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283287 Los(e)/Seite
Los 978
Eric Robert Parker, gouache, portrait of a smartly dressed gentleman on a London street, signed Parker, 33 x 23cm, gilt framed (Eric Parker was a prolific British illustrator and comics artist, best known for his work illustrating the adventures of Sexton Blake in various periodicals). Provenance: From the family of the artist
Los 128
▴ Sir Jacob Epstein (1880-1959) First portrait of Kitty (with curls) bronze with a gold-brown patina, conceived in 1944 42cm wide 43cm deep 47cm high overall, on a composite stone base Provenance: Christie's, South Kensington, 'Modern British & Irish Art', 9 December 2015. Exhibited: London, Leicester Galleries, 'Girl with the Gardenias and Other Recent Sculpture by Jacob Epstein', May-June 1994, no. 3. Literature: E Silber, 'The Sculpture of Epstein', Oxford, 1986, p.195, no. 356, another cast illustrated. Kathleen Eleonora 'Kitty' Garman, later Kitty Epstein and Kitty Godley (27 August 1926 – 11 January 2011), was a British artist and muse. She was a model for her father Jacob Epstein, her first husband, Lucian Freud, and Andrew Tift. In 2004 she had her own show at the New Art Gallery, Walsall. Kitty was well practised at sitting patiently for her portrait. The eldest daughter of the American-born twentieth-century sculptor Jacob Epstein, and his lover, also called Kathleen Garman. She frequently modelled for her father and here she is in bronze, cast in 1944, with a thick tumble of curls and those ever wide-open eyes. Condition ReportDirt, dust and discolouration in the crevices and eye sockets.
Los 238
â–´ After Pablo PicassoImaginary Portraitlithograph in colours, signed and dated '69' in the plate, inscribed 'A' and numbered '20/250' in pencil l.l., with printer's blind stamp, from the portfolio 'Imaginary Portraits' (American edition)sheet 64 x 49cmCondition ReportFramed: 81 x 67cmNot viewed out of glazed frame but appears to be in good condition and in our opinion the colours are strong. The work has deckled edges and appears to have been stuck down to a sheet of card behind to give the impression that it is slightly floating in the frame. It has come away from the card it is mounted on at the bottom, and the sheet has a slight curve. Overall the work presents well and ready to hang.
Los 65
Edith Emerson (American, 1888-1981)Portrait of Miss Elinor McCaulleysigned and dated 'Edith/Emerson/1935' l.r., crayon and watercolour43 x 34cmExhibited: Pennsylvania Academy of Fine Arts, '33rd Annual Watercolour Exhibition', 1935.Edith Emerson was an American painter, muralist, illustrator, writer, curator and a pioneering champion of women in the Arts.Born in Ohio, Emerson studied at the Art Institute of Chicago and Pennsylvania Academy of Fine Arts where she attended Violet Oakley's Mural painting class. She won scholarships in 1914 and 1915 and travelled throughout Europe, received prizes for Mural painting and exhibited at the Pennsylvania Academy of Fine Arts between 1918-45. Emerson became Violet Oakley's devoted partner, living and working with the famed muralist for over 40 years. She was a visionary female curator of the Woodmere Art Museum from 1940-1978 and, following Violet Oakley's death in 1961, founded the Violet Oakley Memorial Foundation promoting her life partner's work.An oil version of this work is held by the Woodmere Art Museum, and a reproduction of the present work is held in the Pennsylvania Academy of Fine Arts Archive.Condition ReportFramed: 67 x 57cm. Time staining and discolouration to the paper. The green hues of the coat are possibly slightly faded. Not viewed out of glazed frame.
Los 84
â–´ Harold Speed (1872-1957)Portrait of a young girl in a red dress holding a toy rabbitsigned 'HAROLD SPEED' l.r., oil on canvas63.5 x 51cmCondition ReportFramed: 63.5 x 76cmSpots and speckles of light surface dirt. Rubbing to the edges with light surface scratches and abrasions in the upper right corner, please see additional condition images. The back of the canvas is boxed but it gives the impression that the work may have been relined. There are some wrinkles to the canvas and a very fine spread of craquelure throuhout out, however this is only visible on close inspection and when viewed standing back the work presents well. Examined under UV light there is no obvious retouching.
Los 66
James Bell Anderson (1886-1938)Portrait of a gentleman, half-length seated, in a suit and tiesigned and dated 'J B Anderson 1932' l.r., oil on canvas102.5 x 77cmCondition ReportFramed: 118 x 92cmExtensive craquelure with spots and speckles of surface dirt. The back of the canvas is boxed with board. Potential retouching to the face- eyebrows, nose and cheeks, as seen under UV light, to the eye it does not obviously present as retouching. Please refer to condition images.
Los 11
â–´ John Aldridge RA (1905-1983)'The Moors, Gt Bardfield'signed and dated 'John Aldridge/March 55' l.r., oil on canvas65 x 80cmThis lot includes a 'Great Bardfield Summer Exhibition, 8-17 July 1955' booklet in which the lot offered for sale is illustrated. 'The Art of Acquisition - Great Bardfield Artists' Houses', published by the Fry Art Gallery, Saffron Walden, 2015, is also included with the lot and this contains a photograph, on page 15, of John Aldridge with the work on an easel in his studio at 'The Place' in Great Bardfield during the 1950s.This painting is of 'The Moors' in Great Bardfield, one of Aldridge's favourite spots to paint. It is also a painting with one of the strongest provenance trails: having been reproduced in black and white in the booklet for the Great Bardfield Summer Exhibition in 1955, there is also a publicity photograph taken by Geoffrey Ireland (in the National Portrait Gallery) of John with this work on the easel.John was born in Woolwich into an upper-class military family. He was schooled at Uppingham, Rutland, before getting a scholarship to Oxford to study Literae Humaniores or 'Greats' at Corpus Christi College, where John Betjeman remembered him by the nickname 'Corpus Aesthete'. It was during his second year that John devoted himself to art and on leaving Oxford went to London.In London he moved in with his university friend, the poet, Norman Cameron, and became better acquainted with Robert Graves and Laura Riding, with Aldridge illustrating dust jackets for their books. In 1931, at the age of twenty-five, John was invited by Ben Nicholson to join and exhibit with the Seven and Five Society alongside Ben and other artists, including Henry Moore, Barbara Hepworth, Ivon Hitchens, Christopher Wood, Cedric Morris, Frances Hodgkins, Jessica Dismorr, David Jones, as well as Alfred Wallis. This was followed by many successful exhibitions at the Leicester Galleries and, in 1949, he became a teacher at the Slade School of Art, inspiring many other students to become professional artists.When John Aldridge moved to Great Bardfield in Essex in 1933, he had returned from Mallorca after staying with Robert Graves. The isolation of the island must have been an inspiration to have a simpler life than his time in London. When looking for a home, Cedric Morris had suggested the neighbouring village of Finchingfield as a 'beauty spot' and together with his lover (and later wife), Lucie, John found Place House, a farmhouse that had been considerably extended in the reign of Elizabeth I by one of her sergeants-at-law, William Bendlowes.In the village they formed a friendship with the artists Edward Bawden and Eric Ravilious. John later had an affair with Ravilious' wife, Tirzah Garwood. John lived in Great Bardfield until his death in 1983, having witnessed the influx of artists to the village in the 1940s and 50s, including Michael Rothenstein, Kenneth Rowntree, George Chapman, Stanley Clifford Smith, Walter Hoyle, Shelia Robinson and her husband, Bernard Cheese. It was also home to their children, the next generation of artists, such as Joanna and Richard Bawden and Chloe Cheese.In 1951, the Great Bardfield artists obtained a grant to open up their homes as exhibition venues as part of the regional events for the Festival of Britain. At such an exhibition the artists wouldn't have to pay galleries any fees and could keep all the money, being able to take commissions or to replace works as soon as they were sold. The event was such a success, it was repeated in 1954 and again in 1955, from where this painting was purchased.Aldridge's work is held in national collections all over the UK and he is championed by the Fry Art Gallery, Saffron Walden.He was elected an Associate of the Royal Academy (ARA) in 1954 and a Royal Academician (RA) in 1963. He married twice, Lucie Brown (née Saunders), 1941-1970, and Gretl Cameron (née Bajardi), 1970-1983.We are grateful to Robjn Cantus, of Inexpensive Progress, for his assistance with the above catalogue note.Condition ReportWell presented and ready to hang. Not examined under UV light but appears to be in good condition. For a full report please contact the department.
Los 129
â–´ Sir Jacob Epstein (1880-1959)Portrait of a young woman in profilesigned 'Jacob Epstein' and inscribed 'Studies of M... Stewart' verso, pencil29.5 x 24cmCondition ReportFramed: 44 x 39cmThe left and right edges are visible at the edge of the frame and appear to have been trimmed slightly unevenly. Cockling and creasing with light surface abrasions. There is a vertical fold running along the length of the work, 1cm in from the left edge . Small brown spots and speckles of staining with some discolouration to the paper in these areas, please see additional condition images. The pencil appears to be slightly soft in places. Not viewed out of glazed frame.
Los 82
â–´ Harold Speed (1872-1957)Portrait of a young woman, bust-length in profileoil on canvas54 x 38.5cmCondition ReportFramed: 67 x 52cmCraquelure and visible stretcher marks. Light surface dirt. When viewed under UV light the work is obscured by a thick layer of varnish which means it is not possible to see if there has been any restoration or retouching. The back of the canvas is boxed and is not visible.
Los 208
â–´ John Melville (1902-1986)Portrait of a lady seated on a chairsigned and dated 'John Melville, 1954' l.l., oil on canvas80 x 56.5cm Condition ReportFramed: 94 x 71cmNot viewed out of glazed frame or under UV light, but appears to be in good condition. For a full report please contact the department.
Los 67
â–´ Alfred Aaron Wolmark (Polish-British, 1877-1961)Portrait of Iris Williamssigned 'WOLMARK' l.l., oil on canvas76 x 50.5cmPainted c.1943 when the sitter, Iris Williams, was 16/17 years old.Provenance: Norman Sussman, the spouse of Iris Williams;Bonhams, Knightsbridge, 'Modern Pictures', 22 February 2005, lot 221.Condition ReportFramed: 87 x 62cmSome raised/ bumpy areas to the canvas in the upper left quarter which correspond to a 15 x 9cm patch repair to the reverse. Unexamined under UV light, for a full report please contact the department.
Los 68
â–´ Katherine Grant Hartnell (1886-1965)Portrait of a woman in redsigned 'K. Hartnell' l.r., oil on canvas76 x 64cmProvenance: With the New English Art Club. Condition ReportFramed: 92 x 78cmNot viewed out of glazed frame but appears to be in good overall condition. Unexamined under UV light, for a full report please contact the department.
Los 1099
Patrick George, British 1923-2016 - Young men in the hull of a ship; ink on paper, 20.2 x 28.7 cm: together with 9 works on paper by the same artist of similar size and smaller (10) (ARR) Note:George served in the Royal Navy during the Second World War, and later in the Far East until 1946. Based on the subject matter of the drawings, it is likely he created these works during his service.His works are in the collections of The Arts Council, National Portrait Gallery, Imperial War Museum and Tate Gallery.
Los 1089
Percy Horton, British 1897-1970 - Countryside scene (with 'Village scene' on the reverse); gouache on card with pencil on paper on the reverse, 37 x 60 cm: together with 4 other smaller works on paper by the same artist including 'Study after Holbein' and portrait and animal studies (unframed) (5) (ARR)
Los 353
PAPAL STATES, Death of Cardinal Consalvi, 1824, a bronze medal by G. Girometti, 54mm; Pius IX, Silver Jubilee, 1871, a bronze medal by C. de Villiers for Massonnet, 50mm; Holy Year, 1875, a uniface gilt white metal striking of the rev. of the medal by F. Langmann, 63mm; Pius XII, 1950, a white metal medal by Mistruzzi, 22mm; together with a uniface oval portrait of Julius Caesar in white plaster [5]. Very fine £80-£100
![Charles II, a copper cliché, unsigned [in the style of J. Roettier], armoured and draped bust right, 71mm, 51.46g. Good very](https://cdn.globalauctionplatform.com/ee0907bb-1f25-402c-9ffd-b06700d9ae41/b161d0a4-a4f0-42ce-916f-b07e0100ea91/468x382.jpg)
Los 82
Charles II, a copper cliché, unsigned [in the style of J. Roettier], armoured and draped bust right, 71mm, 51.46g. Good very fine, strong portrait £150-£200 --- Quite possibly some kind of trial, or copy, of the obverse of the Christ’s Hospital medal of 1673; the commencement of the legend c carolvs is unusual.
Los 137
British Victories, 1815, a tubular brass box medal by E. Thomason, lid inset with portrait medalet of Wellington, containing 21 brass medalets, each with winged Victory, revs. the battles named, each 16mm, tube 38 x 19mm (Eimer 84; BHM 888; E 1076) [Lot]. Tube good very fine, medalets generally extremely fine with some duplication £100-£150
Los 14
Queen Anne, undated, a cast uniface silver plaque, by J. O’Brisset, crowned bust left, ornately draped and cuirassed, signed ob on shoulder, field stippled, 70 x 50mm (Farquhar VII, p.58; cf. MI II, 299/117). Good very fine and very rare £400-£600 --- Provenance: bt Baldwin Based on the busts by John Croker, the portrait of Anne in majesty is essentially a piece of anti-Jacobite propaganda.
Los 183
Victoria, Golden Jubilee, 1887, a uniface trial striking in bronze by Sir J.E. Boehm, bust of Victoria left wearing small crown, victoria d g regina et imperatrix, signed j.e. boehm on truncation, 120mm (cf. Dyer and Stocker pl. 2, 16). About extremely fine and presumably extremely rare; mounted on maroon velvet in a contemporary glazed gilt wooden frame; the paper on the reverse inscribed ‘A bronze Medallion Modelle[d] by the late Sir J. Edgar Boehm Bart R.A., Sculptor [in] Ordinary to the Queen’ £600-£800 --- The drapery, font and signature are all different from the adopted design for the Royal Mint medallions and different again from the coinage. The nose is more aquiline, the veil and dress much less ornate, and the signature engraved with Boehm written in full. The lettering is larger and from a slightly different font, perhaps reminiscent of contemporary issues from the Berlin mint. Both the coinage and the medallions issued in 1887 show a more elaborate handling of the portrait, perhaps at the request of the queen or at the instigation of William Wyon who prepared the dies for the final versions. A replacement for the young head coinage was first mooted as early as 1879. A favourite of Her Majesty and acclaimed monumental sculptor, Boehm was given the task. He produced various portraits in the early 1880s, none of them adopted. Dyer and Stocker suggest that the present effort probably dates c. 1885-6. (BNJ 54 [1984], pp.274-288). On its release in 1887, the new portrait did not meet with public approval. This disapproval quickly turned to ridicule which in turn gave way to xenophobia for the Austro-Hungarian who until then had been the toast of royalty, aristocracy and Victorian high society alike. It may be that such a spectacular fall from favour contributed to Boehm’s premature death in December 1890 at the age of 56.
Los 158
THE FIELD MARSHAL SIR PATRICK GRANT (1804 – 1895) DESK SEAL A LATE VICTORIAN NOVELTY LABRADORITE, GARNET AND GOLD DESK SEAL, CIRCA 1860 The carved labradorite owl with cabochon garnet eyes in gold collet mounts, the owl resting on a labradorite socle base which forms the matrix, engraved with coat of arms within laurel garland suspending Grand Cross of the Order of the Bath Dimensions:Length:12.2cm, matrix: 3.8cm Note: Note: Field Marshal Sir Patrick Grant, GCB GCMG (1804-1895), was born in Inverness-shire in Scotland, into a military family, with his father assigned to the 97th Regiment of Foot. Sir Patrick Grant's own military career began in India and via various promotions within the East India Company, by 1854 Grant was Major-General. By 1861, he had returned to England with the honour of the Knight Grand Cross of the Order of the Bath, which is seen depicted on this seal and dates it to the early 1860s. Grant took the post of Governor of Malta in 1867, which was followed by his promotion to Field Marshal in 1883 and the further honour of Knight Grand Cross of the Order of St. Michael and St. George in 1868. A highly decorated member of the British Army, The National Portrait Gallery have in their collection an oil on canvas illustrating Grant in full Field-Marshal's uniform of post-1880, wearing the sash, star and cross of the Bath, and the star of the order of St George and St Michael (NPG 1454). A Governor of the Royal Hospital Chelsea until his death, Grant's link and service to the British Army could be seen throughout his life.
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283287 Los(e)/Seite