283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
Los 155
A PORTRAIT MINIATURE, PROBABLY ELIZABETH CONYNGHAM, MARCHIONES CONYNGHAM 19th century, painted on ivory, wearing a red cloak, 9.4cm x 7.1cm, in a gold coloured metal frame, bearing label verso 'Countess of Conynham painted by Moloy (?)'Ivory submission reference: H5XXCDFK Note: Elizabeth Conyngham was the last mistress of George IV, her beauty attracted many admirers.
Los 362
THOMAS HARDY (1840-1928): A COLLECTION OF EPHEMERA including two autographed typed letters, one addressed to "Dear Symons", dated 21st February 1918, discussing the poet William Barnes, 25cm x 20cm, the other to Geoffrey Lepage. Esq., dated 28th September 1923, in which Hardy appears to decline an invitation to judge works of fiction, 13cm x 20.5cm; together with a Crown Dorset terracotta bust of Thomas Hardy, 25.5cm high; a view of Max Gate; and two portrait engravings of the author (a lot)
Los 44
ASCRIBED TO MATTHEW HAUGHTON (1772-1848) A portrait of Benjamin Danford inscribed verso, oil on bevelled board, unframed, 21cm x 16cmLines On Mr. Benjn. Danford’s portrait painted by Matt. Haughton.See a brave hardy veteran portray’d to your view, Whose hearts like the coats of his regiment true blue ! Who for full forty years brav’d the perils of war Without losing a limb or receiving a scar, When shipmates and friends found a watery grave, Who hath often encounter’d the boisterous wave, Who midst his brave comrades disdaining to yield, Hath as often brav’d death on the dangerous field. Though but poorly requited for services so hard, May his country yet grateful confer its reward! And long may he live social hearty and free Belov’d by his friends many years yet to see! And when cruel fate shall his vital thread sever, He shall live in our tender remembrance for ever, And whilst his pale day lies beneath the green sod, May his soul find repose in the arms of his God!' Provenance: Purchased form The Hayhurst Collection in 2016.Note: Little is known of Benjamin Danford, though clearly he had a distinguished naval career. The National Archives contain a 1787 record of a naval purser with that name. Haughton studied at the Royal Academy Schools in 1790. He moved to Liverpool in the 1790s and became a protégé of William Roscoe (1753 -1831). His father was Moses Haughton the elder (1735-1804), a miniature and portrait painter (National Museums Liverpool).
Los 190
ATTRIBUTED TO JOHN VANDERBANK (1694-1739) A portrait of William Plumer seated, three-quarter length wearing a brown coat, oil on canvas, 127cm x 101.5cmProvenance: This private collection of Plumer family portraits has passed by descent at Whatcombe, an important 18th century house in Dorset.
Los 21
ENGLISH SCHOOL, EARLY 19TH CENTURY A portrait of Admiral Sir Philip Charles Durham (1763-1845) watercolour on paper, depicted as a young man in naval undress uniform, inscribed verso 'Admiral Sir Philip Durham Left by Lady Erskine', 12cm x 9.5cmProvenance: Purchased from a dealer in 2013.Further reading: Hilary I. Rubenstein, Sir Philip Durham in Miniature, The Kedge Anchor Magazine, Autumn 2022, pg. 16-17. Hilary, I. Rubenstein, Trafalgar Captain: Durham of the Defiance, published 2005.Note: There are several known portraits of Durham, all apparently later than this. This portrait appears unrecorded and unknown to Durham’s biographer Hilary Rubenstein. The Lady Erskine inscription may refer to Anna Graham Durham, David 2nd Baron Erskine’s third wife and widow of Thomas Calderwood Durham, Admiral Durham’s brother.
Los 178
ALICE MAY CHAMBERS (fl. 1880-1893) A portrait of Rebecca Porter Paddon depicted head and shoulders before flowering foliage, monogrammed upper left, red chalks on paper, 45cm x 38cmProvenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.Note: Rebecca Porter Paddon was born Rebecca Porter Somerset at Havering House, Milton Lilbourne, nr Pewsey, Wiltshire, in 1854.
Los 201
ASCRIBED TO GEORGE CLINT (1770-1854) A portrait of a gentleman, traditionally identified as John Pritt Harley the sitter depicted bust-length holding an open book in his right hand, oil on canvas, 75cm x 62cmProvenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.Note: John Pritt Harley (1786-1858) was an English actor known for his comic acting and singing.
Los 206
MANNER OF EDWIN LONGSDALE LONG (1829-1891) A portrait of an Officer depicted full-length standing in a landscape, wearing full dress uniform with the sabretache of the 16th (Queen's) Lancers, oil on canvas, 238cm x 147cm (unframed on stretcher)Provenance: The Neave Estate, formerly of Dagnam Park, Essex.Note: For a similar work see Long's depiction of Lieutenant- Colonel George James Mouat MacDowell, CB, also of the 16th (The Queen's) Regiment of Light Dragoons (Lancers), in the collection of the National Army Museum, Chelsea (Accession no. NAM. 1952-05-12).
Los 151
A FAMILY GROUP OF PORTRAIT MINIATURES 18th and early 19th century, painted on ivory, each in gold coloured metal frames engraved with the sitter to the reverse, on a velvet and gilt metal mount, including John Quayle (1693-1755) 3.4cm x 3cm, George Quayle (1751-1835) 3.6cm x 3cm, John Quayle (1725-1797) 3.5cm x 3cm and Sir George Moore 3.7cm x 3.1cm (1709-1787)Ivory submission reference: TF9XCT83Note: Sir George Moore of Ballamoore was a merchant of Peel, on the Isle of Man, who dealt mainly in spirits. He was knighted in 1781 for his role as speaker in the House of Keys. Sir George had three sons and three daughters, one of his daughters, Margaret, in 1751 married John Quayle. John Quayle the Elder is recorded as being Clerk of the Rolls, judge and Head of the Judiciary in the Isle of Man. This is a role his son and husband of Margaret also adopted. George Quayle, likely the younger John’s son, is depicted in the uniform of the Manx Fencibles, an early 18th century regiment of the British Army based on the Isle of Man.
Los 38
ENGLISH SCHOOL, EARLY 19TH CENTURY A portrait of Lieutenant Richard Douglas pencil sketch on paper, unsigned, inscribed below, 18cm x 15cmProvenance: Purchased from John Martin Fine Art, London, 21st February 2020.Note: Douglas was born at Plymouth in 1788, he joined HMS Achille from the Ville de Paris in April 1805. He was midshipman at Trafalgar and involved in the action off Rohefort in 1806. He was awarded prize money of £10. 14s. 2d. He was promoted to Lieutenant in 1809, Commander in 1823, and Captain in 1851. Died at Lewisham in Kent on 21st December 1866. Note: Douglas was born at Plymouth in 1788, he joined HMS Achille from the Ville de Paris in April 1805. He was midshipman at Trafalgar and involved in the action off Rohefort in 1806. He was awarded prize money of £10. 14s. 2d. He was promoted to Lieutenant in 1809, Commander in 1823, and Captain in 1851. Died at Lewisham in Kent on 21st December 1866.
Los 10
A Limoges enamel panel of two young boys, painted en grisaille, one biting into an apple, set in a metal frame probably designed by Charles Thomas, another classical enamel portrait of Caesar V, and a larger enamel panel of Christ in the temple by FP last panel monogrammed in gilt FP, 15 x 8.5cm (grisaille panel) (3) Provenancefrom the collection of Phillip Allen (1938-2022).
Los 14
Charles E Thomas ARBSA (1883-1981)Seated woman athlete, a plaster maquette of a seated naked woman resting on a plinth, painted green, on wooden base, a plaster maquette of a naked woman standing and the final silvered bronze figure, a plaster maquette of an African male bust on plinth, two plaster maquette for portrait medallions of Private F Mellor, and Colonel B P S Rooke, and two maquette plaster panels,paper labels to medallions, 40cm. high (9) Provenancefrom the collection of Phillip Allen (1938-2022).
Los 77
A Doulton Lambeth stoneware Queen Victoria 1837-1897 jug, ovoid applied with portrait roundels and inscription to neck, a similar stoneware commemorative mug, a Doulton Lambeth stoneware 'Relief Exhibition 1887-1889' jug, a Doulton Lambeth 'General Gordon' jug, a Royal Doulton stoneware drinking jug cast with bearded mask panel, and five other salt-glaze stoneware pieces, impressed factory marks, minor damages, 18.5cm. high (10)
Los 19
Charles E Thomas ARBSA (1883-1981)Study of a Naked Woman, 1909oil on canvas, framed, a study from life of a cow, a pencil portrait of a cat and a watercolour of a cloister,unsigned, monogram SM top right, paper exhibition label to reverse of woman portrait, 90 x 59cm. (4) Provenancefrom the collection of Phillip Allen (1938-2022).
Los 516
After Raphael (Italian, 1483-1520),'Self Portrait',Oil on oval panel,Unsigned,21.5cm x 16.5cm,Giltwood and gesso Florentine frame,With three further copies of artist self portraits after Anthony Van Dyck, Rembrandt, and Peter Paul Rubens, with 'Portrait Of Francesco delle Opere' after Pietro Perugino, all in similar giltwood and gesso Florentine frames, and 'La Maddalena' after Carlo Dolci in a similar Florentine frame (6) CONDITION REPORT:All pieces show surface craquelure throughout, but no obvious damage to the painted surface. The frames show wear to the gilt wood finish, the odd crack and the odd loss to the moulded details. Most appear to have been over-sprayed at some point in the past.
Los 691
A Sevres Chateau Des Tuileries cabinet plate, circa 1844, the well painted with a bust length portrait of Josephine, signed 'G. Periers', within a bleu celeste ground with gilt highlighted floral reserves, painted title and printed marks verso, 22.5cm diameter, with two similarly decorated cabinet plates, one painted with a portrait of Desse du Maine (Duchesse du Maine, née Bénédicte de Bourbon-Condé, wife of the Duke of Maine), the other with Marie Antoinette, each signed 'G. Periers', spurious painted entwined 'L' marks verso, each 22.5cm diameter (3)
Los 338
After Moritz Michael Daffinger (Austrian, 1790-1849)Half length portrait of the Princess Lichtenstein,Watercolour on ivory,Inscribed 'Daffinger' to right hand edge,In pierced brass rectangular glazed frame,The miniature 8.5cm x 6.5cm, the frame 10cm x 8cm Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: HWGRHVQQ
Los 692
A Sevres porcelain cabinet plate, mid 19th century circa 1870, outside decorated with a bust-length portrait of Louis XVI, within a bleu celeste ground with gilt highlighted floral reserves, painted and printed marks verso, 24.5cm diameter (second quality), with a further Sevres cabinet plate painted with a half length portrait of the Dauphin, within a bleu celeste ground with gilt highlighted floral reserves, painted and printed marks verso, 24.5cm diameter (2) (at fault)
Los 518
Follower of Francois Boucher (French, 1703–1770),Portrait of a young lady holding a basket of flowers,Oil on canvas,59cm x 45cm,Unsigned,Framed CONDITION REPORT:The paint surface shows areas of fine craquelure in the lighter areas, most noticeable in the flesh tones. Although the canvas does not appear to have been re-lined, examination under UV shows evidence of restoration, including re-touching to the shoulder. The frame appears to be structurally sound. The moulded details show some hairline cracks, the odd small loss to the moulded details and minor wear to the surface finish. Frame dimensions: approximately 78cm x 65cm
Los 337
English school (late 18th century),A half length portrait miniature depicting a child in white dress with blue ribbon,Watercolour on ivory,Unsigned,In oval brass glazed frame with pendant bale,The miniature 8cm x 6.5cm, the frame 8.7cm x 7cm,With an unframed watercolour on ivory portrait miniature depicting a young lady with a rose, 8.5cm x 6.5cm (2) Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: JZRA24SW & NE82DLTX CONDITION REPORT:Child miniature: The piece is framed under glass and has not been removed for inspection. The ivory panel panel shows no obvious evidence of damage or warping. The painted surface shows no obvious damage and the colours remain strong, although they are likely to have faded somewhat over time. The frame shows wear and tarnishing throughout, particularly to the back.Young lady miniature: The piece is unframed with loose glass that matches the size and shape of the ivory panel. The ivory panel has paper applied verso. The ivory panel panel shows no obvious evidence of damage or warping. The painted surface shows some surface wear (particularly to the edges) but no obvious damage. The colours remain strong, although they are likely to have faded somewhat over time. The glass shows some paint residue and dirt build-up around the edges.
Los 340
English school (early 20th century),A portrait miniature depicting a young lady dressed in purple with a white collar and green ribbon, possibly signalling support for the Suffragette movement,Watercolour on ivory,Unsigned,In double sided silver frame with pendant bale, Charles & Walter Padgett, London 1903,The miniature 6.5cm x 5cm, the frame 7cm x 5.7cm,In associated case Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: BUTHDQCZ
Los 339
English school (mid 19th century),A bust length portrait miniature depicting a young gentleman in blush cravat,Watercolour on ivory,Unsigned,In glazed ebonised wood frame,The miniature 8.5cm x 7.cm, the frame 14cm x 11.5cm overall Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: 873P7HMJ
Los 693
A Sevres Chateau Des Tuileries porcelain cabinet plate, circa 1844, the well painted with a bust length portrait of a courtier with lace collar and black lace bonnet, probably Maria Leczinska, wife of Louis XV, within a bleu celeste ground with gilt highlighted floral reserves, painted and printed marks verso, 23cm diameter
Los 332
English school (late 18th or early 19th century),A bust length portrait miniature depicting a young lady with a rose,Watercolour on ivory,Unsigned,In ornate brass glazed frame with relief cast flower basket and floral swags,The miniature 9.5cm x 7.5cm, the frame 22cm x 17cm overall Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: KXY7L95S CONDITION REPORT:The portrait shows no obvious damage to the paint surface or the ivory panel. The frame appears to have been over-sprayed at some point in the past, leaving some residue on the fabric mount. Some areas of the frame moulding show a build-up of polish or dirt.
Los 407A
WORLD WAR I INTEREST: A collection of WW1 memorabilia to include a trench art 1916 4.5" Howitzer shell modelled as a tobacco jar, further trench art pieces, a selection of sweetheart badges, a victory medal to 15813 Pte. Capper, dog tags, and a painted portrait pebble depicting an officer of the Royal Artillery in 1815 (painted 1970) (Qty)
Los 336
French school (18th century),A half length portrait miniature depicting a seated lady wearing a pink silk dress with bows,Watercolour on ivory,Unsigned,In oval ebonised wood glazed frame with ornate brass mount,The miniature 5cm x 4cm, the frame 9cm x 8cm Please note this lot is offered for sale in accordance with the Ivory Act 2018, Trevanion Auctioneers & Valuers LLP have applied for an exemption licence for the ivory in this lot Ref: MVHB2Y9E
Los 438
Four art reference works, comprising: an exhibition catalogue for ANDY WARHOL - FROM A TO B AND BACK AGAIN, held at the Whitney Museum Of American Art from November 2018 to March 2019, illustrated cloth boards, DJ with applied photographic portrait, in original exhibition tote bag; MOVING PICTURES - THE ART OF ROBERT HEINDEL, inscribed and signed by Heindel to half title, Brushfire Publishing 2003; Baron (Wendy), SICKERT PAINTINGS AND DRAWINGS, Yale University Press, London 2006; and Guillem (Sylvie), INVITATION, Oberon Books (at fault) (4)
Los 333
English school (late 18th century), An oval bust length portrait silhouette in the manner of Isabella Beetham (1753-1825) depicting a gentleman facing sinister within a verre eglomise geometric border, Ink on reverse painted convex glass, Unsigned, Framed, 16cm x 13.5cm overall CONDITION REPORT:The piece shows some wear to the fine detail of the silhouette, and some deterioration to the edges of the verre eglomise. The convex glass does not appear to fit perfectly into the frame, the edge of the glass being visible around the top edge of the reveal. The buff board behind the silhouette shows age-related discolouration. The backing paper shows some tearing. Lifting the backing paper shows no evidence of a maker's label beneath, although there do appear to be some indistinct letters inscribed in ink. The edge of the frame shows an indistinct incised inscription. The frame show evidence of historic woodworm activity.
Los 421
An archive of photographic and printed material pertaining to the Trade Union movement in Glasgow in the early years of the 20th century, including many press photographs of strike action and the deployment of troops in 1919, portrait photographs of John MacLean and Emmanuel "Manny" Shinwell, pamphlets concerning Maclean's 1923 election campaign, four various issues of The Plebs Magazine, a copy of the Rules of the General Federation of Trade Unions 1908 etc. Condition Report:Available upon request
Los 396
A mixed collectors' lot, comprising Birmingham silver cheroot holder, Mauchline ware cradle (West Bay, Dunoon), cased Victorian Daguerreotype photographic portrait of a mother and child, assorted vintage cigarette lighters, pewter shoe-shaped pin cushions etc., all contained within a Scotts of Old Bond Street hatbox Condition Report:Available upon request
Los 114
A pair of German silver vasesSimon Rosenau, Hanau, stamped 800 and with crown and crescent mark, late 19th / early 20th centuryTapering cylindrical form, short neck with a band a scrolls below a reed and ribbon rim, the sides embossed with bow tied ribbons above portrait roundels and husk swags, height 25.8cm, weight 33.8oz. (2)For further information on this lot please visit Bonhams.com
Los 54
An early 19th century German gold, enamelled and pearl-set portrait boxby the unidentified maker FJ, Hanau circa 1800 Rectangular with canted corners, the hinged cover set with a miniature on ivory of a be-wigged lady, under glass on a translucent blue enamel ground with pearl border, length 8.5cm, weight total 172.5gms.Footnotes:The item within this lot containing ivory has been registered in accordance with the Ivory Act (Section 10). With non-transferable reference (DEQSYXVM).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Los 2
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE WEST OF IRELAND - 1928 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 12cm x 14.5cm (4.75in x 5.75in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 9
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 13
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) MEDITATION Signed lower left, conté and charcoal Dimensions:32.5cm x 26cm (12.75in x 10.25in) Provenance:Provenance: Private British collection Note: Exhibited: Sheffield City Art Galleries, 'A Dream of Fair Women,' 13 December - 1 February 1987, cat. no. 55. Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 8
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) UNA - 1929 Etching, signed in pencil to margin Dimensions:plate size 22cm x 16cm (8.75in x 6.25in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 21
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) YOUNG WOMANHOOD - 1931 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23cm x 17.5cm (9in x 7in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Los 1
§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) CYPRIANO - 1927 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 16cm x 9.25cm (6.25in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Loading...-
283287 Los(e)/Seite