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283284 Los(e)/Seite
Los 1
EMILY CALMADY (Fl.early-mid 19th Century) and other members of the same family AN ALBUM comprising approx. 91 watercolours, pen and ink drawings and pencil studies, including landscapes (scenes in Devon and Cumbria, similar to John Warwick Smith), portraits, caricatures, still lifes etc.,c.1809 -1853, a few signed or initialled, some inscribed, various sizes Provenance: By descent in the Calmady family until 2005 when acquired by the current owner. Emily Calmady (nee Greenwood) lived at Langdon Hall, Wembury, South Devon. She was married to Charles Biggs Calmady and the family were patrons of Frederick Christian Lewis (1779-1856). It was via Lewis that the Calmady family met Sir Thomas Lawrence, one of whose most distinctive works was his sentimental 1824 portrait of Emily and Laura Ann Calmady (Metropolitan Museum, New York). The whole family appear to have enjoyed sketching and examples of their work are found in the following six lots. ++ Mixed condition; some with handling marks or gum stains; some foxing; colours generally good; most of the finished watercolours in good condition
Los 1
EMILY CALMADY (nee GREENWOOD)(Fl.c.1813-c.1824) A SKETCHBOOK comprising 28 leaves (some very slight) of watercolours, wash drawings and pencil studies, including views of Netley Abbey; Woodcote; Bramdean; West Meon; the home of Lord St.Seymour (?), Isle of Wight etc, one leaf signed twice and dated 1813, many inscribed, 17 x 26cm.; with another sketchbook, probably by the same hand, of principally pencil drawings to include views of Woodcote; Langdon; Wembury; Dunhevet Castle; portrait of Gill Calmady; Cowdray; Tavistock Abbey; Clovelly etc, 13.5 x 23cm. (2 vols) Provenance: see lot 1074 ++ Some handling marks and surface soiling; reasonable overall
Los 1
CIRCLE OF HENRY ROBERT MORLAND (c.1719-1797) A LADY'S MAID SOAPING LINEN Oil on canvas, possibly extended from an oval, carved wood gilt frame 74 x 61cm. This theme typifies the "fancy" subjects at which Morland excelled throughout his career and for which he charged about 12gns. a piece. The tradition derives from Philip Mercier in the 1740's but it is highly unlikely that the identification of the Morland sitters is possible. The lady in this image has been variously identified as The Duchess of Hamilton and The Countess of Coventry but this is most probably a romantic invention dating from The National Portrait Exhibition of 1867. The prime version of this subject, along with its sister subject of "A Laundry Maid Ironing Shirt Sleeves", was exhibited no fewer than five times at the Free Society of Artists between 1768 and 1782 and such was the popularity of both pictures that they were widely copied, even during Morland's lifetime. A further version by Morland (70.5 x 62cm.) may be seen at the Holburne Museum, Bath but it is likely that other autograph versions exist. We are grateful to Diane Perkins, Assistant Keeper of The British Collection at Tate Britain for this information, which she supplied to our vendor in written correspondence in 1997. ++Old lining; associated retouching; surface in generally good condition
Los 1
FOLLOWER OF SIR MARTIN ARCHER SHEE, PRA (1769-1850) PORTRAIT OF GEORGE PLAYNE Half length, wearing a black jacket and holding a letter, the envelope inscribed Mr Geo Playne/ Forwood, oil on canvas 74 x 61.5cm. Provenance: By descent in the family of the sitter. ++ Relined; replaced stretchers; minimal associated retouching; period gilt frame
Los 1
CIRCLE OF ANDREW GEDDES, ARA (1783-1844) PORTRAIT OF A YOUNG LADY Long quarter length, wearing a red dress with white fur collar, her hair in long ringlets, holding a spaniel, oil on canvas 76 x 63cm. Provenance: See lot 1148 ++ Lined; associated retouching; split along the stretcher for about 15cm at top edge
Los 1
CIRCLE OF CHARLES ROBERT LESLIE, RA (1774-1859) PORTRAIT OF BRIAN PALMES (1811-1839); and of HIS BROTHER, MANFRED (1821-1839) A near pair, each half length, the elder brother wearing a brown coat and mustard waistcoat, his sibling wearing a black jacket and crimson waistcoat, oil on canvas 27.5 x 22.5cm. and 29 x 23.5cm. (2) ++ Each needs a light clean; the younger sitter with a little craquelure; in original gilt frames with some losses
Los 1
J** SCHEFFEL (Fl.c.1850) PORTRAIT OF A LADY; and of A GENTLEMAN A pair, each half length, she wearing a black dress with a patterned shawl and bonnet, he wearing a black suit, the lady signed and dated J Scheffel/pinxit 1850, oil on card Each 34.5 x 25cm. (2) ++ She with a retouched split running through the shoulder; each needs a light clean
Los 1
ALEXANDER DAVIS COOPER (Fl.1837-1888) AN IMPUDENT PUPPY Signed with monogram and dated 1856, also signed and inscribed on a label on the frame and further signed and inscribed with artist's address on the stretcher, oil on canvas 62 x 75cm. Exhibited: The Royal Academy, 1856, no.1170 A. D. Cooper was the son of Abraham Cooper, RA (and exhibited a portrait of his father at The Academy in the same year as this picture). His exhibited works developed from portraiture and literary genre into more sentimental and anecdotal themes such as this. The influence of Abraham Cooper is apparent in this work but it is also blended with the whimsy of artists such as Landseer and Edwin Douglas. ++ Lined; a little associated retouching; in generally good condition but with evidence of slight overcleaning; original gilt frame
Los 1
GARNET RUSKIN WOLSELEY (1884-1967) PORTRAIT OF JEAN KENT AT THE WINDMILL THEATRE Signed, oil on canvas 35 x 29cm. Provenance: A gift in lieu of rent from the artist to the vendor's father. Wolseley was the gentleman's tenant in Chelsea. The sitter, apparently depicted at the age of sixteen, was born Jean Carr in 1921 and became a dancer at The Windmill Theatre in 1934 on a weekly wage of £2. It took a bizarre role as Max Miller's stooge in the stage review Apple Sauce in the late 1930's to raise her profile enough to go into films and she went on to make 37 movies with a golden period in the late 1940's when she appeared in 18 films in just five years. Latterly, she appeared as love interest for both Albert and Harold in Galton and Simpson's Steptoe and Son in the early 1970's and made her last film, Shout at the Devil, in 1976. ++ Good condition
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283284 Los(e)/Seite