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Preisdatenbank abonnierenBritish school 19th century- Portrait of young woman head and shoulders; watercolour, initialed and dated CW 1819, 14x14cm: British school early 20th century- Portrait study of a pair of females, head and shoulders, pencil and watercolour wash, 13x19cm, together with seven further 19/20th century etchings oil and watercolour studies by and after various hands. (9)
Kersh late 20th century- Portrait of a woman with a string instrument, standing full length; possibly north African, oil on canvas, signed, 76x50cm: David James late 20th century- Woodland stream; oil on canvas, signed, 50x76cm: together with three colour photographs signed 'Cressida' on the mount, all late 20th century, (4)
Sammy Davis Jr, original painting by James Wilkinson titled 'Ghost of Bojangles', together with separate David Jr. signature acrylic on canvas. Together with a Sammy Davis Jnr signature. Framed. James Wilkinson In 1999 after a ten-year absence James Wilkinson began painting again. His work is collaboration between himself and his subjects. "How much more of a portrait is it, if they leave a part of there selves on the canvas?" he asks. After leaving school James acquired the position as resident artist at a large advertising agency in Whitechapel where he worked and learnt new commercial techniques. After only a year he left and attended Chelsea school of Art where he concentrated on the human figure. To support him-self, James took on freelance work from a number of London art studios. James changed career entirely for the next ten years choosing a successful career in the city. It was while heading a bond-trading desk at Deutsche Bank that he began to paint again and was offered a 3 month exhibition in London's Leicester Square. The opening night saw a record number of sales and a celebrity and city-laden party. 3 later London exhibitions and some 180 portraits later, James's works is owned and commissioned by the music glitterati, including the Rolling Stones. Ronnie Wood owns some of James's work which led to Ronnie Wood letting James use his Kensington based Harrington club as a venue for an exhibition and then later inviting him backstage on various Stones concerts across America. Oasis own and have commissioned paintings as have the Appleton sister's. James's work has been featured in Hello magazine in the lounges of Soap stars and is regularly given to Charity to raise money, as shown when Louise Redknapp donated James's portrait of her, straight from her home to the Tsunami Fund at Capital radio. James is now working on a number of television projects based on his art and subjects and will be exhibiting in London later this year.£600-800US$1,080.00-1,440.00
Paul McCartney, original painting titled 'Revolver 1' by James Wilkinson acrylic on canvas. Framed. James Wilkinson In 1999 after a ten-year absence James Wilkinson began painting again. His work is collaboration between himself and his subjects. "How much more of a portrait is it, if they leave a part of there selves on the canvas?" he asks. After leaving school James acquired the position as resident artist at a large advertising agency in Whitechapel where he worked and learnt new commercial techniques. After only a year he left and attended Chelsea school of Art where he concentrated on the human figure. To support him-self, James took on freelance work from a number of London art studios. James changed career entirely for the next ten years choosing a successful career in the city. It was while heading a bond-trading desk at Deutsche Bank that he began to paint again and was offered a 3 month exhibition in London's Leicester Square. The opening night saw a record number of sales and a celebrity and city-laden party. 3 later London exhibitions and some 180 portraits later, James's works is owned and commissioned by the music glitterati, including the Rolling Stones. Ronnie Wood owns some of James's work which led to Ronnie Wood letting James use his Kensington based Harrington club as a venue for an exhibition and then later inviting him backstage on various Stones concerts across America. Oasis own and have commissioned paintings as have the Appleton sister's. James's work has been featured in Hello magazine in the lounges of Soap stars and is regularly given to Charity to raise money, as shown when Louise Redknapp donated James's portrait of her, straight from her home to the Tsunami Fund at Capital radio. James is now working on a number of television projects based on his art and subjects and will be exhibiting in London later this year.£250-350US$450.00-630.00
* An "Owen Davidson" tennis racket, manufactured by A. G. Spalding & Bros., Belgium, c. 1960s, the wooden frame with white ash bow, finished in gold, burgundy and white, with transfer-print portrait of Davidson, length 68.5 cm, together with a "Top-Flite" racket by Spalding (U.K.), c. 1968, the wooden frame finished in white and black with manufacturer's transfer-print labels (indicates rough/smooth on handle), length 68.5 cm Both in good original condition. (2)
* A pair of Dunlop "Maxply Fort" Lew Hoad Autograph tennis rackets, c. 1962-65, laminated wood frames, white painted shoulders, manufacturers transfer-print labels including oval portrait of Lew Hoad, contemp. covers, length, 68.5 cm, together with an early 1960s Dunlop "Maxply" racket and an early 1970s ditto (4)
Edwards (Billy). The Portrait Gallery of Pugilists of England, America, Australia from James J. Corbett running back to Tom Sayers, London and Philadelphia, Pugilistic Publishing Co., n.d., c. 1894, num. plts. after photos., occn. marginal tears repaired with sellotape, plate of Tug Wilson torn without loss, and crudely repaired with sellotape, a.e.g., contemp. half-maroon morocco, rubbed and marked, some wear, mainly to extrems., folio (1)
Luckman (A. Dick, ed.). Tod Sloan by Himself, pub. Grant Richards, 1915, portrait frontis. and numerous b & w photo. plates, orig. cloth, sl. rubbed and marked, limited edition 121/200 signed by Tod Sloan, together with Porter (John), Kingsclere, 1896, b & w plates, owners name in ink to title, orig. dec. cloth, and Kent (John), Racing Life of Lord George Cavendish Bentinck, M.P., 1892, b & w photo. illusts., orig. cloth gilt, sl. rubbed and marked, plus other horse racing books including some early 20th century vols. in orig. cloth and some later vols. in d.j's, 8vo (approx. 40)
*Simpson (Edwin, 20th century). The Potting Shed, oil on canvas, signed, approx. 240 x 350 mm, together with Mould (C.J.), Study of a young woman in a feathered hat, pencil, signed and dated 1913, approx. 385 x 255 mm, a sepia etching after Gainsborough, a marine watercolour and other drawings and prints including a Victorian group portrait of the Stafford family, mostly framed and glazed (11)
*Van Someren (Major Edmund Lawrence, 1875-1963). Late 19th c. portrait of Emmanuel Philibert of Savoy, Prince of Oneglia, copied from the original portrait by Sir Anthony van Dyck of 1624, head & shoulders oil on canvas (identification to verso of canvas 'E.L. van Someren, 1st Time for Upper), approx. 600 x 490mm, gilt moulded frame, glazed, paper label to verso of frame The original three quarter length portrait by Van Dyck held at the Dulwich Picture Gallery. This copy was submitted by Van Someren for the Royal Academy Upper Schools entrance examination. (1)
*Gere (Charles March, 1869-1957, attrib.). A pair of pencil portrait studies of a boy and young woman, together two pencil studies, sheet size approx. 200 x 145 mm, mounted, together with Tunstall (Eric, 20th c.), The artist Gordon M. Forsyth sketching, pencil study, initialled and inscribed 'G. M. F. working', sheet size approx. 105 x 165 mm, mounted Provenance: From the collection of Robert O. Price of Birmingham. (3)
*Townley (Charles (1737-1805)). Three original portraits of Paolo Veronese, Anibale Caracci and Antonio Caracci, drawn by Charles Townley from the original paintings in the Medici Collection, 1776, fine original drawings on paper, each with caption written to lower margins, occ. minor spotting, portrait of Anibale Caracci slightly damp stained, image approx. 355 x 310mm; 330 x 290mm & 355 x 290mm Charles Townley was a major collector of classical antiquities and marble sculptures, who made a number of long tours to Rome, as well as extended journeys to southern Italy, Naples and Sicily during the 1760s & 70s. In Rome he collected antiquities, especially marble sculptures. He established himself as a serious collector with purchases from the printmaker Giovanni Battista Piranesi and other Roman dealers, and especially from the English dealer in art and antiquities Thomas Jenkins. Over a period of more than twenty years Townley bought at some of the most important public sales of antiquities, among them those of Henry Constantine Jennings (1778), the Duchess of Portland's museum (1786), Lord Cawdor (1800), and Lord Bessborough (1801). Townley was elected fellow of the Society of Antiquaries in 1786 (and to its council in 1798) and fellow of the Royal Society in 1791. In 1786 he was also elected to the Society of Dilettanti, and from 1799 served on a committee appointed to publish engravings and descriptions of Specimens of Antient Sculpture (drawn largely from his own collection and that of Richard Payne Knight), which eventually appeared in 1809. In 1791 he was elected a trustee of the British Museum, where he influenced the design of the extension planned to house the museum's growing collection. It was not until 1984 that the British museum created a gallery dedicated to the Townley marbles. (3)
*Kunichika (Toyohara (1835-1900)). Portrait of actor & actress in blue kimonos, c.1860-65, japanese colour woodblock print, approx. 340 x 220mm, mounted, together with Kunisada (Utagawa, 1786-1865), Two portraits of an actor dancing, c.1845-50, Japanese colour woodblock prints, both approx. 350 x 250mm, mounted, plus other various Japanese woodblock prints (a portfolio)
*Kunisada I - Toyokuni III (1786-1864). Japanese colour woodblock print of a group of people watching fireworks, mid 19th c., approx. 350 x 250mm, together with Portrait of the oiran Oshu of the Tamaya Tea House, mid 19th c.; The actors Nakamura Daikichi (in a female role) and Onoe Baiko in an unidentified Kabuki play, mid 19th c.; Kabuki Actor Iwai Kumesaburo as Hisamatsu, mid 19th c., orig. Japanese colour woodblock prints, each approx. 370 x 250mm, plus two others similar (one framed & glazed) (6)
*Kuniyoshi (Utagawa, 1797-1861). Portrait of woman in blue costume, c.1830s, Japanese colour woodblock prints, some spotting, approx. 360 x 240mm, framed & glazed, together with Kunisada & Hiroshige II, 'Woman & servant', c.1860, Japanese colour woodblock print, close-trimmed to image, approx. 330 x 210mm, framed & glazed, plus four others similar (6)
*Drury (Paul, 1903-1987). Ruins of St. David's, 1927, etching, signed and dated in pencil, plate size approx. 175 x 220 mm (7 x 8.5 ins), with margins, in good condition, together with an etched portrait of an old man wearing a hat, signed and dated '25, plate size approx. 90 x 90 mm (3.5 x 3.5 ins), with wide margins, in good condition, both mounted (2)
*Nevinson (Christopher Richard Wynne, (1889-1946)). Autograph letter signed to the publisher Grant Richards, dated December 3rd, 1917, handwritten by Kathleen Nevinson, and signed by C. R. W. Nevinson, on writing paper with blindstamped address of 4, Downside Crescent, Hampstead, beginning "I have had another one of my pictures censored - a painting of two soldiers who were dead. I think you will agree that it is absolutely impossible under these conditions for me to supply you with enough work to make a book sufficiently different from the "Western Front" ...", together with another autograph letter signed to Mrs Grant Richards from Kathleen Nevinson, dated July 28th, 1918, on single sheet of writing paper, with blindstamped address of 4 Downside Crescent, Hampstead, replying to an invitation, "... we would both love to come, as you can easily imagine, but Richard has been told to be ready to go to France anytime this August, and is quite unable to extract a date from them, so we are living just from day to day without plans of any sort", plus an At Home invitation from Mr. and Mrs C. R. W. Nevinson to Grant Richards (undated), and one other autograph letter signed from C. R. W. Nevinson to Grant Richards, dated February 8th, 1941 (corrected to 1942), in which Nevinson describes his wartime conditions "I work away at painting and am still not up to the present selling off ... but have nothing to look forward to but starvation in time. ... I work all night on a stretcher bearer at hospital & Kath an identification officer! What an ending! At our beautiful studio however on and on we go and God knows why." Included with this lot is a portrait photograph of C. R. W. Nevinson by Lafayette, inscribed to lower margin 'To the "Grant Richards" from C. R. W. Nevinson', and a copy of the Memorial Exhibition of Pictures by C. R. W. Nevinson held at the Leicester Galleries in 1946 (6)
Corinth (Lovis, 1858-1925). Gesammelte Schriften, Berlin, Fritz Gurlitt Verlag, 1920, etched self-portrait frontis. (some light foxing), signed, eight full-page lithographs on pale green hand-made paper, each signed, and one full-page etching, signed, b&w illusts. to text, t.e.g., remainder untrimmed, some light foxing to endpapers and half-title, orig. reversed calf-backed boards with colour litho. design to upper cover, some overall light foxing, and very sl. rubbed, large 4to Limited edition of 120 signed copies, this being number XX of 20 special copies numbered in Roman numerals, with all of the plates signed by the artist, and the additional full-page signed etching. (1)
*Rosenberg (Isaac, 1890-1918). Self Portrait in a steel helmet, c. 1916, black chalk with traces of wash, white and yellow gouache on brown wrapping paper, approx. 240 x 195 mm (9.5 x 7.75 ins), framed and glazed Provenance: Formerly in the collection of the poet Patric Dickinson. Isaac Rosenberg studied at the Slade School of Art from 1911, where his fellow-students included Gertler, Bomberg, Kramer, Roberts, Nevinson and Stanley Spencer. He was at the same time, however, equally attracted to poetry, and it was this path that he chose to take while at the Western Front - a career tragically cut short on 1st April 1918. This extraordinary and moving document reflects the growing interest of the poet and painter in his inner poetic personality. See illustration inside rear cover of this catalogue. (1)
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