Follower of Maurice-Quentin de la Tour, French 1704-1788- Portrait of Marie Leczinska, Queen of France, seated half-length; oil on canvas, bears old inscribed label 'Marie Leckzynska / Reine de France et de / Navarre' verso, bears later inscription 'FROM HENGRAVE HALL / SUFFOLK' on the upper horizontal stretcher bar, 81 X 65 cm., (unframed). Provenance: Private Collection, Warsaw. Hengrave Hall, Suffolk (according to an inscription on the reverse of the stretcher). Private Collection, UK. Note: De la Tour was a prominent pastellist of the French Rococo, producing portraits of some of the most significant figures of the 18th-century Age of Enlightenment, including Voltaire (1694-1778), Madame de Pompadour (1721-1764), and Jean-Jacques Rousseau (1712-1778). He also depicted Louis XV (1710-1774) and his wife, Marie Leczinska (1703-1768), both now held in the collection of the Louvre [no.27618 and no.27618]. The present work clearly draws heavily on de la Tour's original 1748 pastel of Marie Leczinska, although it reverses the composition and depicts the sitter in a cloak of ermine and blue velvet, embroidered with fleur-de-lis, definitively asserting her identity. Marie Leczinska was immensely popular as Queen of France, known for her piety and philanthropy. She was also Queen for over 42 years, making her the longest-serving Queen in French history.
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![Ernest Gustave Girardot, RBA, French 1840-1904- A Goya Lady; oil on canvas, signed and dated 'E.G. Girardot 1867[?]' (lower](https://cdn.globalauctionplatform.com/688844f1-38a6-44ef-9fcb-b0a800b8d6f8/b55ab62d-fe3b-46cd-a686-b0ac00d3462c/468x382.jpg)
Ernest Gustave Girardot, RBA, French 1840-1904- A Goya Lady; oil on canvas, signed and dated 'E.G. Girardot 1867[?]' (lower left), 25.5 x 20.3 cm. Provenance: Private Collection, UK. Note: Girardot enjoyed particular success as a painter of genre scenes and portraits, with his sitters including Alfred, Lord Tennyson (1809-1892) and Constance, Lady Lytton (1869-1923). The present work sits somewhere between these two approaches, appearing both as a striking and intimate portrait study of an unknown sitter, who looks over her shoulder absent-mindedly, and as a somewhat more fanciful painting of an idealised character in regional dress, inspired by the portraits of Francisco Goya (1746-1828). In this work, Girardot has convincingly evoked a range of fabrics and surfaces, from the thin netting of the sitter's translucent headdress to her heavy gold earrings, and her faintly glistening lips and eyes.
Circle of John Linnell, British 1792-1882- Portrait of a gentleman, half-length, wearing a green coat; oil on canvas, 31 x 25.5 cm. (unframed). Provenance: Private Collection, UK. Note: The present portrait is anecdotally believed to represent the artist Joseph Mallord William Turner (1775-1851) as an elderly man.
Robert Goodloe Harper Pennington, American 1854-1920- Study of a seated nude lady; oil on panel, signed 'Harper Pennington' (upper right), bears inscription 'by / A pupil of / Whistler' verso, 17.7 x 10.8 cm. Provenance: Private Collection, UK. Note: Pennington was a successful society portraitist. He was initially a pupil of Jean-Léon Gérôme (1824-1904) at the École des Beaux-Arts in Paris. While visiting Venice in 1880, he met and stayed on to study with James Abbott McNeill Whistler (1834-1903) which had a significant impact on his subsequent work. His sitters included Oscar Wilde (1854-1900) in a full-length portrait for a wedding present for Wilde and his wife Constance, and the future Edward VII (1841-1910), who he painted a number of times when Prince of Wales. The present study is a particularly striking and intimate work, with the model, whose relaxed pose suggests that she is in a moment of rest, looking directly out at both the artist and viewer. This painting provides an insight into Pennington's artistic process, with his brushstrokes imparting the work with a particularly soft and hazy quality.
After Sir Anthony van Dyck, Flemish 1599-1641- Self-portrait; black wash heightened with white on blue paper, 37.8 x 25 cm. (mounted / unframed). Provenance: Private Collection, UK. Note: The present work is a late 17th / early 18th-century drawing conceived after Van Dyck's original oil on canvas, which today hangs in London's National Portrait Gallery [no.NPG 6987]. The original portrait is one of three known self-portraits painted by van Dyck when he was in England, and it probably dates from the last years of his life, c.1640. It was thought to be originally in the collection of Sir Peter Lely (1618-1680) and was then bought by Lord Newport, 1st Earl of Bradford (1619-1708) in 1682.
Attributed to Richard van Bleeck, Dutch c.1670-c.1733- Portrait of a gentleman, bust-length, wearing a brown coat; oil on canvas, in a feigned oval, 76 x 61 cm. Provenance: Cider House Galleries, Bletchingley. Private Collection, UK. Note: Van Bleeck studied under Theodor van der Schuer (1634-1707) and Daniel Haringh (1636-1713), before leaving for London in 1695. He returned to the Netherlands in 1705, producing a celebrated portrait of the still-life painter Coenraet Roepel (1678-1748), which sold for £13,000 at Christie's, London, 7 July 2004 (lot 38). Van Bleeck was back in London by 1715, when he painted a portrait of the playwright and poet William Congreve (1670-1729), and thereafter established a successful portrait practice in the city, mainly among prominent Roman Catholic families.
After Sir Peter Paul Rubens, Flemish 1577-1640- Portrait of George Villiers, 1st Duke of Buckingham; oil on canvas, 62.8 x 47.8 cm. Provenance: Private Collection, UK (by descent). Note: The present work depicts George Villiers (1592-1628), a favourite of King James I (1566-1625), who was made 1st Duke of Buckingham in 1623. The portrait is a 19th-century copy after Rubens' composition, which was painted c.1625, and which was long thought to be lost until an investigation into what was thought to be a copy, held at Pollok Country Park in Glasgow, was found to be Rubens' original.
Circle of Martin van Meytens, Swedish / Austrian 1695-1770- Portrait of a lady, possibly Empress Maria Theresa of Austria, half-length, wearing an embroidered and bejewelled silk dress and dark mantle; oil on canvas, 89.5 x 65.8 cm. Provenance: Private Collection, UK. Note: Van Meytens was a highly successful and influential portraitist, depicting such prominent figures as Marie Antoinette (1755-1793), Maria Theresa of Austria (1717-1780), and Francis I, Holy Roman Emperor, (1708-1765), in his capacity as painter to the Austrian court, to which he was appointed in 1732. He became the director of the Academy of Fine Arts in Vienna in 1759. The present work possibly depicts Maria Theresa of Austria, who is remembered as one of the most powerful women in 18th-century Europe, and who ruled the Habsburg dominions in her own right from 1740 to 1780.
Attributed to Edwin Longsden Long, RA, British 1829-1891- Portrait of a gentleman, possibly Lord Randolph Churchill, bust-length, wearing a ruff; oil on canvas, bears inscription 'E LONG 1829' on the upper horizontal stretcher bar, 51 x 40.6 cm., (unframed). Provenance: with T. M. Wilson Antiques, Bath (as 'Spanish subject', circa 1860); where purchased by the present owner in 1980. Note: The present work bears resemblance to the artist's large scale portrait of Lord Randolph Churchill (1849-1895), completed in 1888 and housed in London's National Portrait Gallery [NPG 5113]. We are grateful to Mark Bills for his assistance in preparing this catalogue entry.
Follower of John Opie, RA, British 1761-1807- Portrait of a girl, seated half-length, wearing a white dress and pearl necklace; oil on canvas, oval, 70 x 60.5 cm. Provenance: Cider House Galleries, Bletchingley. Private Collection, UK. Note: The present work very much recalls that of Opie, one of the most prominent history and portrait painters of the late 18th century, with his sitters including Mary Wollstonecraft (1759-1797), Samuel Johnson (1709-1784), and Edmund Burke (1729-1797). The present work is imbued with a simplicity and earnestness which is evident in many of Opie's portraits, and with a particular sweetness which defines Opie's portraits of children, with the sitter shyly looking at the viewer with a sheepishly bowed head and clasped hands.
Circle of Samuel de Wilde, British 1748/51-1832- Portrait of Charles Kemble in costume, arm outstretched; oil on canvas, bears inscription 'Chas Kemble by De Wilde' (on the lower stretcher bar), 36 x 27.7 cm. Provenance: Private Collection, UK. Note: Samuel de Wilde was a prominent portraitist who was particularly celebrated for his depictions of the actors and actresses who made up London's thriving theatrical scene in the late 18th century. The present work depicts the actor Charles Kemble (1775-1854) in a dramatic pose, dressed in theatrical costume and set against a dark, fantastical background. Charles Kemble was a member of the Kemble theatrical dynasty, as the brother of Sarah Siddons (1755-1831), Stephen Kemble (1758-1822) and John Philip Kemble (1757-1823).
Robert Goodloe Harper Pennington, American 1854-1920- An interior with a seated lady playing a lute; oil on panel, bears old inscribed label attached to the reverse, 28.3 x 23.5 cm. Provenance: Private Collection, UK (by descent). Note: Pennington was a successful society portraitist. He was initially a pupil of Jean-Léon Gérôme (1824-1904) at the École des Beaux-Arts in Paris. While visiting Venice in 1880, he met and stayed on to study with James Abbott McNeill Whistler (1834-1903) which had a significant impact on his subsequent work. His sitters included Oscar Wilde (1854-1900) in a full-length portrait for a wedding present for Wilde and his wife Constance, and the future Edward VII (1841-1910), who he painted a number of times when Prince of Wales. The subject of the present work, depicting a lady in historical dress and playing a lute, is a slight departure for the artist, who is best-known for his portraits of contemporary sitters. Its handling, however, is typical of Pennington's studies, and exhibits his significant skill in depicting the sitter's graceful form and the smooth texture of her skin.
Follower of Sir Peter Lely, English / Dutch 1618-1680- Portrait of Lady Anne Sackville, Countess of Home, bust-length, wearing a gold dress; oil on canvas, 38.5 x 30.1 cm. Provenance: Anon. sale, Bonhams, Knightsbridge, 15 April 2021, lot 129. Private Collection, UK. Note: The present work is an early copy after a portrait of Lady Anne Sackville, painted c.1670, which hangs at Knole House in Kent [no.129832]. Lady Anne Sackville was the daughter of Richard Sackville, 5th Earl of Dorset. She married Alexander Home, 4th Earl of Home, son of James Home, 3rd Earl of Home and Lady Jean Douglas, in 1671.
After Sir Joshua Reynolds, PRA, British 1723-1792- Portrait of the Artist; oil on canvas laid down on panel, 62 x 51.5 cm. Provenance: Private Collection, UK. Note: Reynolds regularly painted his own portrait throughout his career and the present work, taken from one of the artist's original compositions, shows him in the robes of an Oxford Doctor of Civil Law. At this time, the artist was experimenting with self portraits in the manner of Rembrandt, and other examples of differing but related types include those at the Royal Academy, London; Tate Britain, London; and the Uffizi, Florence. Reynolds' slightly larger original portrait was conceived in 1773 and is listed in David Mannings and Martin Postle, 'Joshua Reynolds: A Complete Catalogue of his Paintings', New Haven/London, 2000, cat.11, fig.1088 (private collection, framed as an oval).
Charles Bestland, British 1763-c.1837- Portrait of a girl in a landscape, wearing a bonnet and holding a doll; oil on copper, signed 'C. Bestland Pinxt 1810' (lower edge), 14.4 x 10.6 cm. Provenance: Private Collection, UK. Note: Bestland was celebrated for his sensitive portraits, which often featured sitters in romantic outdoor settings. In this charming composition, the girl's doll emphasises her youth and innocence, which is also conveyed by her sweet expression.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Portrait of Paul Leonardo de László, the artist's son; oil on canvas, signed, inscribed, and dated 'To Stephen / de László / 1932' (lower left), 77.8 x 62.2 cm. Provenance: Stephen de László, son of the artist. By descent; Anon. sale, Christie's, London, 12 December 2013, lot 27. Private Collection, Spain. Literature: The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.8354. Note: Paul Leonardo de László (1906-1982) was born in Vienna, the third son of Philip de László and his wife Lucy, née Guinness. His second Christian name was given to him in honour of Leonardo da Vinci, (1452-1519) whom his father much admired. The family moved to England in 1907 and Paul was educated at Twyford School, near Winchester, Rugby (where he was known for his debating skills) and Balliol College, Oxford. At Oxford he was a keen boxer, and very much involved in the Oxford Union Debating Society. After graduating from Oxford he taught history at Eton for a term, and was asked to join the permanent staff. He declined the offer and spent a year (1927-1928) in New York working in the bank of Ladenburg Thalmann & Co. Inc. Philip de László was extremely proud when his son was called to the bar in 1929 and painted a number of portraits of him in his wig and gown. The sitter joined solicitors Gregory Rowcliffe & Co. in London, who would later act as executors of Philip de László’s estate after his death in 1937. In June 1933 Paul married Josephine Vavasour McConnell. They had three children, Christopher (born 1936), Ann (born 1938) and Jane (born 1942) and lived in Tite Street and later, Southcote Lodge, Camberley. During the war Paul served as a Lieutenant Commander Royal Naval Volunteer based at Bletchley Park. He served in North Africa, inspected Naval Radio stations and worked in the special section of the Admiralty. He was awarded an OBE. He was a close friend of General Montgomery’s Chief of Staff, Freddie de Guingand. After the war he joined 'English Electric' as personal assistant and legal advisor to the chairman, Sir George Nelson. He became a director of the company. He retired in 1969. His interests included photography, cine-photography, woodwork, clocks and watches, and natural history. During his schooldays he knew Harry Abrahams and they shared a job collecting films to be developed. At the age of 14 he became a Fellow of the Royal Photographic Society. He took many of the photographs in John Ramsbottom’s book 'Mushrooms and Toadstools'. A keen amateur conjurer, he was very skilled with his hands. During the war, when he was at home and had the time, he taught carpentry to his son Christopher and his contemporaries in his workshop. He enjoyed designing and building electrical gadgets. Visitors to Orchards, Godalming (where he moved in 1946) were fascinated by the movie screen which was hidden behind the panelling in the hall, and which would appear at the press of a button as the lights dimmed. He took a great interest in his family which included many cousins with whom he remained in touch until he died. He was referred to as 'The Rock of the Family' and took great pleasure in his eight grandchildren. He lived at Orchards until 1974 when he moved to Haslemere, Surrey. He died in December 1983, twenty two months after his wife Josephine. In this highly engaging portrait study, the sitter is shown half-length, seated and to the left at a table, wearing a barrister's black gown, wing collar and a grey wig. His left elbow rests on the table with his hand raised, his right forearm across a group of papers. The portrait is inscribed to Stephen, the elder brother of the sitter. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which is included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.8354).
B. Admiraal, Dutch, 17th century- Portrait of a lady, seated three-quarter-length, wearing a cap and a ruff; black chalk on paper, mount bears Dr Carl Robert Rudolf's collector's stamp [Lugt 2811b], 30 x 23.6 cm. Provenance: Collection of Dr. Carl Robert Rudolf (1884-1974) [Lugt 28aab]. Private Collection, UK.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Portrait of William Richards Castle, Junior; oil on canvas, signed and dated 'd László 1921.' (lower left), bears old label inscribed 'Castle. Jr. - Mr Wm R / 1818 P St., Washington DC' attached to the reverse of the frame, bears old printed label 'No. 11948' attached to the reverse of the frame, 91.5 x 62.3 cm. Provenance: The sitter. Anon. sale, Bonhams, New York, 1 November 2012, lot 142. Private Collection, Spain. Exhibited: Washington, D.C., Corcoran Gallery of Art, 'Seven Portraits by Philip de László', 10-24 November 1921. Literature: Sitters’ Book II, opp. f. 22: William R. Castle, Jr July 3, 1921. Helen Wright, 'Philip A. de László, 'Art and Archaeology', Vol. XII, no.6, December 1921, p. 241. Philip de László, 1931 diary, 9 December entry, p.347. DLA109-0243, 'De Laszlo: Special Exhibition of His Portraits,' The Christian Science Monitor, Boston, 21 November 1921, p.19. The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.4035. Note: De László made his second visit to America in April of 1921. Before his arrival, an exhibition of his work took place at the Corcoran Gallery of Art in Washington, which then travelled to Knoedler’s in New York. This led to a number of important commissions, including those of President Harding [de László Archive Trust catalogue no.5569] and General Pershing [no.6887]. The sittings for those works took place at the White House interlaced with those for the present portrait, which took place on 3 and 11 July. According to the artist’s appointment book, sittings had also been arranged for 4-6 July; however, these were cancelled. The artist presented Castle with a rejected portrait of Charles Evans Hughes [no.41], who was also sitting at this time, and who signed the artist’s Sitters’ Book 16 July. William Richards Castle, Junior was born in Honolulu, Hawaii on 19 June 1878, eldest son of William Richards Castle (1849-1935) and Ida Beatrice Lowrey (1854-1926). His father, a lawyer and politician in the independent Kingdom of Hawaii, was from a wealthy family that had founded the agricultural giant Castle & Cooke, and maintained extensive holdings there. The sitter married Margaret Farlow (1880-1970) of Boston on 3 June 1902 and they had one daughter, Rosamond (born 1904). Castle graduated from Harvard College in 1900 and served as English teacher and assistant dean from 1904 to 1913. At the outbreak of the First World War, he joined the executive staff of the Red Cross in Washington, D.C., where he became director of the Bureau of Communications. In 1919 he became a special assistant in the Department of State, and by 1921 was chief of the Division of Western European Affairs, the position he held at the time he was painted. At the pinnacle of his career Castle served as Under Secretary of State 1931-33. Castle’s interests outside of politics were diverse. He was elected a member of the American Academy of Arts and Sciences in 1932, belonged to the Somerset Club in Boston, the Harvard and Grolier Clubs in New York, and the Metropolitan Club in Washington. He served as an overseer of Harvard College from 1935 to 1941. He was also an author, publishing two novels, The Green Vase (1912) and The Pillar of Sand (1914), and two non-fiction works Hawaii Past and Present (1915) and Life of Samuel Northrup Castle (1960), a biography of his great-grandfather. Castle died in Washington on 14 October 1963. His diaries were donated to Harvard and his papers to the Herbert Hoover Presidential Library upon his wife’s death in 1970. In this strikingly vivid portrait, he is presented half-length turned slightly to the right, full-face to the viewer, dressed in a dark suit and tie with a wing collar, his arms crossed, and a gold ring on his wedding finger. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which is included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.4035).
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Mrs Stephenson Clark, née Agnes Maria Bridger, 1906; oil on board, bears old printed label 'The late Mr. P.A. de / Laszlo's Will Trust. / Master Philip de Laszlo.' attached verso, 36 x 28.3 cm. Provenance: In the possession of the artist on his death; Stephen de László, his second son; Christie's South Kensington, 13 June 1997, lot 70. Private Collection, UK. Literature: DLA062-0019, letter from Dr Louis Colville Clarke to de László, 13 May 1906. Studio Inventory, 1938, p.76 (410): Study of an Elderly Lady, seated, black dress with purple drapery. The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.9045. Note: De László spent six weeks in England in early summer 1906, painting General Sir Francis Lloyd [De László catalogue raisonné no.12017] and his wife [no.11994], whom he had met in Vienna in February. It is not known how he became acquainted with Agnes Clarke but a letter from her son, Doctor Louis Clarke [no.4701], indicates that they had already been in contact and the artist suggested a date of 15 June to begin the present portrait. The artist made these preparatory oil studies for his significant portraits to help decide on composition and balance of colour before painting directly on the canvas. The present picture remained in the artist’s studio until his death in 1937 and was unidentified in the studio inventory compiled by his executors. The sitter is shown seated half-length slightly to the right, full face and looking to the viewer, her hands on her lap holding a fan, a purple stole round her shoulders. The finished portrait is no.4080 in the Philip de László catalogue raisonné. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.9045). An image of the finished portrait is displayed under image 4.
Henry Bewick Emmerson, British 1861-1897- Portrait of a Collie; oil on board, signed and dated 'H Bewick Emmerson / 1883' (lower left), 42.5 x 34.5 cm. Provenance: The Property of the Late Reverend John Watson. Note: Emmerson was the son of Henry Hetherington Emmerson (1831-1895), who produced a number of idyllic genre scenes which often featured domestic and farmyard animals. The present work is rendered particularly charming, with the collie's slightly averted gaze implying its obedience, whilst the artist has also emphasised its magnificent coat which almost recalls a lion's mane.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Portrait of Mrs Edward Wigan, née Edith Wallace Russell; oil on canvas, signed and dated 'de László / 1930' (lower right), bears inscription 'Edith Wigan / Wife of Ed. A Wigan / of [?] Andover... + daughter of the Rt Honble / Sir T.W Russell Bart.' on the canvas attached to the upper horizontal stretcher bar, 88.5 x 63.7 cm. Provenance: Private Collection, Spain. Literature: Laib L16040(484) / C28(4): Mrs. Wigham. NPG Album 1929-31, p.16. Sitters’ Book II, f. 65: Edith Wigan. László, Philip de, 1933 diary, 26 November entry, p.25. The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.10076. Note: Mrs Wigan’s signature appears in the artist’s Sitters’ Book between those of two American sitters, David Luke [de László Archive Trust catalogue no.6103] on 3 June and Edith Hope Iselin, on 12 June. Three-years later on 26 November 1933, de László met the sitter and her husband at a dinner hosted by the Earl [no.6489] and Countess [no.6492] of Onslow at Clandon Park. He recalled: 'I painted her portrait some four years ago – she is still good looking & charming … it was a very delightful evening' (László, Philip de, 1933 diary, private collection, 26 November entry, p.25). Edith Wallace Russell was born in Dublin on 3 July 1867, daughter of The Right Honourable Sir Thomas Wallace Russell, 1st Baronet (1841-1920), MP, and his wife Harriet Wentworth Agnew (1841-1894). In April 1896 she married Leslie Lathom Gedge, a solicitor, at St George’s Hanover Square. There were two children of the marriage: Sydney (born 1897) and Montague (born 1899). In 1904 her husband died suddenly of heart failure, aged only thirty-four, at his offices in Great George Street, Westminster. She married Edward Wigan on 28 July 1921 at Holy Trinity, Brompton, as her second husband. She died in Devizes, Wiltshire, on 17 January 1942. Her husband died only four months later on 4 May the same year. The sitter is here shown half-length in three-quarter profile to the left, wearing a stole over her sleeveless evening dress, drop earrings and a pearl necklace. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.10076).
Attributed to Francis Bindon, Irish c.1690-1765- Portrait of a gentleman, bust-length, wearing a brown coat and grey powdered wig, in a feigned oval; oil on canvas, bears an old label inscribed 'Bindon' on the lower rail of the frame recto (left), bears part of an old, indistinctly inscribed label on the reverse of the frame, 75.8 x 63.1 cm. Provenance: Private Collection, UK. Note: Bindon was a successful portrait painter in 18th-century Ireland, whose sitters included Jonathan Swift (1667-1745), Thomas Sheridan (1719-1788), and the blind harpist Turlough O'Carolan (1670-1738). Relatively little is known of his life, but he is recorded as having studied art and architecture at Padua University in 1716 during his Grand Tour, and subsequently at Godfrey Kneller's (1646-1723) academy in London.
Philip Alexius de László, PRBA, Hungarian / British 1869-1937- Portrait of Lajos Behr; oil on board, signed 'P.A. Laszlo' (lower right), inscribed and indistinctly dated 'In Freundschaft / 19[?]' (lower right), 98 x 70 cm. Provenance: Anon. sale, Auctionata, Berlin, 23 September 2015, lot 85. Private Collection, Spain. Exhibited: Nemzeti Szalon (National Salon), Budapest, 'Exhibition of Works by László Fülöp', April 1907, no.56 (erroneously named in the catalogue as Beer Lajos). Literature: Sitters’ Book I, f. 66: Ludwig Behr â…™ 1904. DLA 033-0097, letter from Lajos Behr to de László, 25 April 1904. DLA 034-0053, letter from Lajos Behr to de László, 19 September 1907. DLA 033-0019, letter from Lajos Behr to de László, no date (probably 1907). National Széchényi Library, Budapest, letter from de László to Ernst, 21 March 1907. The de László Archive Trust, 'The Catalogue Raisonné of Works by Philip de László (1869-1937) [online]', no.111405. Note: The inscribed date on this picture is indistinct, however, it must have been painted between 1904, when Behr wrote to de László that he would come to Vienna, and 1906 as stated in the catalogue of the April 1907 Nemzeti Salon. Behr also signed the artist’s Sitters’ Book in 1904 suggesting the portrait was started then. Behr wrote to de László to congratulate him on his success and commented on his portrait: 'my picture looks wonderful in the Nemzeti Szalon – it has been hung very favourably.' The exhibition was an important solo exhibition of sixty-three paintings spanning the artist’s career and celebrated his reputation in Europe before his move to London that summer. Ludwig Behr was born on 16 August 1863 into a family traditionally of farmers and winemakers in Heidingsfeld, Bavaria. His father, however, was a painter who also worked as a gilder and restorer. His early years were spent in Würzburg before studying at the Kunstgewerbeschule in Munich. Thereafter he worked on refurbishing castles in Austria-Hungary, Italy and England. Around 1895 he moved to Budapest where he pursued a lucrative career as an architect and interior decorator, specialising in castles and town palaces. Among his highest profile works were the interiors of the Parliament buildings. Behr was a notable collector of Old Masters, sculptures and 'objets d'art'. At the outbreak of the First World War in 1914 he returned to Bavaria where he established himself as an Impressionist painter at Tutzing on Lake Starnberg. He died in Tutzing on 18 January 1945. He is here shown half-length turned slightly to the left and looking full face to the viewer, wearing a dark brown three piece suit and black tie. We are grateful to Katherine Field for writing the catalogue entry for this portrait, which will be included in the Philip de László catalogue raisonné, currently presented in progress online: www.delaszlocatalogueraisonne.com (no.111405).
William Powell Frith, RA, British 1819-1909- Portrait of Jane Powell, the artist's mother; oil on panel, painted oval, signed, inscribed, and dated 'I give this portrait to / my daughter Louisa Frith / W. P Frith R.A / August 2 1896' verso, 30.7 x 25.3 cm. Provenance: The artist; By whom given to his daughter, Mary Louisa Frith, 2nd August 1896; thence by descent to the present owner. Exhibited: London, Guildhall Art Gallery; and Harrogate, Mercer Art Gallery, 'William Powell Frith: Painting the Victorian Age', November 2006 - July 2007, no. 6, as 'Jane Frith, The Artist's Mother'. Literature: M. Bills and V. Knight (ed.), 'William Powell Frith: Painting the Victorian Age', New Haven and London, p.2, no.2, illustrated. Note: Jane Frith (née Powell) was born in 1779 in the Shropshire village of Fitz. One of her grandfathers was the landowning local squire and the other a clergyman, but her father squandered the family fortune, according to Frith's account. It is not known how she met Frith's father, who came from a Nottinghamshire inn-keeping background and was House Steward at Studley Royal when Frith was born. Though sternly religious and (according to her son) without any sense of humour, Jane was a loving parent and supported Frith during the early years when he earned little or nothing from painting. She died in November 1851 after years of suffering from painful rheumatic gout. Frith made the original portrait in 1840, but this version is one of several later replicas he gave to his children. We are grateful to Mark Bills for his assistance in preparing this catalogue entry. This work will appear in his forthcoming catalogue raisonné and monograph of William Powell Frith.
William Drummond, British fl.1800-1850- Portrait of Queen Victoria on her wedding day; and Portrait of Prince Albert holding a hat and a riding crop; the first pencil and watercolour on paper, the second watercolour heightened with touches of white on paper laid down on card, the first signed 'Wm Drummond' (lower left), the first 28.5 x 21.2 cm., the second 26.8 x 17.9 cm., two (2). Engraved (Victoria): William Henry Egleton (fl.1833-1862), stipple engraving on paper, British Museum, London (https://www.britishmuseum.org/collection/object/P_1865-1014-556). William Henry Mote (1803-1871), stipple engraving on paper, National Galleries Scotland (https://www.nationalgalleries.org/art-and-artists/37514). Note: The present drawings are strikingly intimate portraits of Queen Victoria (1819-1901) and her husband Prince Albert (1819-1861). The first depicts Queen Victoria on her wedding day on 10 February 1840 and was widely reproduced, including in engravings by William Henry Egleton and William Henry Mote. Both works are notable for the sensitivity with which they have been handled by Drummond, an approach which has imparted the works with a considerable sense of presence, creating a powerful feeling of proximity between the viewer and their illustrious subjects. Drummond was a prominent society portraitist, with other sitters including the novelist William Makepeace Thackeray (1811-1863) and the actress Louisa Cranstoun Nisbett (1812-1858).
Eira Williams (20th Century), Portrait of a bespectacled gentleman, watercolour, signed, 21cm x 20cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
'Portrait Miniatures from the Collection of the Russian Museum, 18th-early 20th Century', the text in Cyrillic and English, published 1979, cloth bound with card sleeve (1 Vol) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Charles William Oliver (1911-2004), Portrait of an unidentified mountaineer, oil on canvas, signed and dated 1978, unframed, 61cm x 51cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Miniature suitcase revealing assorted militaria items to include: Great War For Civilisation 1914-19 medal, silver 1914-1918 medal and Star medal 1914-1915 awarded to S2-016319 CPL J. Coburn A. S. C. together with portrait picture of Coburn and colleague together with a presentation watch (no strap) to Corporal Coburn and a Military GSTP pocket watch and chain. (B.P. 21% + VAT)
After Sallon, portrait of the Right Honourable Lord Denning in the style of Spy, with personalised dedication signed Tom Denning 1983, together with an early 19th century cartoon, 'Field Pieces' after Woodward. Framed. together with Three facsimile maps, The Empire of the Great Turke in Europe, Asia and Africa, and after John Speed, Staffordshire. 32x47cm approx. Framed and glazed. together with The Kingdome of Great Britaine and Ireland after John Speed. (5) (B.P. 21% + VAT)
After Harvey Thomas (Welsh 20th/21st century), studies of local railway stations in the Towy Valley, sepia print. 27x34cm approx. Framed. Together with after E Maerion Roberts limited edition commemorative print, the Llanelli RFC victory over New Zealand, limited edition No. 62/500. Framed 28x38cm approx. Together with British School (20th century), portrait of W02 David Gaylor, Royal Artillery Band, Woolwich, monochrome print, signed in pencil by the artist with dedication. 46x34cm approx. (3) (B.P. 21% + VAT)
Small rebound in leather with marble boards 18th/19th century volume 'Swansea Guide', a small inlaid box for playing cards (Canasta) with two penguins decorating the hinged lid, an early 20th century Troughton & Simms miner's dial 9.5cm diameter approx. in fitted leather case, a 219th century papier mache spectacle case decorated with portrait of a woman, travelling map of Glamorgan, small porcelain figural brush and a miniature barrel from the teak of HMS Warspite etc. (B.P. 21% + VAT)
LARGE LOOSE LEAF ALBUM WITH WORLDWIDE COLLECTION, together with a postcard album containing approximately 190 including early birthday cards, silks, travel cards, portrait cards, a card of a Channel Islands plane, S.S. St Helier, one of each Birmingham and Burton cards, school cards, etc, also included are nine war period Birmingham City transport tram tickets, all punched
A large Sevres teapot, with a panel of warriors and a castle by the sea on a dark blue ground, the lid with painted panels. Blue Sevres mark. The base inscribed with Henri IV Ivey, 1590, gilt highlights, 20cm high and a Sevres Chateau Portrait plate, depicting Louis XVI, blue and gilt border 25,5cm diameter Small chip to the lip of the teapot (2)
Outstanding volume from Hetzel's French edition Au Portrait Colle Voyages Extraordinaires by writer Jules Verne published between 1892-1895. It includes the novel Un Capitaine de Quinze Ans (Dick Sand, A Captain at Fifteen) with illustrations by H. Meyer. Includes the new catalogue for 1895-1896. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: 1895Dimensions: 7.25"W x 11"H x 1.40"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Very good.
Beautiful volume from Hetzel's French edition Au Portrait Colle Voyages Extraordinaires by writer Jules Verne published between 1892-1895. Polychrome second cover Lenegre type e. It includes the novel La Maison a Vapeur (The Steam House) with 101 illustrations by Benett. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: c. 1894Dimensions: 7.25"W x 11"H x 1.40"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Very good. Minor foxing. Minor wear on edges of spine.
Great volume from Hetzel's French edition Au Portrait Colle, Voyages Extraordinaires by writer Jules Verne published between 1892-1895. Polychrome second cover Lenegre type e. It includes the novels Le Tour du Monde en 80 Jours (Around the World in Eighty Days) and Le Docteur Ox (The Experiment of Dr. Ox) with illustrations by De Neuville, L. Benett, Bertrand, Froelich, Th. Schuler, Bayard and Marie. Includes the new catalogue for 1891-1892. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: 1892Dimensions: 7.25"W x 11"H x 1.40"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Good. Partial tear on upper side of spine. Some color loss on cover. Fresh interior.
Beautiful volume from Hetzel's French edition Au Portrait Colle, Voyages Extraordinaires by writer Jules Verne published between 1892-1895. Polychrome second cover Lenegre type e. It includes the novel Mirifiques Aventures de Maitre Antifer (The Wonderful Adventures of Captain Antifer) with 90 black & white and color illustrations by G. Roux and two color maps. Includes the new catalogue for 1893-1894. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: 1893Dimensions: 7.25"W x 11"H x 1.50"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Very good. Minor wear on edges.
Outstanding volume from Hetzel's French edition Au Portrait Colle, Voyages Extraordinaires by writer Jules Verne published between 1892-1895. Polychrome second cover Lenegre type e. It includes the novel Famille-Sans-Nom (Family Without a Name) with 82 illustrations by G. Tiret-Bognet and a map in color. Includes the new catalogue for 1893-1894. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: 1894Dimensions: 7.25"W x 11"H x 1.40"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Very good.
Beautiful volume from Hetzel's French edition Au Portrait Colle Voyages Extraordinaires by writer Jules Verne published between 1892-1895. Polychrome second cover Lenegre type e. It includes the novels De la Terre a la Lune and Autour de la Lune (From the Earth to the Moon and Around the Moon) with black & white and color illustrations by Emile Bayard et de Neuville. Includes the new catalogue for 1894-1895. Collection Hetzel, Bibliotheque d'Education et de Recreation, published by Pierre Jules Hetzel et Cie, Paris. Artist: Jules Verne (French 1828-1905)Issued: c. 1894Dimensions: 7.25"W x 11"H x 1.40"DManufacturer: HetzelCountry of Origin: FranceProvenance: Collection of Marie-Claude Lalique Condition Very good. Minor foxing.
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