AMELIA ROBERTSON PATON (SCOTTISH, 1821-1904) A MARBLE BUST OF A YOUNG WOMAN DATED 1860 Portrayed wearing classical style low cut wrap, head tilted wistfully up to her right, signed a to reverse AMELIA R. PATON SC EDINr 1860 approximately 58.5cm high, 46.5cm wide acrossProvenance: Formerly from the collection of Baroness Nancy Oakes von Hoyningen-Huene, daughter of Sir Harry Oakes, 1st Baronet, British gold mine owner, entrepreneur, investor and philanthropist.'Amelia Paton (1821-1904) was a largely self-taught sculptor of considerable ability. She could, probably should, have become our first woman member but sadly that was not to be. Robin Rodger; 'The Patons of Dunfermline'- Royal Scottish Academy, December 10, 2021.Amelia Paton was born at Dunfermline Park, Fife into an artistic family. Her brothers, Joseph Noel Paton, and Walter Hugh Paton, became famous painters and illustrators, respected by contemporary collectors, elevated by royalty and with a legacy of work that's embraced and celebrated by collectors. Amelia, denied official recognition within her lifetime, has yet to be celebrated in quite the same way.Her childhood was spent at the family home of Wooer's Alley, Dunfermline. She seems to have been largely self-taught, creating small miniature portraits and starting to learn the rudiments of sculpting through modelling in clay. It seems that her first tools were an ivory crochet-needle and a knife but eventually she was able to borrow better tools - from a plasterer.This foray into work as a sculptor was short-lived as first she fell ill, then her brothers left home, and her mother fell ill. She remained at home nursing her mother through her final illness until her passing and her father's remarriage. At the age of 39, she moved from her childhood home to live with her two brothers in at 33 George Square, Edinburgh, At this time it seems she started working from her own studio and trained as a sculptor under William Brodie. The crossover of taste from her brothers' works would have been almost osmotic. In 1860 she exhibited publicly for the first time when two of her busts appeared at the Royal Scottish Academy. It may be that this lot is one of these two busts titled simply as 'A Young Woman' and recorded by 'Bedouin' as worthy of note in his review of the 1860 exhibition 'the works(of sculpture) are few but of high merit' (MacPhail's Edinburgh ecclesiastical journal and literary review, Volumes 29-30 1861, pp. 188-189). It's almost certainly the earliest work in marble she may have exhibited.It has been suggested that a better possible title for this work might be 'The Lover'- as inspired by her brother Joseph Noel Paton's illustration of 1857 'Hesperus the Evening Star, Sacred to Lovers' (now held in The Kelvingrove Art Gallery and Museum, Accession number 1033). This work does seem to strongly accord with their portrayals of women of legend and myth influenced by Pre-Raphaelitism.In 1862, Amelia became the second wife of the celebrated artist and early photographer David Octavius Hill and went onto to exhibit over 60 sculptures at the Royal Scottish Academy, the Royal Academy, Glasgow Institute, the Royal Hibernian Academy and at the International Exhibition in Dublin in 1865. Her work tended to be studies of Arthurian and Shakesperean heroes, family friends, and notable figures such as the historian Thomas Carlyle, artist Sir George Harvey and physicist Sir David Brewster. Her skill and talent shone through, and she was commissioned to carry out several public statues, rare for a female artist of this period. Buoyed by the confidence shown in her by her husband and her brother Joseph Noel in 1868/1869 she sculpted a full length statue of the explorer David Livingstone, who sat for Amelia during the modelling, just prior to leaving the country for his final journey to Africa. Exhibited to great acclaim in London in the New Rooms of the Royal Academy in 1869 the figure now stands in Princes Street Gardens, Edinburgh and was described by William Sharp in 1902 as the 'the first work of sculpture done by a woman which has been erected in any public place in Britain'. Subsequent public commissions included the statue of Robert Burns commissioned by Dumfries town council in 1877, and three of the statues which adorn the Scott Monument in Princes Street Gardens, Edinburgh.Despite the patronage of two eminent brothers and her husband, Amelia still faced the constraints of Victorian attitudes at the time towards gender equality and was excluded from membership of the Royal Scottish Academy. In response she took matters into her own hands and in 1877 helped establish the Albert Institute of Fine Arts at Edinburgh's Shandwick Place, an artistic institution that did not discriminate on grounds of gender. Above the ornate doorway to the building, Amelia's relief portrait bust of Prince Albert and the figures of 'Sculpture and Painting' can still be seen.The 1891 census described Hill as 'sculptor, retired' but she continued to exhibit at the Royal Scottish Academy until 1902, aged 82. She died at her house, Newington Lodge, 38 Mayfield Terrace on 5 July 1904 aged 83.At the time of cataloguing there is no catalogue raisonné of her work. Only a handful of work by her has appeared at public auction- with half of them miniature portraits, another of her passions. Her work is little known to the wider general public but in the last twenty years her work has started to be reappraised, lauded and celebrated with several books featuring her life and work. In 2021, the bicentenary of her birth, a walking tour of her Edinburgh works was instigated as 'The Amelia Tour' by a descendant Cat Berry. Hopefully the appearance at auction of this very early, elegant and sensual bust by this neglected Victorian female artist, with its leanings to the Pre-Raphaelite movement, may help redress some of the lack of awareness of her life and work.Please follow this link for the full catalogue footnote. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some loss to lowest edge, small scuffs and some later colour marks to hair and neck. Under UV there are signs of remedial infill- whether this is from construction or later we cannot tell. These are scattered across mainly the flesh areas- also to the left hand ear that looks to have been pierced for earring and filled. Some natural flaws to stone notably to her right shoulder. Overall with some surface dirt Please see additional images for visual references to condition which form part of this condition report. Condition Report Disclaimer
283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Y  ANGLO-SCOTTISH SCHOOL MID TO EARLY 18TH CENTURY MINIATURE PORTRAIT OF THE POET JAMES THOMSON In a gold coloured unmarked glazed frame with ribbon twist edges and hanging surmount, inscription to back "James Thomson, Poet, Born 1700, Died 1748 Aged 48, The author of the celebrated song Rule Britannia!" image 4.2cm high, case 6.4cm high including surmount James Thomson (c. 11 September 1700 - 27 August 1748) was a Scottish poet and playwright, best known for his poems "The Seasons" and "The Castle of Indolence", and for the lyrics of "Rule, Britannia!". Thomson is one of the sixteen Scottish poets and writers appearing on the Scott Monument on Princes Street in Edinburgh. He also has a large memorial in Westminster Abbey's Poets' Corner, next to William Shakespeare and underneath Thomson's countryman, Robert Burns. Please note, Dreweatts have applied for a de minimis exemption for this lot ref: ND7EG7W7 Condition Report: Image generally good but with some dirt under glass, slight fading to flesh tones, case generally good- mild surface wear from handling and one ribbon twist distorted Condition Report Disclaimer
Victorian 18ct gold mounted portrait miniature brooch with two oval ceramic panels depicting two portraits, named and dated on reverse 1890, 55mm, together with one 18ct gold and one 9ct gold stud in case18ct gold brooch weighs 14.3 gramsOne 18ct gold stud weighs 1.2 gramsOne 9ct gold stud weighs 0.9 grams
An Indian brass cricket cage, late 19th century. Height 12.5cm, diameter 16.5cm and an Indian miniature painted portrait on metal, 19th century, 3.3 x 2.3cm. (2)The Vandekar family established their internationally renowned antiques dealership in Amsterdam before moving to London in 1916. They specialized in the decorative arts of the 17th-20th century with a particular interest in 18th-19th century European and Chinese ceramics. In the 1970s and 80s, Michael Beard worked as a ceramics expert in the London showroom of Earle D. Vandekar of Knightsbridge, travelling internationally to trade shows and antiques fairs, and helping with the launch of the New York branch of Vandekar in 1982. There is no surprise that he leaves in his estate some beautiful examples of porcelain, ceramics, and objets d’art. When Michael retired to Cornwall around 1988 he settled at first in St Ives, where he became a prominent patron of the arts and a devoted member of the Old Cornwall Society. On his death he has left a collection boasting some fine examples of Cornish painting, sculpture, studio pottery, and decorative chinoiserie.
Automobilia - an unusual Edwardian estate made De Dion 3 seater coach built motor car, converted into a writing desk, the burr walnut and mahogany desk made from the carved wheel arch, original leatherette seat, and timbers, with Edwardian monochrome photograph, of the first owners showing the number plate, W.229', the original bill of sale dated 15th April 1904 and a family portrait of the Hirst family, Sheffield. Dimensions: 97cm high, 82cm in length, 61cm deep.
Local Interest - Early 19th Century School James Logsdon of Little Longstone (1745 - 1821) Oil on canvas, unsigned, framed 76cm x 63cm Provenance: Label to verso - "James Longsdon. Born 1745 died November 1821. Married Elizabeth Gardom, daughter of J. Gardom of Baslow. See pedigree 30. He also great grandfather to Ernest M Longsdon, who purchased this portrait from Mr. Lycett, 14 Notting Hill Gate, London in 1937 Lycett was a connection of Gardom family". "James Longsdon of Little Longstone (Peak District, Derbyshire) From the collection of John Gardom"
‡ WALTER HURZ (British 1909-1965) oil and gouache - head and shoulder portrait of Beethoven, signed and dated '45 lower right, 39.5 x 31.5cmsProvenance: deceased estate DenbighshireComments: framed and glazed, comes with a black and white photograph of the artist, art exhibition catalogue for the artist at the Anglo-Palestinian Club, Great Windmill Street, London, 1945, catalogue entry 32 circled - Beethoven 12 guineas
V bust length portrait of the Vice Admiral in military dress with medals, his arms folded across his chest, oil on canvas, 71 x 58cm oval, in giltwood and gesso frame, 99.5 x 85.5cm over all. Some restoration. Handwritten label verso naming his wife as Princess Irina Cantacuzene? and other somewhat illegible family information. Thomasset was Flag Officer on Devastation in 1882.
A 2022 22ct gold 1/8th Queen Elizabeth II tribute Service & Devotion sovereign coin. The Tribute Gold One Eighth Sovereign pays tribute to the life of service and devotion of Queen Elizabeth II. Both sides designed by Jody Clark, designer of the Fifth (and final) portrait of Her Late Majesty that appears on Britain’s current coinage. On the reverse, the Imperial State Crown rests upon a rose, thistle, shamrock and leek. The obverse depicts Her Late Majesty in the tiara and necklace of her wedding day, and wearing a brooch gifted to her by her late husband HRH Prince Philip. Limited to only 19,999. Exclusive to Hattons of London. Measures approx. 11.0mm, weighs approx. 1g.
2017 1oz Britannia 2 Pounds Coin; 2015 UK Royal Arms £1; Royal Mail 1990 New Identity; 2019 UK Brilliant Uncirculated Definitive Coin set; 175th Anniversary of the Penny Black Coin Cover; Windsor Castle Coin Cover; Elizabeth II Silver Collection; Red Arrows Silver Proof Coin, 100 Anniversary of the RAF Coin Cover; The Gruffalo 20th Anniversary Coin cover; 2010 The 10 shillings Banknote, Series C Portrait; Great War and World War II history coin folders, complete, etc
A 9CT GOLD, AMETHYST AND CULTURED PEARL BROOCH AND A BANDED AGATE CAMEO BROOCH (2)The amethyst brooch designed as four flowerheads, each centered by a cultured pearl, alternating with four claw set circular cut amethysts, fitted with a safety chain, gross weight 3.4 grams, the banded agate cameo carved as the portrait of a lady in a plain unmarked silver mount, size 3.2 cm x 3.9 cm
The cabinet with painted decoration of flowers, husk swags and portrait vignettes, a single door enclosing conforming shelves within, above a cupboard door and standing on square tapering legs terminating in shaped feet.128.5cm wide x 40.5cm deep x 181.5cm highQty: 1In generally good condition. With minor marks, dents and scratches overall due to age and use. A slight mark to the cornice to the front top.
The tea caddy with gilt bordering around the hexagonal caddy, each panel inset with multicoloured quillwork, the front set with an oval portrait on silk of a young lady, the reverse with initials 'M.B.'. The interior with traces of original lining and the detached lock and tamper. The outer case decorated with painted panels to the front three sides, with a painted border beneath, and a matching lid with a ring handle. All together with a George III silver caddy spoon of pressed leaf form, with marks for 1799 and makers mark 'IT'.The outer caddy 20.5cm wide x 17cm high. The inner quillwork caddy 16.2cm wide x 12.2cm high.Qty: 3The quillwork caddy in generally good condition considering age, with good colouring to the quillwork with minor fading as expected, particularly to the lid. The back right panel with a small section of loss to the quillwork. The gilded border with some losses and wear, particularly to the front. The lock detached. the interior lining somewhat degraded.The outer box with the lid detached from the main body. The back right joint with a hairline crack, and further cracks to other joints. Wear, losses, dents, and marks to the paintwork.The caddy spoon in good condition.
A FINE AND EARLY 18-BORE FLINTLOCK CONTINENTAL SPORTING-MUSKET SIGNED CARL PFEIFER, no visible serial number, circa 1720 and probably Vienna school, Austria, with well rebrowned two-stage 43 1/2in. twist octagonal slightly swamped barrel in the Turkish fashion, carved bands at the girdle, foliate silver fore-sight, the long breech section inlaid with silver scrolls and engraved silver arabesques, gilt bush to touch-hole, two moulded and applied silver bands and gold-lined barrelsmith's mark in Arabic characters on the top, engraved and flared square-tipped top-tang, brushed bright flat bevel-edged lock engraved with a stag hunting scene in a landscape and signed 'CARL PFEIFER' below the unbridled lozenge-shaped pan, the cock chisel-carved and engraved and with circular form jaws, engraved front face to the frizzen and with carved and feather-tipped spring, walnut full stock (fore-end an expert replacement) with relief carving along the ramrod channel and with raised rococo carving around the top-tang and front of comb, brass engraved, moulded and carved furniture including cast and pierced side-plate with a hound taking a hare within scrolling foliage, engraved crowned escutcheon, butt-plate featuring an engraved female portrait bust centred on the chisel scroll engraved heel spur, the trigger-guard decorated en suite and with raised lower tang, engraved, turned and faceted ramrod-pipes, moulded horn fore-end tip and replacement horn-tipped ramrod.
Loading...-
283284 Los(e)/Seite