Korch, Claus -- Bildnis eines JünglingsBronze mit dunkelbrauner Patina. 1975.33,5 x 22 x 15 cm. Verso am linken Arm unten signiert "Korch" und datiert. Das Bildnis wurde 1984 von der Kunstgießerei Marc Krepp, Weißensee, im Auftrag von Claus Korch gegossen. Schönes, fein und sensibel ausgearbeitetes Portrait eines Jungen. "Korch, der Bildhauer, hingegen seit langem darauf aus, das menschliche Antlitz wiederzugeben, bevorzugt ebenfalls die kleine Form. Vor allem Kinderporträts, hauptsächlich Köpfe von stillen, in sich versunkenen Mädchen führt er ohne eine betont eigene Gestaltungsweise zu entwickeln, in bronzenen, beinahe naturalistischen Büsten vor." (Zuneigung zum Gegenstand, in: Der Tagesspiegel, Berlin, 15.2.1979). Prachtvoller Guss mit lebendiger, differenzierter Patina. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
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A Georgian white metal brooch with central portrait miniature depicting a cherub within a yellow metal mount with seed pearls and paste (later pin), 3cms high.Condition ReportThe setting is very dirty and has some damage to the top with a stone missing. The pin is a later addition, no hallmarks so unsure of carat.
Linnell, John -- Studienblatt mit zwei Entwürfen für einen Schäfer, der sich auf einen Stab stützt.Schwarze und weiße Kreide auf blaugrünem Velin. 26,9 x 35 cm. In brauner Feder unten links bezeichnet und datiert "J. Linnell Ciren.r place 1820".John Linnells Vater war Schnitzer und Vergolder. Bereits im Alter von zehn Jahren zeichnete und verkaufte er Kreide- und Bleistiftporträts. Sein erster Lehrer war Benjamin West. 1805 wurde er zum Studium an der Royal Academy zugelassen, wo er Medaillen fürs Zeichnen, Modellieren und die Bildhauerei erhielt. Außerdem wurde er zum Stecher ausgebildet. 1833 veröffentlichte er eine Reihe von Umrissen von Michelangelos Fresken in der Sixtinischen Kapelle. Zunächst lebte er hauptsächlich von Miniaturmalerei und der Porträtmalerei, später konzentrierte er sich dann auf die englische Landschaft, die er voll echtem poetischem Gefühl und mit einer reichen und leuchtenden Farbgebung gestaltete, und mit denen er hohe Preise erzielen konnte. Linnell war einer der besten Freunde von William Blake und gab ihm dessen größte Aufträge - Zeichnungen und Stiche von The Inventions to the Book of Job und einen Illustrationsauftrag zu Dante Aligheri. Beigegeben von John Linnell das Porträt des Reverend Thomas. Pinsel in Schwarz und Braun über Bleistift, 23,9 x 17,9 cm. Unten rechts in Bleistift signiert "J. Linnell", außerhalb der Darstellung am rechten oberen Rand bezeichnet "Revd F. Thomas", unten links "done for Baptist Magazin". Provenienz: Der Sohn des Künstlers, James Thomas Linnell (1826-1905); seine Enkelin Mrs. G.C. Bollard; Auktion Sotheby's London, 13. November 1980, Teil von Los Nr. 2.; William Drummond, London; dort 1981 erworben von Charles Ryskamp; seine Benefiz-Auktion zugunsten der Princeton University, Sotheby's, New York, 25. Januar 2011, Los 71; Privatsammlung München. Ausstellungen: London, William Drummond, Covent Garden Gallery, Portrait, Figure & Genre Watercolours and Drawings: From Kneller to Epstein, 1981; Pierpont Morgan Library, 2001, Kat.Nr. 89; Varieties of Romantic Experience: Drawings from the Collection of Charles Ryskamp, Yale Center for British Art, 2010, Kat.Nr. 152.Provenienz: Stephen Somerville, London.Sammlung Charles Ryskamp, New York.Seine Benefiz-Auktion zugunsten der Princeton University, Sotheby's, New York, 25. Januar 2011, Los 71.Privatsammlung München.Ausstellung: Pierpont Morgan Library, New York 2001, Kat. Nr. 90.Varieties of Romantic Experience: Drawings from the Collection of Charles Ryskamp, Yale Center for British Art, New Haven 2010, Kat. Nr. 141. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
SCOTTISH FOOTBALL MISCELLANY Including Scottish Daily Express cards from the 1950's, 16 team groups, some worn and 10 players, 44 Evening Citizen Autograph Club player portrait photo cards from the 1950's with pin holes at the top and bottom, handbooks for Partick Thistle 1967/8 and 1969/70 and Motherwell 1969/70 and 2 programmes for Third Lanark v Motherwell 61/2, scxore on the cover and scores entered and Cumbernauld United v Petershill 71/2. Fair
Anderle, Jiří -- Il SorrisoFarbige Kaltnadel mit Mezzotinto und Roulette auf Hahnemühle-Velin. Um 1978.92,3 x 63,5 cm (106,3 x 79 cm).Signiert "Anderle". Auflage 70 num. Ex.Spangenberg 142.Jiri Anderles Radierung "Il Sorriso" entstand innerhalb seines Zyklus "Portraits in the Passage of Time". Das Motiv entstammt einem Portrait des italienischen Renaissancekünstlers Alesso Baldovinetti aus der Mitte des 15. Jahrhunderts. Ihre Figur wird überlagert und wiederholt, wodurch eine Bewegungsunschärfe entsteht. Ihr Mund kräuselt sich von links nach rechts allmählich zu einem Lächeln. So präsentiert Anderle nicht nur einen einzelnen Moment, sondern eine ganze Handlung: Vergangenheit und Gegenwart, dargestellt auf einer Bildebene, und er versetzt den Betrachter in einen quasi traumartigen Raum. Prachtvoller, klarer und differenzierter Druck der nahezu formatfüllenden, großformatigen Darstellung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Rothaug, Alexander -- Frauenbildnisse3 Zeichnungen. Bleistift, weiß gehöht, auf grauem Velin. Bis 23,5 x 33 cm.Mit sicheren Binnenschraffuren und feinen Konturierungen modelliert Rothaug die drei Bildnisse junger Frauen. Pinselproben im Rand beleben die sensiblen Darstellungen. Bei einer der Zeichnungen handelt es sich wohl um ein Portrait seiner Ehefrau Ottilie, möglicherweise entstanden als Vorstudie zu Rothaugs Gemälde "Dame mit Wiesenblumen" (Galerie Bassenge, Auktion 119, 3.6.2022, Lot 6913). Provenienz: Sammlung Prof. Ernst Fuchs, Wien - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE BLUE PINAFORE Signed, pastelDimensions:14.5cm x 10cm (5.75in x 4in)Provenance:Provenance:Acquired in 1955 from The Scottish Gallery, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ HENRY YOUNG ALISON (SCOTTISH 1889-1972) THE BLUE HEADDRESS Signed, oil on canvasDimensions:76cm x 63.5cm (30in x 25in)Note: Henry Young Alison studied under Fra Newbury at Glasgow School of Art. He served in France during the First World War, but was captured as a Prisoner of War and lost sight in one eye. After the War he returned to G. S. A. as a teacher of Drawing and Painting, and later served as the School’s Interim Director. He is remembered as an accomplished portrait and landscape painter whose work was exhibited at the Royal Scottish Academy from 1916-1921. This enigmatic portrait of a figure in shadow is a particularly interesting example of Alison’s oeuvre. The figure is portrayed in partial shadow, so that the bright blue of his headdress and yellow of his garment appears to glow. Architectural detailing is suggested in the lower right corner, but the artist has concentrated attention on the sitter who looks directly out at the viewer with a familiar smile.
§ JAMES MCBEY (SCOTTISH 1883-1959) HALF-LENGTH PORTRAIT OF HORTENSE LOEB Signed and dated 6 July 1931, oil on canvasDimensions:71cm x 61cm (28in x 24in)Note: Note: In 1930 James McBey established a studio in Philadelphia, and a diary entry from the 3rd December of that year records that at a dinner he first met Marguerite Loeb, a Sorbonne-educated tobacco heiress with exceptional connections in the art world; she had studied book-binding in 1920s Paris, where she and artist Oskar Kokoschka had been lovers, and afterwards moved to New York where she established a photography studio on West 57th Street. Early in 1931, they travelled to Bermuda with Marguerite’s mother Hortense, and on the boat back to New York, James proposed to Marguerite. On Friday 13th March 1931, three months after the couple had first met, they were wed. This portrait of Hortense Loeb, Marguerite’s mother, was made shortly after the marriage. The McBeys sailed for England immediately after their wedding, and this portrait may therefore either have been based on studies McBey made while still within the States, or perhaps was made from life during a visit from Hortense. The portrait is rendered with affection, and the subject appears entirely at ease. The ‘July 1931’ accords with her summer-y attire, and she wears a fashionable halter top, which, owing to the 1930s trend for sun tans, were all the rage. McBey’s linear brushwork eloquently describes the interaction of light with his subject, recalling his technical experience as a printmaker: many of his etchings use striation lines to indicate light sources. The deft, pared-back handling of shadow to the background and across Hortense’s dress is also characteristic of an artist used to working with intaglio.
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BRETON WOMEN SITTING ON A BEACH Oil on canvas laid down on boardDimensions:46cm x 61cm (18in x 24in)Provenance:Provenance: Bequeathed by the Artist to John Russell GreigHis Studio sale 1905 (no.76) as 'Brittany Peasants', where acquired by Dr. Norah Wattie, GlasgowExhibited:Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no. 38, illustrated in colour on back coverIn the catalogue for the 1995 Aberdeen Art Gallery exhibition, Jennifer Melville stated: 'In Breton Women Sitting on a Beach Brough sets the silhouettes created by such local costumes against a glowing pink sand - coming as close to Gauguin's flat patterns as in any work.'Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year.Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed.Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France.Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW BOY Signed, pastelDimensions:19cm x 10cm (7.5in x 4in)Provenance:Provenance: Bourne Fine Art, EdinburghNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN PLAYING MARBLES With the Artist's Estate Inventory Number ED958, watercolourDimensions:28cm x 28cm (11in x 11in)Provenance:Provenance: The Artist's EstatePrivate Collection, ScotlandDuncan R. Miller Fine Arts, LondonExhibited: The Scottish Gallery, Edinburgh, Joan Eardley, Paintings, Watercolours, Pastels and Drawings, 1988, no.11 Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH BLUE TROUSERS PastelDimensions:45cm x 33cm (17.75in x 13in)Provenance:Provenance: William 'Bill' Macaulay and thence by descentPrivate Collection, U.S.A Note: Exhibited: The Scottish Gallery, Joan Eardley in Context, 6 August-5 September 2015, no.16Note: This is a portrait of Martin Macaulay and is one of several studies of the five children of William 'Bill' Macaulay, Senior Partner of The Scottish Gallery, Edinburgh, which Eardley executed in 1960. The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT STUDY Pastel on coloured paperDimensions:16cm x 18.5cm (6.25in x 7.25in)Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JAMES MCBEY (SCOTTISH 1883-1959) HALF-LENGTH PORTRAIT OF FRANCES GRIPPER Oil on canvasDimensions:71cm x 59cm (28in x 23.25in)Provenance:Provenance: Private Collection, USANote: Note: By the age of 30 McBey had become an established and in-demand artist. He was now a member of the leisured class, and enjoyed all the social benefits this entailed - particularly the opportunity to mix with eligible young women. McBey was charismatic, humorous and dashingly handsome, and maintained numerous affairs throughout his life, with the objects of his affection also often serving as artistic muses. One of his most intoxicating affairs was initiated in 1928, when he encountered an American named Frances Gripper. The pair travelled around Scotland and Paris together, and McBey produced several paintings of Gripper. In this exquisite portrait (c.1929) McBey expresses the intensity of his passion in the frenzied brushwork and rich raspberry palette, which is reflected across Gripper’s robe and to her flushed cheeks and lips. McBey conveys her beauty and impish personality, as well as the intimacy shared by the couple in her easy bearing, steady eye contact and self-assured smile. McBey proposed to Gripper in 1929, but she returned to her fiancé in the States. She would continue to preoccupy McBey’s thoughts for years to come.
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GINGER With the Artist's Estate Inventory Number EE30 verso, oil on boardDimensions:43cm x 37cm (17in x 14.5in)Provenance:Provenance: Roland, Browse and Delbanco, LondonNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TWO CHILDREN Pastel on brown paperDimensions:25.5cm x 20cm (10in x 8in)Provenance:Provenance: Acquired from the Artist’s Estate by the father of the present owner.Exhibited: Royal Scottish Academy, Edinburgh, Joan Eardley, 6 November 2007-13 January 2008Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)
◆ ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SWEET VIOLETS Oil on canvasDimensions:68.5cm x 104cm (27in x 41in)Provenance:Provenance: Alexander Ogston, ArdoeAcquired from the above by the sitters's husband and thence by family descentPrivate Collection, Scotland Exhibited: Royal Glasgow Institute, Glasgow, 1897, no.149Aberdeen Artists Society, Aberdeen, 1906, no.488Burlington Fine Arts Club, London, 1907, no.43Royal Scottish Academy, Edinburgh, 1926, no.335Palace of Arts, Empire Exhibition, Bellahouston Park, Glasgow, 3 May-29 October 1938, no. 59.Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no.63, pp.50-51 Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year. Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed. Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France. Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
Duke of Wellington, a uniface portrait in wood, uniformed bust left, ‘By Westwood’ in ink on back, 81mm; a uniface portrait in bone, bare head right, 50 x 35mm; Lord Warden of the Cinque Ports, [1839], a uniface plaster cast of the obv. of the medal by B. Wyon, 73mm (cf. Eimer 116) [3]. Fine to very fine; second mounted in fitted case [lining frayed], last in fitted case [warped, hinge broken] £60-£80
British Battles, 1815, a tubular brass box medal by E. Thomason inscribed ‘British Victories’, lid inset with portrait medalet of Wellington, containing 26 brass medalets, each with winged Victory, revs. the battles named (lacks Waterloo, Coimbra duplicated), each 16mm, tube 47 x 19mm (Eimer 84; BHM 888; E 1076) [Lot]. Tube very fine, medalets extremely fine £200-£300
Conrad (Joseph) The Secret Agent, one of 1000 copies signed by the author, photogravure portrait frontispiece by Emery Walker, endpapers lightly browned, original parchment-backed boards, dust-jacket, spine lightly browned with 2 small staining spots, ends a little creased, uncut and unopened, overall an excellent copy, 8vo, 1923.
Doyle (Sir Arthur Conan) The Lost World, first edition, frontispiece, occasional light spotting or foxing, original cloth with portrait decoration to upper cover, gilt, lettered in white, lightly rubbed, spine ends creased and frayed, still a very good copy overall, 8vo, 1912.⁂ A science-fiction title concerning an expedition to a plateau in the Amazon basin of South America where prehistoric animals still survive. The author is in disguise as Professor Challenger in the photo frontispiece.
Henry Hope Crealock (British, 1831-1891)Portrait of Yeh Mingchen, Governor of Canton 1852-58 bears the name 'P Pearce' (upper right) and bears an inscription and date 'Profile of 'Yeh' Vice Roy of Canton, at present a prisoner on board/H.M.S. 'Inflexible' at the Bogue./sketched by Major Crealock./January 1858.' (lower centre)pen and ink29.2 x 20.6cm (11 1/2 x 8 1/8in).Footnotes:ProvenanceAnon. sale, Bonhams, London, 2nd November 2004, lot 32. Private collection, UK (purchased from the above sale), thence by descent to current owner.Yeh was governor of Canton during the second Opium War between 1856-60 and following a series of calculated insults provoked the British into bombarding the city, whereupon he burnt down the European factories. Yeh was captured on 28th December 1857 and held prisoner on board HMS Inflexible.The artist Charles Wirgman described the scene: 'Yeh was superbly cool, and when told he was to be put on board the Inflexible, he said that it was some time since he had seen an English man-of-war, and should be delighted thus to become acquainted with one'.Major H. H. Crealock served as deputy adjutant quartermaster-general to the China expeditionary force.For further information on this lot please visit Bonhams.com
BURKE (JOHN)'Afghan War 1878-79. Peshawur Valley Field Force, 102 albumen prints by John Burke (typically c.240 x 295mm.; 2 panorama views, each on 2 sheets with total dimension 100 x 620mm.) by J. Burke, mounted one per page (recto and verso, except panorama 2 per page) on thick card, most signed and/or numbered in the negative, some captioned in pencil on mount, cabinet portrait by Bourne & Shepherd of a Sikh (identified as 'Sunda Singh, Patialla' in ink on verso) in military uniform loosely inserted, original half morocco, gilt-stamped title label on upper cover, metal clasp and catches, g.e., worn, folio (310 x 425mm.), [1878-79]Footnotes:IMPORTANT PHOTOGRAPHIC RECORD OF THE SECOND ANGLO-AFGHAN WAR (1878-9) WITH FINE VIEWS OF THE KHYBER PASS, NORTH-WEST FRONTIER AND NATIVE LEADERS, INCLUDING AMIR SHER ALI. The photographer John Burke (c.1843-1900) had embedded himself, at his own expense, with the Peshawar Valley Field Force, one of three British Anglo-Indian army columns, as they operated along the Khyber Pass and surrounding North-west frontier during the height of the 'Great Game' rivalry between Britain and Russia as they grappled for influence over the region and its local chiefs. Sitters in in the portraits include H.H. the Amir Sher Ali Khan (alone, and in a group with Prince Abdullah Jau and Sirdars; his son), the Amir Yakub Khan with Mr. Jenkins, Habeebula Maustif with Major Sir Louis Cavagnari and General Daod Shah. Major Cavagnari and Chief Sirdars with Kunar Syud, Officers of the 51st Regiment, Khyber Chiefs and Khans, and others. Views include Fort Attock, Peshawar, the Khyber Pass, the Buddhist Tope at Ispola, the villages of Jalabad and Bassaule, and others.For further information on this lot please visit Bonhams.com
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