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283287 Los(e)/Seite
Los 374
Winifred Eugene BALLARD (1885-1921) (under the tutelage of Augustus John and William Orpen) Three life studies Charcoal drawings from the Chelsea Art School (1903-1907), each sheet measures 62 x 48cm.Note:This collection of competent life drawing studies by Winifred Ballard interestingly illustrate the liberal, progressive nature of Augustus John and William Orpen's short lived Chelsea Art School. Situated in Flood Street in Chelsea and run between 1903 and 1907, the school admitted female pupils who were encouraged to draw from life models, albeit with chaperones, but this was something that previously, societal restrictions had simply not permitted women to do.A whole ten years later in 1913 when Laura Knight exhibited her groundbreaking 'Self Portrait with Model' which depicted herself painting a nude, times were still extremely repressive for women and the response was highly critical. Winifred was 18 years old when she first attended the school. The influence of Augustus John's tutelage (for he did most of the teaching, and by all accounts Orpen was very hands-off) is very apparent in her confident lines and mark-making, and when studying her drawings, we can almost feel the presence of John standing behind his student, guiding and advising her. Winifred Eugenie BALLARD Born Chester 1885. Daughter of Edward George Ballard, mineralogist, Governor Inspector of Mines in Cornwall circa 1914, living at Trelights near Port Issac. Previously lived in Holland Park, London when Winifred was under the tutelage of Augustus John and William Orpen at Chelsea art school between 1903 and 1907. Married Richard Varley 1919 in Chester Cathedral, moved to Hollow Barn Cottage, Kingston Ridge, died in 1921, Kingston Lewes, Sussex.
Los 390
John OPIE (1761-1807) Portrait of John Penwarne Junior Oil on canvas, 74 x 61.5cm. Frame size 108 x 95cm.ProvenanceBy family descent from the sitter to Mrs Penwarne-Wellings, Ashburton, South Devon;By whom sold, London, Sotheby's, 24 March 1911, lot 72, for £21 to Griffith; With Leicester Galleries, London; Anonymous sale, London, Sotheby's, 24 June 1931, lot 110, for £27 to Carstairs;Private collection, USAAcquired from the above by Viv Hendra, 2017. LiteratureJ.J. Rogers, Opie and his Works, London 1878, p. 134;A. Earland, Opie and his Circle, London 1911, p. 306. NoteJohn and his brother Edward were early patrons of Opie, and remained his firm and intimate friends until his death. This portrait of John is dated by John Jope Rogers and Ada Earland to 1778–81. Opie painted a second portrait of Penwarne around the same time in another half-length, in fancy dress. He also painted John's father, also named John, brother Edward, sister Elizabeth, and daughter Anne. Anne married Mr George Wellings of Ludlow, and all these Penwarne family portraits were handed down through the Wellings family. The portraits were eventually separated when all except the portrait of Anne were sold by Sotheby’s in 1911. See:- Rogers p. 134; Earland p. 306 This portrait is in good restored condition. The canvas is lined and when examined under UV light there are multiple areas of retouching evident, an area of note being a 2cm scratch to the sitters right brow (please see UV lit image). There is stabalised craquelure throughout.
Los 380
John OPIE (1761-1807) Portrait of Margaret Paynter Oil on canvas, inscriptions to verso, 73 x 59cm. Frame size 86 x 72cm.Note:-An early work painted in the late 1770s before he moved to London. Paynter was the daughter and heir of John Pender of Penzance and wife of Francis Paynter of Trekenning, St Columb, Cornwall. The collection of respected John Opie expert Viv Hendra
Los 410
Studio of John OPIE (1761-1807) Portrait of his wife the author Amelia Opie (Alderson) Oil on canvas, 74 x 61cm. Frame size 96 x 84cm.The collection of respected John Opie expert Viv HendraThis charming work has been well restored. Under UV light there are minor signs of over painting in peripheral areas, this is particularly present in the upper third. The piece has been loosely lined with no adhesion. From the collection of respected John Opie expert Viv Hendra.
Los 421
John OPIE (1761-1807) Portrait of Mr Grandi Oil on canvas, 60 x 44cm. Frame size 70 x 54cm.The collection of respected John Opie expert Viv HendraThis charming portrait has had skillful restoration. The darker pigments show signs of bitumisation which has been dealt with during the restoration (please see additional images under UV light). Along the top edge of the piece there are signs of a previous hole, also dealt with during the restoration.
Los 62
Harold KNIGHT (1874-1961) Portrait of Lamorna Birch at his easel Oil on canvas, signed, 18th-century carved frame, 35 x 30cm, framed 47 x 42cmLiterature 'A Painter Laureate - Lamorna Birch and his circle' Austin Wormleighton, illustrated page 77Note: The reverse of this work shows a loose oil sketch which is likely to be another study of Birch's daughter Mornie (see previous lot 61). Harold Knight was present when lot 61 was painted and also painted his own portrait of Mornie. We believe this sketch on the reverse to be a discarded version of his Mornie portrait, the finished work sold in 1999 for £35,000. The personal family collection of SJ Lamorna Birch, gifted directly to Birch by the artist. This oil is behind glass in a carved and gilt 18th-century frame. It is in delightful unrestored clean and original condition. The canvas measures 35x30cm
Los 909
Rembrandt Van Rijn (Dutch 1606 - 1669 Manner of) Antique Etching - Self Portrait With Plumed Cap, 5 inches (13cms) x 4 inches (10cms) approx. image size, oval, bears signature and date of 1634; possibly the work of Chevalier Ignace Joseph de Claussin (1766 - 1844); no further provenance, but an interesting item
Los 316
Portrait miniature, depicting a charming 18th century scene of three figures seated at a table, a man being distracted by a young woman, allowing the young man at the table to cheat at cards, with a cat stealing the cream and two dogs observing the scene in stunned silence, approx 90 x 90 mm, monogram N.W.L, framed. Provenance: Property of a lady - London. -
Los 73
Miscellaneous militaria, including a Royal Navy badge on a black band; black leather belt with a German belt buckle, two Great Britain desk flags, RAF silk map of Kabul Afghanistan approx 70 cms x 70 cms; Lord Roberts VC South Africa Boer War display linen flag decorated with a portrait surrounded by his victory towns Kimberly, Driefontein, Colesberg, Colenso and Mafeking approx 70 x 70 cms. This lot includes a canvas duffel bag.
Los 375
Bryanston School Portrait of Lucian Freud; the reverse with a portrait study of an older maninscribed 'Bryanston School Blandford Dorset Luc Freud' (along the lower edge)oil on canvas49 x 37cmThe painting is on a loose piece of canvas - unstretchered and cut roughly to the edges - The weave of the canvas being clearly visible in some areas, for example, the bottom section where the inscription is and the right and left border of the canvas edge. The paint pigment is thin in multiple areas across the composition especially around the neck and shoulder vicinity. Located at the border sections of the composition are visible small circular areas where the paint is missing. A professional clean would be recommend for the entire composition and paint layer due to heavy marking, abrasians and general dirt. The painting has been unexamined outside the frame.
Los 422
§ Paul Hogarth OBE, RA (1917-2001) A group of three unframed drawings, to include a portrait study of a railway worker, signed and dated 'Paul Hogarth '59' (lower left), charcoal and watercolour, 38 x 47.5cm; Gold Miners, Johannesburg, signed and dated 'Paul Hogarth '56' (lower right), charcoal, 38 x 50.5cm; and The Chinese Landlord, signed 'Paul Hogarth 59' (lower right), charcoal, 52.5 x 39.5cm
Los 357
Vivien Gribble (1888-1932) Portrait of Sir Cedric Lockwood Morris oil on canvas 54 x 49cm Provenance: By descent to the artist's daughter Sale; Christie's South Kensington, Friday 5 June 1987 The present lot, a portrait of Sir Cedric Lockwood Morris, is thought to have been painted by Vivien Gribble between 1927 and 1932.The daughter of an artist mother and a High Sheriff father, Chelsea-born Gribble enjoyed a privileged childhood before journeying to Munich to commence her artistic career. Later, she would trace her mother’s footsteps as she enrolled at the Slade School of Art, where she trained under Noel Rooke. After serving in the Land Army, Gribble met her husband, Douglas Doyle-Jones, a barrister from a similarly wealthy background. In addition to owning Valley Farm in Higham, the couple also owned ‘The Pound’, which was left to Morris, a former tutor of Gribble, upon her death in 1932.Although she is today known for her delicate wood engravings, the bright patchwork palette of the present lot demonstrates the impact that Morris’ tutelage had on Gribble’s practice. There is a puncture from the abck of the canvas which you can see from hte front at the neck. There are stretcher lines at the top and bottom of the canvas with a small amount of cracking. There is also another faint line towards the lower section of the painting which may be the result of the canvas having been rolled at some point.
Los 439
§ Philip Core (1951-1989) Portrait of Adrian Ffooks, 4th/7th regiment signed and dated 1987 to the reverse oil on board 75 x 45cm Provenance: Gifted to the present owner by the sitter as a wedding gift in 1987 Bearing the distinctive "K squared" insignia, the present lot was gifted to Kit and Kate Hesketh-Harvey upon their wedding in 1987 as a token of gratitude from both the sitter and the artist, who had been introduced to one another by the couple.Earlier in the year, Kit, in collaboration with James Ivory, penned the screenplay for the groundbreaking adaptation of E. M. Forster's Maurice, a poignant gay love story featuring James Wilby and Hugh Grant. During filming, Kit Hesketh-Harvey enlisted the assistance of his friend, Captain Adrian Ffooks, as a stunt double for key riding scenes. Ffooks, who had served in the 4th/7th Royal Dragoon Guards during the 1970s and rode at the Badminton Horse Trials in 1976, was well-equipped for this role. Maurice faced significant challenges during its production, set against the backdrop of the AIDS pandemic and prevailing anti-gay sentiments. In recent times, however, Maurice has become an iconic gay film, earning critical acclaim upon its 2017 re-release. Jim Ivory's unwavering pride in the film underscores its timeless appeal, transcending societal prejudice.Believed to have been in a relationship, both Philip Core and Captain Ffooks tragically passed away. The details of their deaths, possibly due to AIDS, remain unclear. Framed, but not glazed. Board is a little loose in frame and would benefit from some nails in the reverse to hold the board in plane. There are four very small losses to the paint at the outer borders where the nails used to secure the work have abraded the paint layer. At some point in the work's history, the male appendage has been painted out of the sitter's hand and repainted below, this has likely been done by the artist. The paint layer appears to be stable and in good order overall.
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283287 Los(e)/Seite