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283284 Los(e)/Seite
Los 39
Cnut (1016-1035), Penny, pointed helmet type, York, moneyer Sunulf, helmeted bust left holding sceptre, +CNVT: REX AN, rev. short voided cross, pellets in broken annulets in quarters, +SVNOLF M-O EOF., 1.01g, (S.1158, N.787). Local style portrait, toned and good very fine Provenance: Purchased Spink, 11th June 2004
Los 68
Stephen (1135-1154) Penny cross moline ('Watford') type Stamford moneyer Lefsi crowned bust right holding sceptre rev. cross moline with fleur in each angle +LEFSI. ON. STAN 1.31g (S.1278 N.873). Scratch at 7 o'clock and into portrait otherwise an attractive example overall very fine Provenance: Ex. Jon Newman Lanes collection
![Coenwulf (796-821) Penny portrait type Canterbury group III moneyer Dealla bust right without diadem [+C]OENVVLF REX rev. cro](https://cdn.globalauctionplatform.com/20e48e40-fa06-43b2-b76c-b05e00ce148a/34c45a18-9f83-4100-b584-b0610143584e/468x382.png)
Los 459
An early 20th century oval glazed portrait miniature, depicting a bust length portrait of a young girl half facing right, with blond wavy hair, wearing a pale chemise and string of pearls, signed, possibly ‘I J’, watercolour on ivory, mounted in oval gold and blue guilloché enamelled frame, glazed verso, on suspensory loop, length (excluding loop) 7.6cm. £500-£700 --- Ivory Submission Reference XK3ZJ24H. Condition Report Enamel in very good condition, gold mount unmarked. Weight 44.8gm.
Los 189A
Assorted collectables including a mid-century silver-plated Guernsey cream jug and cover, engraved with initials and dated 10th August 1999, two probably Chinese white metal miniature models of rickshaws, stamped with Chinese characters, an armorial seal for the Chevalier De Molt, a reproduction Art Nouveau-style gilt metal foliate brooch, a pearl brewery buckle, a carved wood tribal figure, two shaped oval tribal bowls one with bone inlay to handles and assorted late 19th and early 20th century portrait photographs
Los 1
Bernard Joseph Artigue, French 1859-1936 - Portrait of a girl in profile; oil on canvas, signed lower left 'B. Artique', 48.5 x 40 cm (unframed)Note:Artigue was a pupil of Jean-Paul Laurens (1838-1921), one of the last French Academic artists. Unlike like his teacher, Artigue turned to pointillism like his friend Henri-Jean Guillaume "Henri" Martin (1860-1943). His mastery of light was inspired by the colours of his home in the South of France.
Los 10
Dame Ethel Walker, British 1861-1951 - Portrait of a Lady in front of a piano (with 'Donkeys on the Beach in Robin Hood's Bay' on the reverse); oil on panel, 33.3 x 24.7 cm Provenance: Christie's, London, 20th Century British Art, 30th June 2005, lot 52; private collection, purchased from the above Note: this is classic example of Walker's style, with its subtle gradations of chalky paint and quiet, almost breathless atmosphere. The intimate handling of the scene and the gentle contrast between fluid paint and bare contract are reminiscent of French artists such as Edouard Vuillard. Other works on this theme are in public collections including the Government Art Collection, Manchester Art Gallery and The Courtauld, London. The artist exhibited widely in the UK during her lifetime and was the subject of a major retrospective at the Tate in 1951, alongside her contemporaries Gwen John and Frances Hodgkins and organised by John Rothenstein. More recently, her work was central to Tate Britain's 'Queer British Art 1861-1967' in 2017. She will be the subject of a Spotlight exhibition at Tate Britain later in 2023.
Los 139
Robert Colquhoun, British 1914-1962 - Head of Boy (or possibly 'Kitchen-Boy - Brescia'), c.1950; oil on canvas, signed upper left 'Colquhoun', 40.7 x 30.7 cm (unframed) (ARR) Provenance: with The Lefevre Gallery, London (partial label attached to the reverse); private collection, purchased directly from the Artist; private collection, gifted by the previous owner Exhibited: possibly The Lefevre Gallery, London, 'Recent Paintings by Robert Colquhoun', December 1950, cat. no.3 Literature: possibly Roger Bristow, 'The Last Bohemians, The Two Roberts Colquhoun and MacBryde', Sansom & Company, Bristol, 2010, p.368 Note: This extraordinary image demonstrates the power and tension at the heart of Robert Colquhoun's work, marking his importance alongside his contemporaries Lucien Freud and Francis Bacon in Post-War British painting. Drawing on his own personal experience and understanding of humanity, here Colquhoun has created an image that is at once statuesque and fragile, powerful yet vulnerable. Colquhoun would often focus on a pair or a single figure with a prop, but here the figure is alone and cropped so only the head is in focus. Other similar works are 'Head, study for Three Figures in a Farm Yard, 1953' (private collection), 'Weeping Woman, 1948' (The Dick Institute) and 'Head Study, 1953' (The Fleming Collection). This creates an increased intensity, even further focused in this work by how the artist has depicted his sitter staring directly into the eye of the viewing. The level of the two eyes distorted, it is easy to read his own experience as a queer man living in an oppressive society in this defiant look. The work is in many ways comparable to contemporaneous works such as Freud's 'Man's Head (Self Portrait III), 1963' (National Portrait Gallery, London) and Bacon's 'Head of Man, 1960' (Sainsbury Centre for Visual Art) and 'Study for Portrait II (after the Life Mask of William Blake), 1955' (Tate) in its visual contradictions; the carefully composed form giving way way to a fiery and manipulated interior. However, whereas Bacon would utilise imagery derived from photographic and found material, for Colquhoun the focus is entirely the figure from his memory. Colquhoun would return more prominently to singular isolated figures in his final series of monotypes that were exhibited posthumously at the Museum Street Galleries in 1962. A number of these works are now in the British Museum. The artist's painterly style was also strongly influenced by his friend and neighbour in Soho during the 1940s, Polish artist Jankel Adler. Adler had travelled to Glasgow, where Colquhoun studied, as a refugee during the war and became a central figure of European modernism in Britain. In London, Colquhoun would develop from Adler a post-Cubist approach to the human form, breaking down features to create a heightened sense of expression. He also learnt from Adler a highly textural approach to painting, seen here in the contrast between the flattened backdrop, the impasto-ed surface of the face and the slickly sensuous linear brushwork. A similar handling of form can be seen in 'Man with a Donkey Saddle, 1950' (Middlesburgh Institute of Modern Art). Colquhoun was a central figure in the artistic world of war-time London, alongside his life-partner Robert MacBryde and their friends John Craxton and John Minton. Colquhoun and MacBryde (or 'The Two Roberts' as they were called) shot to fame under the patronage of Peter Watson, with important exhibitions of their work held at The Lefevre Gallery, The Whitechapel Gallery and numerous international mixed exhibitions. Most recently their work was the subject of a major retrospective at The National Galleries of Scotland in 2014-15. During the 1950s Colquhoun and MacBryde worked in theatre design; the original owner of this work was a friend and important figure in British theatre, television and film. This work was most likely made around 1950, following Coluqhoun's trip to Italy with the poet George Barker, and was possibly featured in Colquhoun's exhibition with Lefevre Gallery that year. The Two Roberts were at this time living between their London studio and Lewes, at the invitation of the sister's Frances Byng-Stamper and Caroline Byng Lucas, who ran a gallery there and later established the Miller's Press, which would produce a number of the pair's prints. The artist's tragically short career and the scarcity of his work on the market marks this as a highly important work of the Post-War era. With thanks to Davy Brown, author of ‘Colquhoun’s Monotypes’ for his assistance in the cataloguing of this work.
Los 141
John Craxton RA, British 1922-2009 - Samiotissa, 1982; pencil and chalk on paper signed lower left 'Craxton', 58.3 x 45.4 cm (ARR) Provenance: Christopher Hull Gallery, London (according to the label attached to the reverse of the frame); Charles Goodman, purchased in 1985; private collection Exhibited: Christopher Hull Gallery, London, 'Portraits 1942-1992', no.18 (according to the label attached to the reverse of the frame) Note: This charming portrait displays Craxton’s observational expertise and subtlety of technique. It originates from the beginning of a series of exhibitions with Christopher Hull gallery between 1982 and 1993. Early in his career Craxton shared a studio in London with Lucien Freud and developed close ties and friendships with many other notable British artists such as Graham Sutherland, Robert Colquhoun and John Piper. As soon as possible after the war, Craxton set off for the Mediterranean where he developed a strong fascination with Arcadian life, fuelling his art for much of his career. Craxton became a Royal Academician in 1993 and his works are held in the Tate and V&A collections among many others. His work was recently the subject of major touring show launched at the Benaki Museum in 2022. Pallant House Gallery is also showing a retrospective ‘John Craxton: A Modern Odyssey’ beginning October 2023.
Los 15
Wyndham Lewis, British 1882-1957 - Drawing of David Low, 1932; pencil on paper, signed, dated and titled lower left 'Wyndham Lewis 1932 Drawing of David Low', 27 x 19.3 cm (ARR) Provenance: private collection from 1957 (according to previous cataloguing of the work); Christie's, London, 7th March 1997, lot 18; private collection; Woolley & Wallis, Salisbury, 29th November 2017, lot 19; private collection, purchased from the above Literature: Walter Michel, 'Wyndham Lewis: Paintings and Drawings', Thames & Hudson, London, plate 103 no.773 Note: this portrait was originally produced for the portfolio 'Thirty Personalities and a Self-Portrait, 1932', which also included images of Augustus John, G. K. Chesterton and Constant Lambert. Sir David Low (1891-1963) was a highly celebrated political cartoonist and satirist and Lewis was a great admirer of his work, reproducing an example of his work 'Rude Assignment' in his 1950 'Autobiography'. Low produced a cartoon featuring Wyndham Lewis in 1938 on the occasion of the Royal Academy’s rejection of his portrait of T. S. Eliot and the subsequent resignation of Augustus John. With thanks to Paul Edwards, Chairman, The Wyndham Lewis Memorial Trust for his assistance in the cataloguing of this work.
Los 38
Jacob Krämer, Ukrainian/British 1892-1962 - Harbour scene (with 'A Portrait of a Gentleman' on the reverse); oil on canvas laid down on board, signed twice lower right 'Krämer,', 50 x 60.5 cm (ARR) Note: Krämer was part of the vital group of Jewish and émigré artists working in London in the early decades of the 20th century, that included figures such as David Bomberg, Mark Gertler and Bernard Meninsky, and was involved with the Vorticist artists, led by Wyndham Lewis. This interesting work demonstrates two different sides of Kramer's work; the quieter harbour scene demonstrating his post-impressionist use of flattened colour and careful approach to form, and then the more austere portrait on the reverse of the board. This portrait has the monumentality and graphic approach more typical of central European art, such as Käthe Kollwitz and Christian Schad.
Los 411
Andy Yoder, American b.1957 - Martha, 2007; lead crystal, 61 x 48 x 40.5 cm (VAT charged on hammer price) Provenance: Irena Hochman, New York; acquired from the above by the present owner in 2008 Exhibition: The Saatchi Gallery, London, 'Shape of Things to Come: New Sculpture', 2009 Literature:Jonathan Cape, 'Shape of Things to Come: New Sculpture', Saatchi Gallery, London, 2009, p.668, (illus.)Note:the present lot is from a series of three portrait busts of Donald Trump, Martha Stewart, and Walmart founder Sam Walton, each formed as a piggy bank. The Donald Trump bust sold at Christie's, London for £4,000 (including premium) in 2018.
Los 6
Augustus John OM RA, British 1878-1961 - Portrait of a Woman, 1925; red chalk on paper, signed and dated centre right 'John 1925', 47.8 x 34 cm (ARR) Provenance: Stanley and Audrey Burton; private collection, gifted by the above c.2000 and thence by descent Note: Stanley and Aubrey Burton were philanthropists and there is a gallery and theatre in Leeds named after the couple.
Los 7
Augustus John OM RA, British 1878-1961 - Portrait of Caroline Pym, 1904; red chalk on paper, signed lower right 'John', 35.2 x 25 cm (ARR) Provenance: Caroline Pym and thence by descent Note: the work is accompanied by a copy of a handwritten letter from the artist to Miss Caroline Pym which reads 'Dear Miss Pym - I beg you to excuse me tonight. I shall be back on Wednesday and I hope will see you then to continue the drawing that evening if possible. Yours Augustus John.' Caroline Pym was a relative of the artist Roland Pym.
Los 75
Bror Kronstrand, Swedish 1875–1950 - Lord Northcliffe, The Napoleon of the Press (from 'The Bystander' 15th March 1905'), 1905; ink, wash, gouache and pencil on paper, signed lower right 'B Kronstrand, 34.8 x 23.7 cm Provenance: The Parker Gallery, London (according to the label attached to the reverse of the frame); Sir Geoffrey Harmsworth Collection (according to the label attached to the reverse of the frame); private collection Note: Kronstrand was a highly regarded portrait artist of society figures in Sweden, Britain and the USA, including Queen Alexandria and the then President's wife, Helen Louise Taft. The artist lived in Britain from 1902-10, working first in Newlyn with Stanhope Forbes and later for The Bystander, for which this work was composed. Lord Northcliffe (Alfred Charles William Harmsworth, 1st Viscount Northcliffe 1865–1922) was a newspaper and publishing magnate, owning the Daily Mail and the Daily Mirror.
Los 83
Sir Cecil Beaton CBE, British 1904–1980 - Portrait of Henrietta Garnett; pencil on paper, bears library stamp lower right 'Cecil Beaton from Miss E Hose', 24.3 x 17 cm (ARR) Provenance: Miss Eileen Hose; probably Christie's, London, The Estate of the Late Miss Eileen Hose, Stage and Costume Designs, Fashion Drawings, Landscapes, Portraits and Sketch-Books by Sir Cecil Beaton, C.B.E., 21 June 1988; Phyllis Gorlick King, London (according to the label attached to the reverse of the frame); private collection Note: Henrietta Garnett was a writer and the daughter of David and Angelica Garnett, the daughter of Vanessa Bell and Duncan Grant. The present work is stylistically similar to a portrait made by Duncan Grant of Henrietta c.1960 that most recently sold at Christie's in 2018. Eileen Hose was Beaton's secretary and inherited many of his work upon his death. She bequeathed a large number of items to museums including the V & A, London.
Los 89
Kurt Schwitters, German 1887-1948 - Portrait of a woman, 1945; oil on panel, signed with initials lower right 'KS 45' 51 x 45 cmProvenance:Estate of Geoffrey Roome, who has works in the collection of the British Museum;private collection, UKNote:the unidentified sitter is probably the wife of the man in portrait CR No. 3173a due to their common provenance.This work has been added to the Kurt Schwitters Catalogue raisonné, published by Sprengel Museum Hannover, cat. no.3173b.
Los 90
Kurt Schwitters, German 1887-1948 - Portrait of a gentleman; oil on panel, partially signed with initials, 61.5 x 40.5 cm Provenance: Estate of Geoffrey Roome, who has works in the collection of the British Museum; private collection, UKNote: the unidentified sitter is probably the husband of the woman in portrait CR No. 3173b due to their common provenance.This work has been added to the Kurt Schwitters Catalogue raisonné, published by Sprengel Museum Hannover, cat. no.3173a
Los 1056
English School, early 20th c – Portrait of a Gentleman said to be a Member of the Pankhurst Family, bust length in a grey suit, signed with initials E S, oil on canvas, 68 x 55cm Varnish dirty, support hanging somewhat unevenly on the stretchers, original unrestored condition, frame dirty with some loss to mouldings
Los 1089
English Equestrian School, early 20th c - Portrait of a Saddled Hunter in a Loose Box, oil on canvas, 51 x 61cm, unframed Old patched repair to a small hole near centre, minor abrasions from the frame since removed, canvas supplied by Percy Young Slade School Fine Art Depot 137 Gower Street London and his stamp to the stretcher
Los 1117
John Sell Cotman (1782-1842) - Portrait of John Joseph Cotman, signed, black and white chalk on coloured paper, 38 x 28cm and a head study of Helen Cotman by her husband John Joseph Cotman (recto) Study of a Young Woman (verso), signed and dated Mch 1840, black and white chalk on coloured paper, 29 x 24.5cm, unframed (2) Provenance: The artist's son John Joseph Cotman (1814-1878); John Sell Edmund Cotman (1848-1902); Harold Cotman (1873-1930); Duncan Cotman (1908-1974); thence by descent to the present vendor Mounted on corners only, the first slightly spotted, the second with minor creases and old mount damage to the upper corners
Los 1125
John Sell Cotman (1782-1842) - Portrait of a Man, possibly the artist, signed, ink and watercolour, 20 x 17cm, unframed Provenance: The artist's son John Joseph Cotman (1814-1878); John Sell Edmund Cotman (1848-1902); Harold Cotman (1873-1930); Duncan Cotman (1908-1974); thence by descent to the present vendor Oval mount stain and corner mounts well clear of portrait
Los 1137
Cotman (John Sell), The Architectural Antiquities of Normandy, London: Printed for John and Arthur Arch, Yarmouth: J.S. Cotman, 1821, defective, 25 copperplate etchings only, various divisional titles, portions of text, etc., disbound, earlier 17th c Dutch vellum binding, gilt panelled, blocked and tooled with scrolling foliage, worn, folio (53 x 36.5cm), with [Mary Dawson Turner (1774-1850)], after John Scarlett Davis (1804-1845), John Sell Cotman, author of Antiquities &c., portrait, etching, s.l., s.n., 1818, 31.5 x 23.5cm, three topographical named-view prints by Cotman, lithographed by Vincent Brooks, etc., (6) The folio defective as catalogued and sold as a collection of plates not subject to return; its binding with wear and worn losses. The mixed media prints unexamined our of their respective frames &/or mounts, some foxing, other faults apparent from image.
![Photography. Approx. 200 miscellanoeus photographs, late 19th c and later, including [India] the Deccan College 19t](https://cdn.globalauctionplatform.com/13e8b881-3b97-4762-8aea-b0690117e5ad/9405ee17-65b1-4ddf-adb8-b069013f38fe/468x382.jpg)
Los 1360
Photography. Approx. 200 miscellanoeus photographs, late 19th c and later, including [India] the Deccan College 19th Anniversary, Poona, 23rd March, 1910, a group portrait of its students, 26 x 37cm, mounted, two further Poona group photographs, a Victorian group portrait, the St. Cæcilia Musical Society 1886, taken by R.H. Lord of Cambridge, 29 x 38cm, mounted, 1930s royalty, informal and formal British Army battalion and regimental group portraits and snapshots, mixed dates, various, horse and craft transport, maritime and shipping, UK topography, etc., mixed sizes
Los 1375
Architectural Salvage. A stained glass oval portrait of John Wesley, the Methodist cleric, 19th/20th c, inscribed William C Langford, 30.5 x 26.5cm, ten further pieces of stained glass, mixed designs, shapes and sizes, (11) Wesley generally good condition, some light surface scratches and wear, its outer-border with stable cracks. The rest in mixed condition.
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283284 Los(e)/Seite