonal mount, contemp. gilt moulded frame From the Collection of the Late Prince Hermann of Saxe Weimar Eisenach (1886-1964). (1)
Los 1
* Victorian School. Three profile portraits of gentlemen, mid 19th c., pen, ink & watercolour, includes a full-length portrait of Mr. Edwards holding a list of Yearlings (possibly a horse owner/trainer), closed tear to upper left corner, image approx. 260 x 165mm; full-length portrait of Mr. Barker, Ingotstone(?), approx. 235 x 150mm; plus a three-quarter length portrait of Col. Smyth of Heath, approx. 195 x 135mm (3)
Los 1
* Rembrandt (Harmensz Van Rijn, 1606-69). Landscape with cottage by some trees (Hind 241), etching with drypoint, approx. 90 x 172mm , together with landscape with buildings and trees (Hind 267), etching, approx. 150 x 192mm, small tear with sl. loss to lower margin, old owners stamp to right corner RH, plus Josephs Coat brought to Jacob (Hind 104), etching with drypoint, approx. 105 x 82mm, and Portrait of a gentleman seated by a table, etching, approx. 185 x 165mm (4)
Los 1
Whistler (James Abbott MacNeil, 1834-1903, after). Portrait of Thomas Carlyle, eng. Richard Josey, pub. Henry Graves, 1878, mezzotint, some foxing to blank margins, a little fraying to left-hand edge (outside plate mark), signed in pencil by Josey, plate size 490 x 400mm (19 x 16ins), together with Menpes (Mortimer Luddington, 1855-1938), Portrait of an old Jewish man, pub. Boussod, Valadon & Co., 1889, etching, signed in pencil, plate size approx. 630 x 470mm (25 x 19ins), plus four 18th c. mezzotints and engs., incl. Her Royal Highness Augusta, Hereditary Princess of Brunswick & Lunenburg, after Joshua Reynolds, approx. 510 x 360mm (20 x 14ins) (6)
Los 1
* Osborne (Malcolm, 1880-1963). Elterwater & The Langdale Pikes, etching with aquatint, signed and titled in pencil to lower margin, plate size approx. 180 x 340mm (7 x 13.5ins), mounted, together with Portrait of Herbert Thompson, 1936, etching, signed by the artist and sitter in pencil to lower margin, plate size approx. 365 x 265mm (14.25 x 10.5ins), plus Hall (Oliver, 1869-1957), Vale of Ffestiniog, Snowdonia, etching, signed in pencil, plate size approx. 215 x 300mm (8.5 x 12ins), Hogarth-style frame, glazed (3)
Los 1
* Richards (Fred, 1878-1932). In Normandy, etching, signed and titled (a view of old buildings in Lisieux), plate size approx. 210 x 160mm , together with Webb (Clifford, 1895-1972), Portrait of a Cavalier, colour woodcut, signed in pencil, image size approx. 175 x 165mm , plus Haden (Francis Seymour, 1818-1910), trees on a hillside, etching, signed in pencil, approx. 75 x 75mm , and other various etchings, including works by Fred Richards, Harry Winslow, Luke Taylor, Martin Hardie, Isobel Mesham, etc. (30)
Los 1
* Harrington (E.J., 20th c.). A Sourceress, a well-executed portrait in coloured pastels, depicting a young lady in long blue dress, seated, with black cat at her side, holding a smoking gold salver from which a ghostly face is emerging, signed, approx. 18.5 x 14 in (47 x 36cm), recently framed and glazed with old paper label to reverse giving the title of the picture and the address c/o Mrs Wilson, Elmcroft, Westingate, nr Chicester Provenance: given to the current owners family in 1927. (1)
Los 1
* Peake (Mervyn, 1911-68). Portrait of P. G. Smith, Master at Tettenhall College, near Wolverhampton, 1931, oil on board, signed and dated to top right corner and additionally inscribed To Goatie 1937 below, approx. 505 x 460mm (20 x 18ins), framed Handwritten note to verso This picture was painted by Mervyn Peake in 1931, at Tettenhall College near Wolverhampton and is a portrait of P. G. Smith, later Dr. P. G. Smith, a Master at Tettenhall at that time, and later a House-Master at Taunton. It is believed to be the first portrait Mervyn Peake had done. He specialised in scenic stuff & later went over to humorous subjects. (1)
Los 1
* Wolmark (Alfred Aaron, 1877-1961). Self Portrait, 1949, oil on canvas, signed and dated, approx. 500 x 400mm (19.5 x 15.75ins), marked P. 93 to verso, modern gilt and stained wood framed Alfred Wolmark is recognised as one of the leading British post-impressionist painters of the first half of the twentieth century, and is known as one of the Whitechapel Boys, an influential group of modernist Jewish artists, which included Bernard Meninsky, Mark Gertler, Jacob Kramer and William Roberts. He is best known for his vibrant landscapes and still lifes. He also produced a range of posters, ballet designs, and portraits of literary figures. A major retrospective of his work was held at the Ben Uri Gallery in the Autumn of 2004, entitled Redisovering Wolmark: A Pioneer of British Modernism. (1)
Los 1
Ransome (Arthur). Head-and-shoulders self portrait of Arthur Ransome, in profile, smoking a pipe, executed in pencil, with a minimum of line, on paper 17 x 10.5 cm, mounted, framed and glazed, overall 23.5 x 18.5 cm Inscribed on the back of the frame "Arthur Ransome C.B.E. 1884-1967. A Self portrait. Authenticated by his daughter Tabitha". The portrait has probably been extracted from Ransome's pocket sketchbook (lot below). (1)
Los 1
Thomas (Edward). Poems by Edward Thomas ("Edward Eastaway"), 1st ed., Selwyn & Blount, 1917, portrait of Thomas from a photograph by Duncan Williams, slight spotting, orig. boards, a little soiled, rubbed at extremities, printed paper label chipped, edges untrimmed, 8vo Inscribed in pencil "Ivy Constance Ransome. October 1917" on the front free endpaper. "Poems" was published on 10 October 1917, and was reprinted in the following month. Edward Thomas was killed at the Battle of Arras on 9 April 1917. Before embarking for France in January 1917, Thomas spent his last night in England at the Ransome's home at Manor Farm, Hatch, near Tisbury, where Ivy was taking care of the Thomas's younger daughter Myfanwy, known as "Baba", Arthur Ransome being in Russia at the time. The author's first book of poems. Hayward 334. (1)
Los 1
Bakst (Leon). The Designs of Leon Bakst for The Sleeping Princess, a Ballet in Five Acts after Perrault, Music by Tchaikovsky, pub. Benn Brothers, 1923, preface by André Levinson, portrait of Bakst after Picasso, fifty-four mounted col. illusts., correct as list, with captioned tissue guards, lightly browned throughout, endpapers sl. foxed and dusty, t.e.g., remainder untrimmed, qtr. vellum gilt, extrems. rubbed and corners showing, spine soiled, cloth covers with marginal dust-soiling, upper cover sl. bowed, folio Limited edition 29/1000. (1)
Los 1
Greenaway (Kate, 1846-1901, after). Full-page portrait of a bonneted young girl, in fur-trimmed apparel, holding an umbrella in one hand and a dolly bag and slate in the other, pub. Thomas McLean, 1881, steel eng. with mezzotint on india paper, eng. by Thomas Lewis Atkinson, and signed by him in pencil to lower margin, with addn. pencilled signature "K. Greenaway", some marks and toning, blank margin rubbed, small oval embossed stamp to lower margin, image size approx. 420 x 250 mm, mounted (1)
Los 1
* Wood (Lawson, 1878-1957). Original gouache artwork design for front cover of Gran'pop's Annual, c.late 1930s, depicting Gran'pop, the elderly ginger chimpanzee sat on a pumpkin, cradling a piglet and baby chimp whilst amusing a kitten with an apple on a string, signed, mounted and framed, image size approx. 375mm x 280mm With a collection of seventeen early 20th-c. photographs of buildings, including several of Groombridge Place, Kent (owned by Lawson Wood), and another property, plus a portrait of the artist sketching a chimpanzee. See illustration inside front cover of this catalogue. (1)
Los 1
A Welsh oak livery cupboard, early 18th century, the moulded cornice over a single right hand side double-fielded landscape panel door, with twin portrait landscape panels to the left hand side, sitting on a two-panel joined oak base with plain stile-end supports (with repairs and loose mouldings), 128 cm wide, 178 cm high, 48 cm deep
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283287 Los(e)/Seite