Henri Manguin (1874-1949), La femme au carrick, Jeanne , hiver 1903-1904, huile sur toile, signée, 73,5x60,5 cmNous remercions M. Jean-Pierre Manguin d'avoir confirmé l'authenticité de cette oeuvre.Bibliographie : Pierre Cabanne, Manguin - Hommage de André Dunoyer de Segonzac et Charles Terrasse, Ides et Calendes, Neuchâtel, 1964, p. 101, no. 64, ill. Lucille et Claude Manguin, Henri Manguin : Catalogue raisonné de l'oeuvre peinte, Ides et Calendes, Neuchâtel, 1980, p. 69, no. 100, ill.Provenance : Madame E. Druet, Paris, novembre 1907 (Druet no. d'entrée : 4093), (acquis auprès de l'artiste) G. Couturat, Paris, c. 1925, puis resté dans la famille jusqu'à ce jour Exposition : Société des Artistes Indépendants, 21e exposition, Grandes Serres de la ville de Paris, 1905, no. 2647 (sous le titre Portrait ) Manguin, Galerie E. Druet, Paris, 1910, no. 29 Les Fauves, Kunsthalle, Berne, 1950, no. 67 Manguin, Musée des Beaux-Arts, Neuchâtel, 1964, no. 32, ill. (daté 1905) Henri Manguin, Städtische Kunsthalle, Düsseldorf, 1969, no. 30 (daté 1905) Henri Manguin, Neuer Berliner Kunstverein, Berlin, 1970, no. 31 (daté 1905) Manguin - La volupté de la couleur, Fondation de l'Hermitage, Lausanne, 22 juin au 28 octobre 2018, cat. exp., Gallimard, Paris, 2018, p. 49, cat. 13Etiquettes au verso : Galerie Druet, Paris, no. 4093 Kunsthalle, Berne, no. 0432 Fondation de l'Hermitage, Lausanne Note : oeuvre peinte rue Boursault, Paris COLLECTION GEORGES COUTURAT (1890-1948)Grand marchand, mécène et collectionneur de la première partie du XXème siècle, Georges Couturat était un ami des peintres. Grand-oncle des propriétaires actuels suisses par alliance d'une famille patricienne vaudoise, il a oeuvré pour valoriser le travail des artistes de la modernité comme Manguin, Camoin, Cross, Signac, etc...Il a constitué une extraordinaire collection de plusieurs centaines d'oeuvres dans son appartement parisien incluant l'un des chef d'oeuvres de Caillebotte,"L'homme au balcon".En tant qu’esthète, il n’hésitait pas à prodiguer ses conseils aux artistes au cours de leurs processus de création. Plus qu’un conseillé pour certains, sa relation avec Manguin pouvait s’apparenter à celle d’un confident, confortant ce dernier dans ses moments de doute, il l’aida à établir sa propre peinture.Toutes les oeuvres provenant de cette collection et marquées en bleu dans le catalogue papier (lots 17 à 35 et 2106 à 2226) ont été conservées par descendance dans la famille jusqu'à ce jour.
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John Frederick Herring, Snr. (British, 1795-1865)Portrait of a horse in a stable, thought to be the celebrated racehorse Charles the Twelfth (1836–1859) signed and dated 'J.F.Herring, 1839' (lower right), bears title (lower left); bears title (on old label attached to the reverse)oil on panel 27 x 30cm (10 5/8 x 11 13/16in).Footnotes:ProvenanceAnon. sale, Dreweatt Neate, Donnington, 21 October 1987, lot number unknown.Charles the Twelfth was a British thoroughbred racehorse and sire best known for winning the classic St Leger Stakes in 1839. He ran a dead-heat with Euclid in the classic before winning the prize in a deciding heat.For further information on this lot please visit Bonhams.com
Claude Lorraine Ferneley (British, 1822-1891)Equestrian portrait of a gentleman on a chestnut hunter, with other members of the hunt beyond signed, inscribed and dated 'C L Ferneley/Melton Mowbray 1865' (lower right)oil on canvas49 x 67cm (19 5/16 x 26 3/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 13 July 1988, lot 123.With The Gallery, Oswestry, 31 August 1988.For further information on this lot please visit Bonhams.com
After Paul Hippolyte DelarocheEmperor Napoléon in his study oil on canvas76.5 x 64cm (30 1/8 x 25 3/16in).Footnotes:The present work is a copy after the painting by Delaroche commissioned by Louisa, 6th Countess of Sandwich in 1838, now in a private collection. Delaroche depicted Napoleon in the uniform of a Colonel of the Grenadiers de la garde à pied, standing in his office in the Tuileries Palace. Delaroche's portrait is historically accurate and based elements of the composition, such as the pose and uniform, on David's celebrated Portrait de Napoléon dans son cabinet de travail of 1812 (Washington, The National Gallery).ProvenanceAnon. sale, Phillips, London, 14 July 1982, lot number unknown.For further information on this lot please visit Bonhams.com
Hans TemplePortrait of the Viennese painter Hans Wilt (1867-1917) with bicycleoil on canvas; framed126 x 68 cmsigned on the lower left: Templeon the reverse on the stretcher Stempel Künstlerhaus, Vienna: Galerie des Künstlerhauses, no. 42on the reverse label: KH 967Dorotheum Vienna, 24.2.1998, no. 174;private collection, Vienna
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS Oil on canvas Signed (centre right); further signed, titled and dated 1910 (transcribed verso, not in artist's hand) 38 x 33cm (14¾ x 12 in.)Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerSuave and stylish, the portrait of the dashing young Lieutenant John Clive Darling is almost unique in Lavery's oeuvre. Although small in scale, in its precision, it cannot be regarded as a sketch of the type preferred by the sitter's father, Sir Charles Darling, then serving as a judge on the Oxford circuit. In 1904 the judge had written to Lavery requesting a small sketch of his daughter, Diana Janet Darling, making his specification clear: What I should like would be an impression, or sketch - such as Vandyke (sic) and others sometimes made as preliminary to a portrait and I should like it small ... I don't want a highly finished work but should prefer a study. Darling may well have also been thinking back to the swagger of his son's first portrait, painted by William James Yule in 1896, when the present sitter was aged nine. It had been one of the most admired portraits of its day. Educated at Eton and Sandhurst, John Clive Darling (1887-1933) joined the 20th Hussars in 1906, rose to the rank of captain in 1913 and retired as Major in 1923, publishing an account of his regiment's actions in the Great War. Following the retreat from Mons in 1914 where the Hussars participated in the first (and last) cavalry charge, he and his brigade were consigned to the trenches where, in 1916, he was wounded in action. Mentioned in dispatches he was awarded the Distinguished Service Order. In recovery at Hill House Red Cross Hospital, Lyndhurst, Hampshire, he met, and in 1918, married Eleanor Joan Powell. In retirement, Darling raised and exhibited New Forest ponies and contributed to local causes. Condition Report: Relined. Very fine craquelure throughout. A couple of very small losses to the left edge with some associated rubbing. Inspection under UV reveals a thick green masking varnish which may be concealing any restoration. There is one area of retouching visible to the right of the sitter's shoulder which is also visible in natural light circa. 1cm. Condition Report Disclaimer
λ AUGUSTUS JOHN (BRITISH 1878-1961) WAS THIS THE FACE THAT LAUNCHED TEN THOUSAND SHIPS? (DOUBLE HEAD PORTRAIT OF HELEN MEANY BALFE) Pencil Titled and signed Augustus (lower left), further signed John, dedicated and dated To Helen 1924 (lower right) 31 x 29cm (12 x 11¼ in.) Provenance: Private Collection, Helen Meany Balfe (1904-1991) Private Collection, Mr. and Mrs. Gary Cooper, Brentwood residence Thence by descentHelen Meany was an American diver who took part in the Summer Olympics of 1920, 1924 and 1928, when she won a gold medal in the 3m springboard in 1928. In August 1924, Augustus was in Dublin attending the first revival of the ancient TAILTEANN Games. The event was staged to follow on the Summer Olympics held in May-July in Paris. This is probably when he met and drew Helen Meany, who had been competing in the Paris Olympics, and with other athletes invited to participate in the Tailteann Games. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Unexamined out of glazed frame. Some very light surface dirt to the extreme edges of the sheet. The upper right corner is not completely sharp or crisp but likely present at point of conception. Overall appears to be in good original condition. Condition Report Disclaimer
λ CATHLEEN SABINE MANN (BRITISH 1896-1959) PORTRAIT OF A BALLERINA, SEATED, WEARING A TUTU Oil on canvas Signed and dated 1935 (lower right) 91.5 x 71.5cm (36 x 28 in.) UnframedA similar composition featuring the same ballerina is held in the Glasgow Museums Resource Centre. The figure is shown seated in front of the same blue panelling with a black cat on her lap. Condition Report: The work was historically rolled, condition is in line with this process. Not relined. Horizontal creases and cracks scattered across the canvas with associated losses. A number of pin holes and slightly larger holes (possibly nails) across the upper edge. Inspection under UV reveals light scattered retouching, most notable to the sitter's chest. Condition Report Disclaimer
SIR JOHN LAVERY (IRISH 1856-1941) ORIGINAL SKETCH FOR 'THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT' Signed, dated 1917 and dedicated to Lord Charles Darling (lower left), variously inscribed by Lord Darling (verso) Oil on canvas-board 25.5 x 38cmProvenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present owner The board is inscribed verso by Charles Darling as follows: 'The original sketch made for Court by Sir John Lavery ARA for his picture of the hearing of the appeal of Sir Roger Casement against his conviction for High Treason - Monday 17th July 1917.Sargeant Sullivan (for appellant) addressing the Court. The justices (from left to right) Scrutton, Bray, Darling (presiding), Lawrence, Atkin.Charles Darling' By 1916, having recently requested an oil sketch of his late wife (lot 44), Mr Justice Darling was well aware of Lavery's pre-eminence. Regarding himself as something of an aesthete, the vainglorious judge, had been portrayed during his rise to the Bench, by Charles Wellington Furse (National Portrait Gallery) and George Henry (Colchester and Ipswich Museums) in 1890 and 1898 respectively, and in 1904, having secured Lavery's small sketch of his daughter, he returned to the painter for his own controversial portrait (fig 1). Even though its theatrical air matched the sitter's reputation, portraying Darling as a hanging judge was considered inappropriate by some. Now a widower, Darling had just received the news that his only son (see lot 45) was severely wounded on the Western Front when he received the call to preside over the Casement Appeal in July 1916. For public and personal reasons, leniency in this instance was not an option for a staunch Unionist who had trained Edward Carson in his chambers. Since his own portrait was painted, he had seen Lavery take on important commissions and maintain his pre-eminence with the portrait of the Royal Family, 1913 (National Portrait Gallery). In 1915, he would have noted the newsworthiness of the artist's Wounded, London Hospital, (Dundee Museum and Art Gallery), painted in the wake of the retreat from Mons, and shown in an Academy exhibition castigated for largely ignoring the unfolding horror of war. This was an artist unafraid to tackle a difficult project and, in the summer of 1916, when Darling was appointed to try the Casement Appeal, he was in a position to offer just such a testing opportunity. To read the full catalogue note written by Kenneth McConkey please follow the link below: Condition Report: Examined out of glazed frame. A few spots of light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
MARION RICHARDSON (BRITISH 1892-1946) SELF-PORTRAIT, AGED 17 Pencil 32 x 26cm (12½ x 10 in.)Drawn in 1910.Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Marion Richardson, Art and the Child, London, 1948 (illustrated) Jessica Kilburn, Thomas Hennell: the Land and the Mind, London, 2021 (illustrated) 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Foxing scattered to the sheet throughout, most notable to the sitter's blouse and down the right side of the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MARY CAROLINE, LADY DARLING Oil on canvas-board Signed (lower right); variously inscribed in Lord Darling's hand (verso) 35.5 x 25.5cm (13¾ x 10 in.) Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerMary Caroline Darling (née Greathed, 1863-1913), was a General's daughter. She married Charles Darling in 1885, the year in which her husband was called to the Bar, while unsuccessfully contesting the Hackney South constituency for the Conservatives. During her husband's political career, which lasted until 1897, she gave birth to a son, John Clive Darling (see lot 45). Two daughters followed when her husband returned to the Bench. Lavery was first commissioned to paint her portrait when painting her husband in his robes of office, following that of their daughter, Diana Janet Darling. The present sketch, as indicated on its reverse, was painted two years after Lady Darling's death from a photograph taken in 1892. Kenneth McConkey
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY, STUDY FOR A FULL LENGTH PORTRAIT Oil on canvas Signed (lower left) 35.5 x 25cm (13¾ x 9¾ in.)Provenance: Minnie Plowden, thence by descent to the present owner Literature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 71 In 1898 Lavery, with the help of fellow Glasgow Boys and under the Presidency of James McNeill Whistler, established the International Society of Sculptors, Painters and Gravers, with the idea of staging annual exhibitions or 'art congresses' in London. As Vice-President, Lavery's three contributions to this radical departure were Portrait Group (Père et Fille), 1897, (Musée d'Orsay, Paris), A Garden in France, 1897 (National Gallery of Ireland, Dublin) and Mrs Roger Plowden and Humphrey for which the present canvas is the oil sketch. It is not entirely clear where and when the painter met the Plowdens. A member of an old Catholic legal and clerical family that hailed at the time of the Crusades from Shropshire, Roger Herbert Plowden was the son of a banker in Rome where, in his early years he led the life of a country gentleman. After his marriage to the daughter of Henry Jump of Woolton, near Liverpool in August 1883, he and his wife led a peripatetic existence between Rome, the south of France, their house at 32 Portman Square, London and Scottish estates, leased for the hunting and shooting seasons. They had been living in Rome before returning recently to Scotland where in 1897 Plowden rented and then purchased the Strachur estate on Loch Fyne from the Duke of Argyll. As with most large portrait commissions (fig. 1) Lavery planned his composition with a swift sketch as shown in Lot 43. In comparing the two it is instantly apparent that the composition has been reversed and the boy's leg positions changed. His silver suit has also been replaced by a black tabard. Sittings cannot have been easy since Minnie Plowden was unwell and increasingly immobile. As a 'mother and son' subject, the finished work is nevertheless a fine complement in tone, colour, handling and scale to the Orsay 'father and daughter'. For its part, the sketch is also more than a snapshot, making play with the flash of red in the sitter's cape and creating, in its soft greys, its own fine harmonies. Kenneth McConkey Condition Report: Light surface dirt throughout. A very minor loss to the centre of the lower edge. There is an area of slight undulation to the canvas visible to the upper right corner. Some very fine craquelure to the black pigment of Minnie's dress. Very small loss and surface scratch visible just above the signature, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. In overall good original condition. Condition Report Disclaimer
λ SVEN BERLIN (BRITISH 1911-1999) LOVERS Marble Signed with monogram and dated 84 Height inc. base:134cm (52¾in.) Provenance: Acquired direct from the artist Exhibited: London, Belgrave Gallery, Sven Berlin at 80, 1992, no. 5Literature: R. Francis, Berlin Revisited, Dorset Life, March 1992, p.26-31 (illustrated p.31) London Portrait Magazine, April 1992 (illustrated p. 97) S. Berlin, Virgo in Exile, Stevenage, 1996 (illustrated p.63) Condition Report: There are a number of scattered surface scratches and a couple of minor chips. There are a number of black marks visible to the images provided or please contact pictures@dreweatts.com for further images. Where the sculpture meets the base there is some slight crumbling to the base and more extensive marks and scuffs to the lower edge of the sculpture and around the signature. Condition Report Disclaimer
ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912. Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer
λ ALFRED WOLMARK (BRITISH 1877-1961) GAUDIER BRZESKA AT WORK Oil on canvas Signed with monogram and dated 1912 (lower right) 119 x 84cm (46¾ x 33 in.)Provenance: Mrs May Platini, Private Collection, the artist's niece, USAExhibited: New York, Kevorkian Gallery, Alfred Wolmark, 1920, no. 9 London, Ben Uri Gallery, Rediscovering Wolmark: A Pioneer of British Modernism, 2004-05, no. 37 (illustrated in the exhibition catalogue p. 28) Hull, Ferens Art Gallery, Rediscovering Wolmark: A Pioneer of British Modernism, 2004-05, no. 37 (illustrated in the exhibition catalogue p. 28)Literature: Christopher Blake, Modern English Art, London, 1937 (illustrated p. 65) The present work depicts Gaudier Brzeska working on the portrait bust of his close friend Alfred Wolmark. This piece was posthumously cast in an edition of six between 1954-60. Condition Report: Canvas has been relined. Craquelure throughout, most notable in the lighter pigments and larger areas of cracking through the thick impasto. There is possibly some overall discolouration caused by yellowing varnish. Inspection under UV reveals scattered retouching and infilling across the surface. Condition Report Disclaimer
λ SIR HERBERT JAMES GUNN (BRITISH 1893-1964) SKETCH FOR PORTRAIT OF EDWARD GRINDLAY Oil on canvas 46 x 35.5cm (18 x 13¾ in.)Together with a pencil portrait of Edward Grindlay, Signed, dated and inscribed Grindlay/HJ Gunn/ France 18 (lower right), 37.5 x 26cm (14 3/4 x 10 1/8in) (2) Provenance: The descendants of Edward and Evelyn Grindlay Sale, Reeman Dansie, Colchester, 27 April 2021, lot 1187 Gunn and Edward 'Teddy' Grindlay met in 1917 when they joined the 10th Scottish Rifles, becoming life-long friends and Grindlay, Gunn's patron.
SURREALIST SCHOOL (20TH CENTURY) LOCK DISPLAY CABINET Wood model in glazed wooden cabinet Inscribed to label 'Made entirely of wood/No metal or any/Kind being used !' 40.5 x 35.5 x 11cm (15¾ x 13¾ x 4 1/8in.)Provenance: Private Collection, George Melly (1926-2007), jazz & blues singer, writer and critic Private Collection, UK'The marvellous is always beautiful; anything marvellous is beautiful; in fact only the marvellous is beautiful.' André Breton, Manifesto of Surrealism, 1924George Melly was first immersed in surrealist ideas by the Belgian poet, artist and writer Édouard Léon Théodore Mesens (1903-1971). Melly worked for Mesems at the London Gallery. Later Melly moved into Jazz music working with Mick Mulligan's Magnolia Jazz Band. His interest in the surrealist movement continued throughout his lifetime, even appearing on a documentary in 1978 which recorded his journey from North London to the Hayward Gallery to view the Great Exhibition of Dada & Surrealist Art. Barry Flanagan and Maggi Hambling painted his portrait and works by Magritte adorned the walls of his private collection.'Any picture which for me is worthwhile is in a way an exteriorisation of what's inside the person.' George Melly, 1982 Condition Report: The box has a crack in the wood to the upper left corner. A number of scratches to the lower edge. Some light scratches to the perspex glaze. The black felt is dusty most notable at the corners. The installation itself made from wood has no obvious significant damage. Condition Report Disclaimer
λ CATHLEEN SABINE MANN (BRITISH 1896-1959) PORTRAIT OF A LADY SEATED Oil on canvas Signed and dated 1933 (lower right) 92 x 71.5cm (36 x 28 in.) Unframed Condition Report: The canvas has been rolled and recently stretched. Pin hole to the left of the sitter's left shoulder. Further pin/nail holes to the lower edge. Creasing and cracking throughout in line with the historical rolling. Inspection under UV reveals scattered retouching. Condition Report Disclaimer
British medal Group of 6 medals to include British 1914-18 war medal, 1914-19 victory medal, 1937 Coronation medal, Royal Naval Long Service Good Conduct Medal, Italian 1908 Messina Earthquake relief medal impressed to 236758 ATC Miller P O HMS Colombinis together with photograph portrait. At 5:22 am on the 28th December 1908 the Sicily & Calabria area of Italy was struck by a 7.5 magnitude earthquake. It was soon realised that the Italian authorities had a major disaster on their hands with a terrible death toll. (70,000 - 100,000 est). Many nations came to the aid of the affected areas and various ships in the Mediterranean at the time were deployed to offer whatever help could be given. Messina was the worst affected population centre and a number of Royal and British Merchant Navy vessels landed men to assist, from digging survivors out from collapsed buildings to assisting with the evacuation of the injured and homeless.
Pictures and Prints - character portrait prints, French Napoleonic Officers, Cavalry, Hussars, etc, others etchings, etc, Gussy Stacey, Plums, Apples Rosehips, signed, no 12 verso, oil on canvas, 19cm x 25cm; French Papa Cherie paper lace edge greetings letter, beadwork bags, all world stamps etc
A collection of Classic Rock LPs to include (1) T.rex - Electric Warrior (1971 UK 1st edition, HIFLY6, Picture Portrait inner sleeve); (2) Deep Purple - Deep Purple In Rock (1970 UK 1st issue, SHVL 777/1E 062 º 91442); (3) Fanny - Charity Ball (1971 UK, K 44144); (4) Queen - Greatest Hits II (1991 UK LE, PMTV 2/1687979711, Gold Embossed Gatefold); (5) Various - Knebworth The Album (1990 UK, 843 921-1); As well as other titles; All conditions from Very Good to Very Good Plus including sleeves. (34)
Canada General Service 1866-70, 1 clasp, Fenian Raid 1866 (Gnr J. E. King Mont. Garr. Arty.) the clasp a later issue with flat backstrap, Canadian-style impressed naming, nearly extremely fine £200-£240 --- Sold with a small portrait photograph of the recipient in a damaged tooled leather frame.
Naval General Service 1793-1840, 1 clasp, Syria (Thomas Atwell.) edge bruising, good very fine £600-£800 --- Provenance: Glendining’s, December 1988. Thomas Atwell (also recorded as Attwell) served as an Able Seaman in H.M.S. Powerful during the operations on and off the coast of Syria in 1840. One other man of this name appears on the Admiralty Claimants’ List: a 2-clasp award for a Private in the Royal Marines for Trafalgar and Lissa. Sold with a portrait photograph believed to be of the recipient taken in Hong Kong.
An unusual group of five miniature dress medals, in the form of a bracelet, attributed to Colonel C. J. R. Rayment, Army Veterinary Department Afghanistan 1878-80, no clasp; Egypt and Sudan 1882-89, dated reverse, 1 clasp, Suakin 1885; India General Service 1854-95, 1 clasp, Waziristan 1894-5; India General Service 1895-1902, 2 clasps, Relief of Chitral 1895, Punjab Frontier 1897-98; Khedive’s Star, dated 1884-6, mounted in the form of a bracelet, with the clasps affixed to enamel ‘ribands’, and housed in a fitted Spink, London, tooled leather case, nearly extremely fine (5) £400-£500 --- George Joseph Robert Rayment was commissioned Veterinary Surgeon in the Army Veterinary Department on 24 July 1872, and served in the Second Afghan War in 1880, including the expedition against the Atchakzais (Medal). He saw further service during the Egyptian campaign of 1882, and was present at the engagement at Mahsama (Medal, and Khedive’s Star). He subsequently served in the Sudan campaign in 1885 (Clasp), and then with the Waziristan Delimitation Escort under Brigadier General Turner in 1884 (Mentioned in Despatches), and with the Waziristan Field Force under Sir William Lockhart in 1894-95 (Medal with clasp). He saw further service with the Chitral Field Force under Sir Robert Low in 1895 (Mentioned in Despatches, Medal with clasp), and then in the campaign on the North West Frontier of India in 1897-98 with the Tochai Field Force as Inspecting Veterinary Officer (Clasp). He was advanced Veterinary Lieutenant-Colonel on 4 August 1898. Sold with two original letters, and a portrait photographic image believed to be of the recipient.
Royal Navy L.S. & G.C., V.R., narrow suspension (A. C. Ford. Ship’s Stewd. H.M.S. Duke of Wellington) impressed naming, with ornate silver top riband bar, mounted on card with portrait photograph of recipient in uniform, good very fine £120-£160 --- Alfred Charles Ford was born in Osmington, Dorset, in April 1848. He joined the Royal Navy as a Ship’s Steward 3rd Class in January 1877, and advanced to Ship’s Steward 1st Class in May 1882. His service included with H.M.S. Duke of Wellington from September 1881 to November 1882, and again from December 1886 until January 1887 (awarded L.S. & G.C. in December 1887). Ford was shore pensioned as a Ship’s Steward Pensioner in September 1889. Sold with copied service papers.
Seven: Major W. H. White, Royal Irish Regiment, who was killed in action near St Eloi on 14 February 1915 India General Service 1895-1902, 2 clasps, Punjab Frontier 1897-98, Samana 1897 (Lieut. W. H. White 2d Bn. Ryl. Ir. Regt.); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Wittebergen, Belfast (Capt. W. H. White. 1/Rl. Irish. Rgt.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (Capt. W. H. White. Rl. Irish Rgt.); 1914-15 Star (Major W. H. White, R. Ir. Regt.); British War and Victory Medals, with M.I.D. oak leaves (Major W. H. White.); Delhi Durbar 1911, unnamed as issued, together with related group of seven unmounted miniature medals, the earlier campaign medals with contact marks, nearly very fine, otherwise extremely fine (7) £800-£1,000 --- M.I.D. London Gazette 22 June 1915. ‘William Hawtrey White, 1st Batt. Royal Irish Regiment, who was killed in action on February 14th last, when gallantly leading his men in a night attack on a trench held by the Germans near St Eloi, and was mentioned in despatches, was a son of the Rev. James White, late Vicar of St Peter’s, Paddington, a member of an old Co. Wexford family. Major White entered the Army in 1892, took part in operations on the North West Frontier of India in 1897-8, receiving the medal with two clasps. He served in the South African War, 1899-1902, and received the Queen’s Medal with three clasps and King’s Medal with two clasps. He married, in 1911, Muriel, daughter of Major Braddon, of Skisdon, Cornwall.’ (Our Heroes, Supplement to Irish Life, September 24th, 1915, refers). White is buried in Dickebusch Old Military Cemetery, Belgium. Sold with portrait photograph of Major White wearing the first three medals; his riband bar for the pre-Great War awards; and a contemporary newspaper cutting from the Morning Post.
The scarce casualty I.G.S. 1908-35 with North West Frontier 1930-31 clasp awarded to Flight Lieutenant J. C. H. Tavendale, 27 Squadron, Royal Air Force, who was killed in action along with his air gunner, when his Bristol Fighter F2B crashed near Ali Musjid in the Khyber Pass during operations against rebels, 14 May 1930 India General Service 1908-35, 1 clasp, North West Frontier 1930-31 (F/L J. C. H. Tavendale. R.A.F.) mounted for display with Commission Document, dated 4 May 1927, in glazed frame, also with a portrait photograph of recipient in uniform - this also glazed and framed, nearly extremely fine £500-£700 --- James Charles Henry Tavendale was born in Reading, Berkshire, in 1904. He was commissioned Pilot Officer in the Royal Air Force in 1924, and was under instruction at No. 5 F.T.S. Sealand, Chester from September 1925. Having gained his ‘Wings’ and advanced to Flying Officer, Tavendale was posted as a pilot to 32 Squadron at Kenley, and then overseas to 27 Squadron at Ambala, India, in March 1929. He advanced to Flight Lieutenant in April 1930, and was posted to 20 Squadron (Bristol Fighter F2B’s) at Peshawar. The IGS Medal Roll is annotated as ‘Deceased’ next to his name, but he was in fact killed in action along with his air gunner (363555 L.A.C. Henry J. Chappell) on 14 May 1930. For the latter date, a Times report gives the two airmen’s details and the aircraft Bristol Fighter F2B 4562 as having ‘crashed near Ali Musjid in the Khyber Pass during operations against rebels.’ N. Roberson’s publication about 20 Squadron adds the following additional detail with regard to the circumstances prevailing in the area at the time: ‘Meanwhile, operations on the NWFP continued on an almost continuous basis, and in 1930 civil disturbances by the “Red Shirt” movement provided the Squadron with additional tasks. The “Red Shirts” were trying to cause a general uprising of the tribes in Waziristan, and on 23 April, civil disturbances broke out in Peshawar. As a result, the Squadron were tasked over the next four days to carry out aerial recces for the Brigade HQ and Chief Commissioner, reporting on all movements in and around the important villages in the area. On 4 June 1930, the Squadron carried out day and night recce (using Flares) over Mohmand country, and this was followed by night-bombing of Afridi tribesmen, when 15 aircraft dropped 20 lb and 112 lb bombs.” Both Flight Lieutenant Tavendale and L.A.C. Chappell are buried in Peshawar. Sold with copied research.
WW2 RAF POW Group of Medals & Photographic Archive Stalag Luft 3. The archive of Flight Lieutenant Jonathan Lomax Bromiley a pilot with 83 Squadron who was shot down in 1942 and held at Stalag Luft 3 and is known to have been one of the camp code writers sending information in letters back home. He was also the subject of one of Lord Haw Haw broadcast the first indication he was a POW. Comprising: Medal Group 1939/45 Star, Aircrew Europe Star, War Medal, with entitlement name slip. Contained in original forwarding box addressed to "F/Lt J.L. Bromiley Middlesborough.Caterpillar Club original membership card with typed name.Ephemera Archive includes Missing in Action telegram. ... confirmed POW telegrams ... Pages from his POW diary book. ... Transcript of Lord Haw Haw broadcast etc.Photographic Archive Includes formal portrait photographs in uniform ... Photographs with aircraft ... Large number taken in the POW camp group shots of Officers ... Theatre shows etc.An extensive archive. Flight Lieutenant Jonathan Lomax Bromiley was commissioned into the RAF in June 1941 and after training as a pilot was posted to 83 Squadron operating the Handley Page Hampden twin engineed bomber. The Squadron soon converted to the Avro Manchester and it was in this type on the night of 13th March 1942 his aircraft was shot down by night fighters near Nijmegen Holland, of the 7 crew 5 were killed. On the 28th March Lord Haw Haw broadcasted Bromiley's name and described how he was shot down and captured. This would have been the first indication to his family he was safe. Held at Stalag Luft 3 the home of the Great Escape, the archive includes a number of small original photographs of fellow inmates and activities of the camp. He was listed as one of the code writers who hid secret messages within letters home. He was released in 1945 and a document included is addressed to the Russian Commandant of Repatriation Stalag Luft 3 7th May 1945 describing the poor condition of the British prisoners. INVOICE PAYABLE ON PRESENTATION BY BANK TRANSFER ONLY
* Strang (William, 1859-1921). Portrait of Sir Henry Rider Haggard, 1911, etching with drypoint on cream paper, printed with light plate tone, one of 35 published proofs, signed 'David Strang imp' bottom left, signed 'Wm Strang fec. DS' bottom right on behalf of the artist by David Strang, inscribed 'Final St.' in pencil below image, research notes to verso, plate size 39.7 x 27.4 cm, framed and glazed (59 x 45 cm)QTY: (1)
* Attributed to Petr Brandl (1668-1735). Head of an Apostle, circa 1700, oil on canvas, head and shoulders portrait of a bearded older man wearing a heavy coat, face in half-profile to the left, areas of craquelure, very small chip (5 x 4 mm) to paint surface at top of head, heavily varnished, re-lined, canvas size 55.5 x 45.5 cm (22 x 18 ins), later gilt frame with framer’s label to verso (69 x 57 cm)QTY: (1)NOTE:A painter of the late Baroque, Petr Brandl was famous in his lifetime, but due to isolation behind the Iron Curtain rather forgotten until recently. A major collection of his work is held in the National Gallery of Prague, and the gallery is currently holding a major exhibition of Brandl’s work, Petr Brandl: The Story of a Bohemian. His work often employs strong chiaroscuro, areas of heavy impasto and very plastic as well as dramatic figures; he often modelled figures in clay before committing to canvas. The Head of an Apostle is typical of Brandl’s work - a full beard and a lined face, accentuated with the help of thick layers of paints, applied with energetic brushstrokes that help to capture the strong use of chiaroscuro.He painted numerous similar portraits of Apostles and Evangelists, including The Apostle Paul (National Gallery of Prague ascension number O 557), Simeon with the Infant Jesus (O 578), and Bust of a Discoursing Apostle (O 12889), all held in the collection of the National Gallery of Prague.The Apostle Paul is illustrated in Guide to the Picture Gallery of Prague Castle by Jaromir Neumann, number 65, page 67.We are grateful to Sir Timothy Clifford for the attribution and note for this lot.
* Pantuhoff (Igor, 1911-1972). Portrait of a young female artist, oil on canvas, half-length portrait of a young blond-haired girl wearing a diaphanous dress and black choker, holding an artist's palette and brush, the edge of a canvas to the right, and 2 cherries to the left, symbol to lower right (artist's mark?), verso inscribed in pencil 'To Gordon affectionately' with indistinct initials, 49.5 x 38.5 cm (19 1/2 x 15 1/8 ins), framed (57.7 x 47.8 cm) QTY: (1)NOTE:Born to an aristocratic Russian family that emigrated to the United States after the 1918 revolution, Igor Pantuhoff is especially known for his portraiture, and in particular his distinctive paintings of wide-eyed females.
* Vorsterman (Lucas, 1595-1675). Nicolas Lanier, after Jan Lievens, published by Francoise van den Wyngarde, engraving on paper, trimmed close to plate mark, scattered spotting, plate size 26.6 x 20.4 cm (10 1/2 x 8 ins), framed (40 x 33 cm), together with Van Voerst (Robert, 1597-1636). Portrait of Kenelm Digby, after Sir Anthony van Dyck, circa 1636, engraving on paper, plate size 26 x 19.5 (10 1/4 x 7 3/4 ins), framed and glazed (44 x 36 cm)QTY: (2)NOTE:Nicolas Lanier (1588-1666) was an English composer and musician. He was the first to hold the title of Master of the King's Music from 1625 to 1666.
* Van den Berge (Pieter, 1659-1737). Portrait au Naturel d'un Elephant et d'un Rinoceros Arrivez de puis peu des Indes Orientalles a Londres, 1686, [Amsterdam], Jacques Le Moine de l'Espine, circa 1686, mixed method engraving on laid paper, some light soiling, lower outer corners to verso slightly skinned, with short closed tear to left corner (generally without loss), plate size 231 x 322 mm (9 1/8 x 12 3/4 ins), with margins, sheet size 252 x 347 mm (10 x 13 3/4 ins)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wurzbach, Niederländisches Künstler-Lexicon, 33.
* Scottish School. Portrait of a Dog, circa 1870, oil on canvas, a mixed breed dog (possibly a Setter), lies curled up on the ground beside a red and green tartan blanket, 'Aitken Dott, 26 South Castle Street, Edinburgh' framers label to verso (very faded), 'Reeves & Sons, Manufacturers / 113. Cheapside, London.' stamp to canvas verso, canvas size 31 x 41 (12 1/4 x 16 ins), in original giltwood frame (47 x 57.5 cm)QTY: (1)NOTE:Founded in about 1780 by brothers Thomas and William Reeves, the London-based art materials business went through several partnerships before becoming Reeves & Sons in 1830. The stencilled mark on this canvas dates to about 1870 (page 2 'British canvas, stretcher and panel suppliers’ marks, Part 7, Reeves & Sons', Jacob Simon, National Portrait Gallery, London).The frame makers Aitken Dott traded as 'Aitken Dott' from 1842 to 1879 (Royal Academy Collection: People and Organisations webpage).
* Van Dyck (Anthony, 1599-1641 and Jacobus Neeffs, 1604-1667). Frontispiece to the series Icones principum virorum doctorum pictorum, chalcographorum, Antwerp, 1646, etching and engraving on laid paper, a very good impression, with publisher's name of Gillis Hendricx, but with date of 1646 removed below the publisher's name, trimmed to plate margins, sheet size 243 x 152 mm (9 5/8 x 6 1/8 ins), black and gilt frame, glazed (40 x 30cm), together with three portraits from the same series, Jacobus Jordaens, Lucas Vorstermans and Horatius Gentilescius, engraving on paper, each a deep and rich impression, Jacobus Jordaens slightly spotted and stained, each plate size approx. 24 x 17.5 (9 1/2 x 7 ins), uniformly framed and glazed (the largest 44.5 x 36 cm)QTY: (4)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wibiral 4, ii/iv. The head of Van Dyck was etched as a self-portrait by the artist with the remainder of the plate completed by Jacob Neeffs.
* Engleheart (George, 1753-1829). Portrait of Henry Salkeld, aged 48, 1829, fine miniature watercolour on paper, with contemporary ink title pasted to verso 'The Portrait of Henry Salkeld. Aged 48. Drawn in the year 1829, by his dear friend Geroge Engleheart. Aged 78.', with additional pasted presentation slip to verso form H. Burton-Jones to Arthur Jaffé 'To Mr Arthur Jaffe a small token of my appreciation of the good work he is doing in the interest of Miniature lovers present & future, H. Burton-Jones', 100 x 80 mm (4 x 3 1/4 ins), gilt frame, glazedQTY: (1)NOTE:Provenance: Arthur Jaffé (1880-1954); Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964.Henry Salkeld married Anne Gibson in 1808, and lived in Thames Ditton, Surrey.
AR * Hockney (David, 1937-). Portrait of Martyn Thomas, circa 1970s, pencil on thick wove paper, a detailed study of the head of the sitter, with the outline of the upper body lightly sketched, signed and inscribed by the artist ‘For Freddie + Martyn with love David’ to centre right of the sheet, in very good condition, fixed to mount with tape on two sides to verso, two small pieces of old tape and remnants of adhesive to top of sheet to verso, sheet size 43 x 35.5 cm (17 x 14 ins), framed and glazed (59 x 51 cm)QTY: (1)NOTE:Martyn Thomas (who died in a car accident in 1986) was the partner of ballet dancer and choreographer Frederick Ashton (1904-1988). Hockney had already produced a number of studies of prominent figures from the world of ballet from the late 1960s onwards, including Wayne Sleep, Rudolf Nureyev and Ashton. Hockney and Ashton later collaborated on a production of Stravinsky's Le Rossignol (alongside Le Sacre du Printemps and Oedipus Rex) at the New York Metropolitan Opera in February 1981. The pair also worked together on a production of the ballet Varii Capricci (1983).Provenance: From the estate of Martyn Thomas (Frederick Ashton's partner), thence by descent to the present owner.
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