FRENCH SCHOOL (EARLY 18TH CENTURY)PORTRAIT OF VICTOR AMADEUS OF SAVOY, PRINCE OF PIEDMONT (1699-1715), FULL-LENGTH, STANDING BY A COLUMNOil on canvas223 x 143cm (87¾ x 56¼ in.)Victor Amadeus of Savoy, Prince of Piedmont (1699-1715) was the son of Victor Amadeus II, Duke of Savoy and King of Sardinia. The sitter died young at the age of fifteen and this portrait can be dated around that period. He is shown wearing the robes of the Most Holy Order of the Annunciation. Condition Report: Canvas is relined. The paint layer is unstable in quite a few places and there are areas of lifting and flaking paint, these are mostly in background areas however. Stretcher marks are visible and there is a join in the canvas approx. 10 cm from the lower edge. This may be a later extension. Inspection under UV light shows there are scattered areas of retouching, but these are mainly in background areas and seem to be covering areas of old flaking. It also has a thick layer of discoloured varnish, which may be hiding earlier restoration. A thick layer of dirt and some abrasions. The face appears completely untouched.Condition Report Disclaimer
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CIRCLE OF ALLAN RAMSAY (SCOTTISH 1713 - 1784)PORTRAIT OF A LADY, WEARING A GREEN LACE TRIMMED DRESS, BUST- LENGTH, IN A PAINTED OVALOil on canvas74 x 62cm (29 x 24¼ in.)Condition Report: The canvas has been relined and is on a later stretcher. Fine surface cracking throughout as well as visible stretcher marks. Paint layers appear stable. UV reveals areas of broader retouching in the background areas as well as filled in surface cracking in the sitter's face. Condition Report Disclaimer
JAMES SHAW (BRITISH FL.1769-1784) PORTRAIT OF A GIRL, HALF-LENGTH, IN A PINK DRESS, HOLDING A BASKET OF APPLES Oil on canvas, in a Rococo frame 76 x 59cm (29¾ x 23 in.) Provenance: The Wodehouse, Wombourne, StaffordshireThis picture is closely related to Sir Joshua Reynolds' portrait of Miss Edgecumbe in the Museum of Fine Arts, Boston.
SIR JOHN RUSSELL (BRITISH 1745-1806) PORTRAIT OF GERARD DE VISME (1726-1797), MERCHANT IN THE FIRM OF PURRY, MELLISH & DE VISME, PORTUGAL, HALF-LENGTH, HOLDING A SHEET OF MUSIC AND LEANING AGAINST A COLUMN Pastel, oval 88.5 x 68.5cm (34¾ x 26¾ in.) Exhibited: The Ashmoleum Museum, Oxford, post 1977 Literature: Neil Jeffares, Pastels & pastellists: Dictionary of Pastellists before 1800, online edition, J.64.2869 Provenance: The sitter's granddaughter, Miss Gertrude Louise Murray (1814-1904) of Wimbledon Common Sale, London, Christie's, 25 June 1904, lot 11 (55 gns) Colnaghi John Gunn, FGS Sale, London, Christie's, 26 April 1912, lot 29 (85 gns) Ponsonby, thence by descent Woodleys House, Woodleys, Woodstock, Oxfordshire, the home of four generations of a branch of the Ponsonby family for over 140 years
AFTER SIR THOMAS LAWRENCEPORTRAIT OF GEORGE IVOil on board27.5 x 22.5cm (10¾ x 8¾ in.)A detail of a full-length portrait by Lawrence in the Wallace Collection, London, N325.Provenance:Sale, Bonhams, Knightsbridge, British & Continental Ceramics & Glass & The Peter King Collection of George IV Memorabilia, 1 June 1994, lot 265
FRENCH SCHOOL (CIRCA 1817)PORTRAIT OF A MOTHER AND CHILDOil on canvasSigned with monogram P:VB and dated 1817 (lower right)80 x 63.5cm (31¼ x 25 in.)Provenance:Barnwell Manor, Northamptonshire, Windsor House AntiquesCondition Report: The canvas has been relined, but paint layers appear stable and the surface impasto has been well preserved. The picture has been cleaned and revarnished. Fine surface cracking visible throughout. UV doesn't reveal signs of restoration, but areas of old uneven varnish. Measurements including frame: 101 x 85 cm.Condition Report Disclaimer
oil on canvas, signedframedimage size 59cm x 75cm, overall size 73cm x 89cmNote: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.
oil on board, signed with initials, titled and dated 2011 versoframedimage size 60cm x 22cm, overall size 74cm x 36.5cmNote: Born in 1977 in Berwick upon Tweed, Neil enrolled in art college to study fine art at the earliest opportunity. On the strength of an exhibition in New York he was accepted into Studio Escalier, a classical art school in the South of France and on his return to the UK he began a successful career as an artist. He has exhibited in galleries from London to Australia, and has undertaken many commissions for private collectors. He has also been featured widely in publications including the Daily Mail Weekend magazine and the New York Arts magazine, and has talked about his work at the Scottish National Portrait Gallery. Neil Nelson's work is exhibited and sold in the UK through the Whitewall network of over forty galleries.
oil on canvas, signedframed and under glassimage size 115cm x 100cm, overall size 136cm x 121cm.Note: Norman Edgar studied at Glasgow School of Art from 1966 to 70 and went on to teach there until 1990, when he left in order to paint full-time. He was a landscape and portrait painter, working in the Colourist tradition. A member of the Glasgow Institute of Fine Arts, he showed work regularly in the annual Royal Scottish Academy exhibitions. He had long been a resident of Gourock on the south bank of the River Clyde and marine activities feature prominently in his work. He is also widely regarded to be one of Scotland's leading still life painters. Known collections include: HRH The Duke of Edinburgh, Heriot Watt University, Greenock Art Gallery, Argyll Education Authority, Renfrew Education Authority, Lord Morton, Guinness Plc, United Distillers, Lord Macfarlane of Bearsden, Glasgow Dental Hospital, Pitlochry Theatre and in numerous corporate and private collections in the USA, Germany and the UK.
limited edition giclee print on paper, each signed and numbered 86/295, comprising Scotty Poser, The Wreck Room, Marshall Art, First Position, Egyptian Love Story and Roman Candlesunframed, contained in boxed folio with certificates of authenticity, also along with 'Self Portrait', numbered 86/295, 38cm x 31cm, unframedsheet size 57cm x 77cm each
limited edition lithograph on paper, signed and numbered 35/275framed and under glassimage size 40cm x 58cm, overall size 50cm x 68cmNote: Tom Phillips attended drawing classes and lectures on Renaissance iconography at Ruskin alongside his studies in English at St Catherine's College, Oxford. Taught by Frank Auerbach in 1961 at Camberwell School of Art, Phillips's first solo exhibition in London was in 1965 at the Artists International Association Gallery, followed by an exhibition with Angela Flowers in 1970. Phillips taught at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972, and in 1969 he won the John Moores Prize. In 1966 Phillips resolved to dedicate himself to making art out of the first secondhand book he could find for threepence on Peckham Rye. Thus began A Humument, the longest of Phillips's extended serial projects. A Humument is a radical 'treatment' of a forgotten Victorian novel by means of collage, cut-up ornament and other techniques, creating new works of art and poetic text from the original pages.. On the fiftieth anniversary of its inception in 2016, Phillips completed the sixth and final version of this work – each version with successively more pages reworked, until his original work had itself been completely transformed. Phillips received many commissions for site-specific artworks including tapestries for St Catherine's, Oxford, sculpture for the Imperial War Museum, street mosaics for his native Peckham, and ornament and memorials for sacred spaces, including both Westminster Cathedral and Westminster Abbey. Phillips's portrait subjects have included Samuel Beckett as well as friends such as Iris Murdoch, Sir Harrison Birtwistle, Richard Morphet, and the Monty Python team. In 1989, he became only the second artist to have a retrospective of his portraits at the National Portrait Gallery. Fifteen years later, he also went on to curate We Are The People, an exhibition at the NPG of his large collection of postcard photographic portraits. Phillips received the Frances Williams Memorial Prize in 1983 for his illustration and new translation of Dante's Inferno. He also made a TV version of the Inferno with Peter Greenaway which won them jointly as directors the Italia prize. Elected to the Royal Academy in 1984, Phillips went on to chair the Academy's Library and its Exhibition Committee from 1995 to 2007, He curated the RA’s exhibition Africa: The Art of a Continent (1995) which travelled to the Martin Gropius Bau, Berlin and the Guggenheim, New York. Serving as a Trustee for the National Portrait Gallery and British Museum, Phillips was made a Commander of the British Empire for services to the Arts in 2002. In 2005, he was appointed Slade Professor of Fine Art at the University of Oxford, and between 2005 and 2011 he was invited as an annual Director's Visitor to the Institute for Advanced Study in Princeton. Oxford's Bodleian Library took over Tom Phillips's archive and with them he published his postcard collection in a series of books. Phillips's collaboration with Tarik O'Regan on an operatic version of Conrad's Heart of Darkness, for which he provided the libretto, was premiered at the Royal Opera House's Linbury Theatre at the end of 2011. Tom Phillips lived and worked in London.
LIMOGES; a gilt metal leather set rectangular trinket box, the hinged lid centred with the circular enamelled plaque painted with the head and shoulders portrait of a young woman, the body of the casket with elaborate classical swag detail and raised on four turned feet, width 14cm.Condition Report: The lid is a little clumsy when closing on the base and the velvet lined upper section is loose. Light surface wear to the enamelled plaque.
† DAME LAURA KNIGHT (British, 1877-1970); graphite on paper, ‘Portrait of Andy Haydn’ signed lower right, dated 1943, Mildenhall, 30 x 24cm, framed and glazed.Condition Report: During a visit to Mildenhall RAF base during WW2, Dame Laura Knight was asked to paint a clown on the nose cone of a Lancaster bomber, she accepted and Mr Haydn carried Knight on his shoulders in order to paint the clown, as a thank you Knight painted a portrait of Mr Haydn in his uniform. The sellers father squadron leader Archibald Marsden was a good friend of Haydn and served a long side him at the base, Mr Haydn gave the portrait to Marsden before returning to New Zealand. A couple of minor foxing spots to the paper, frame with wear and grubby.
Louis Le Brocquy, HRHA (1916 - 2012)Head (286)Oil on canvas, 73 x 73cm (28.5 x 28.5")Provenance: With The Dawson Gallery, Dublin, label verso; Private Collection, DublinLouis le Brocquy is widely recognised as one of the ‘most highly-regarded Irish-born artist[s] in the second half of the twentieth century.’(1) From the late 1940s, he was one of a number of significant artists based in Britain who retained an interest in the human figure at a time when abstraction had become the dominant mode of representation. His departure from illusionistic realism to a stylised approach to figuration ensured his continued relevance to the challenges of Modernism. In London, he became friendly with Irish-born artist Francis Bacon (1909-92), who observed:‘Le Brocquy belongs to a category of artists who have always existed – obsessed by figuration outside and on the other side of illustration – who are aware of the vast and potent possibilities of inventing ways by which fact and appearance can be reconjugated.’(2)These words could be applied to the ground-breaking ‘head’ series begun by Le Brocquy in 1964 following a visit to the Musée de l’Homme, the anthropological museum in Paris. Le Brocquy had experienced something of an impasse as a painter and, dissatisfied with his recent efforts, destroyed many of his own artworks. The visit to the Musée, however, provided him with the impetus for a new direction. On witnessing the ritualised Polynesian heads on display, decorated with painted plaster, the artist recognised how prioritising the human head was also significant in Irish cultural history. He Identified a route that would enable him to explore his concept of humanity. As he observed:‘For me, as perhaps for our Celtic … ancestors, the human head can be regarded ambivalently as a box which holds the spirit prisoner, but which may also free it transparently within the face.’(3)This observation is revealing in how the artist saw the role of the head, at once containing the human spirit, but also providing a locus of the imagination, as well as a crucial means of communication, including through wordless physical expression.As the name applied to the Ancestral Heads series suggests, le Brocquy evoked connections through the generations between the present and the distant past. This series comprised anonymised individuals that would, in time, give way to his portrait heads of known creative practitioners, some of whom he knew personally. A common feature of his work, including all of the head series, was to undertake multiple versions on the basis that no one image could capture the range and complexity of any individual. Consequently, even with the anonymised Ancestral Heads, he addressed the theme repeatedly as the concept evolved over time. Head (286) demonstrates the essential principles evident as the series got under way, enabling the artist to explore dimensions of the human condition. The frontality of the head, emerging from a background of textured pigment – in this case a tone of white – was a common element throughout. The earliest heads appear in subtle tones, like shadows or memories of dreams, almost within grasp, but not quite clear. As the series developed, while the upper part of the face remains shadowy, the nose and mouth take on a more defined form and colour as though emerging from depths in order to come into fuller existence. In this work, as in several carried out at this time, the mouth is shown open wide. The concentration on the mouth suggests also a familiarity with the work of his friend, the artist Francis Bacon. It is well recognised, however, that Louis le Brocquy’s approach to figuration was distinctly different from that of Bacon. In Head (286), the mouth plays a positive role, seeming to draw breath in order to instil both life itself as well as the condition of humanity in all its subtle frailty. For le Brocquy, elements of the body – like the mouth and hands – were vital human means of communication, through gesture, speech and text. Louis le Brocquy’s portrait head paintings are subtly exploratory and revealing. They suggest at once the inner life of contemplation and creativity, as well as the capacity to communicate through cultural expression. The Ancestral Heads series which initiated the series explores the idea of the very emergence of humanity.The words of Seamus Heaney, writing on the artist’s Head series, are relevant to the present Head painting.(4)‘ … ghostly yet palpable, familiar and other, a historical creature grown ahistorical, an image that has seized hold of the eye and will not let it go.’Dr Yvonne Scott, January 2023Obituaries, The Daily Telegraph, 28.4.2012. Just two artists were identified in this source: Louis le Brocquy, and Francis Bacon (1909–92).Francis Bacon, exhibition catalogue, Louis le Brocquy: A Retrospective Selection of Oil Paintings 1939–1966, The Municipal Gallery of Modern Art, Dublin; Ulster Museum, Belfast, 1966, p.1. Quoted in ‘Biographical Note’ https://www.anne-madden.com/LeBPages/biography.html (accessed January 2023)Louis le Brocquy,’Notes on painting and awareness’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.147.Seamus Heaney, ‘Louis le Brocquy’s Heads’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.132.
Hugh Douglas Hamilton (1740 - 1808)Portrait of Lady Caroline Spencer (1763 - 1813)Oval, pastel on paper, 23.5 x 19cm (9¼ x 7½")Signed indistinctly LL, inscribed verso and with a trade label for 'Royal County Depository, Reading, C &G Ayers, Ltd' and inscribed thereon 'Viscountess Churchill'Provenance: By direct descent from the sitter to Victor, 3rd Viscount Churchill (1934-2017); With Guy Peppiatt Fine Art, London; Private collection, Dublin.Exhibited: London, Society of Artists, 1775, no.108This particularly charming pastel portrait by Hugh Douglas Hamilton shows the young Caroline Spencer, the oldest daughter of George Spencer Churchill, 4th Duke of Marlborough (1739-1817) and his wife Caroline Russell (d.1811). This portrait dates from 1775 when she was twelve. It was exhibited at the Society of Artists, in London 1775. Subsequently Caroline married Henry Henry Welbore Agar, 2nd Viscount Clifden (1761-1836) of Gowran Castle, Co. Kilkenny in 1792. The ducal connection and the young bride’s attraction were commented on back in Ireland: ‘I am not surprised that the Viscount has been inveigled by the splendour of Blenheim and the charms of his amiable wife to delay his journey to Bath (Cited Anthony Malcomson, Archbishop Charles Agar Churchmanship and Politics in Ireland, 1760-1810, Dublin, 2002, 513). This was a truly splendid match for the Irishman – and was likely facilitated by his influential kinsman Archbishop Charles Agar. Caroline, Anthony Malcomson writes, ‘was a strong-minded young lady who had already turned down, two much better offers’(ibid.). She had, in fact, broken off engagements with both George Leveson- Gower, Viscount Trentham, and George Gordon, Lord Strathavaon. A decade or so after she sat for Hamilton as a child, Caroline, and her sister Elizabeth, were painted by George Romney in a famous composition showing the former sketching the latter playing the harp. Though the Romney portrait was commissioned by the sitters’ father it descended in the Cliften family until 1896. When it was sold by Joseph Duveen to Henry Huntington it was the third most expensive painting ever sold in Britain (Huntington Library, San Marino, CA). Caroline died back home at Blenheim Castle in November 1813 and was buried in the family vault of the Dukes of Marlborough, next to her mother. Unlike the Romney, the pastel descended within the Churchill family until recently.Condition Report: Very good overall condition The inside of the glass is a little dirty but the frame hasn't been opened in a very long time so we decided not to disturb itThere are some minor spots on the surface particularly to the left of the sitter, see imagesThe frame has some damage, see images
William John Leech RHA ROI (1881-1968)Self Portrait with Window and TableOil on board, 50 x 38cm (19¾ x 15'')SignedTaylor Gallery label versoListed as No.5 “Self-portrait with window and table” in the list compiled by Leo Smith of paintings by W.J. Leech in his studio at Clandon, 5 September 1968, for Greenwood & Loryman.Provenance: Accountants, London for death duty purposes by the Dawson Gallery, 4 Dawson St., Dublin 2.When William (Bill) Leech, with his wife May Botterell, moved out of London to live at West Clandon, near Guildford in Surrey, in 1958, Leech was already in his late 70’s. Moving into his newly built studio, in the garden, gave him renewed energy to paint and his subject matter was mainly his garden and his self-portraits. These “Self-portraits” depict Leech wearing his black hat, to cover his white and balding head, looking searchingly out towards the viewer, sitting posed in front of his ‘Aloes’ series, painted in the 30’s. He is questioning his life’s work as a painter.In this “Self-portrait” Leech is not wearing his debonair black hat, but captures himself in his casual jacket and open neck shirt, framed by the lighted window onto the garden. Always aware compositionally, he sits to the right, with the edge of the table forming a strong diagonal towards the upright metal bar of the window. Clothes draped casually over the edge of the chair to the left and the green ceramic vase with its darker green plant, all create his studio environment.Leech’s searching expression is now more haunted, with a hint of despair, perhaps reflecting on his long life as a painter, during which he did not achieve the promise of his early success. When he wrote to Leo Smith, of the Dawson Gallery in 1966, he recognized this failure; “You see not much success really but you cannot be a recluse all your life as I have been and have worldly success. I had an idea when young, that if the work was good enough it would sell in the end. The end is the word……”This is one of the last “Self-portraits” Leech painted and it maintains all the dexterity and skill the painter possessed. When his second wife May died on 10th July 1963, aged eighty-three years, Leech was a very lonely man and 5 years later on 16th July 1968 at age eighty-eight, after being diagnosed as terminally ill, Leech fell from the railway bridge at West Clandon onto the tracks below.Dr Denise FerranAugust 2021
Sir William Orpen RA RHA (1878 - 1931)Portrait of Yvonne Aupicq as a Nun (Sister X)Oil on canvas, 76 x 63.5cm (30 x 25")Signed (upper right)Provenance: With Neptune Gallery, Dublin where purchased c.1950, thence by descent; Their sale, Sotheby's London 11th May 2006; Private Collection, IrelandExhibited: Dublin, National Gallery of Ireland, Orpen Centenary Exhibition 1978, Catalogue No. 121, listed mistakenly as 'Lady Diana Manners in theatrical costume'Literature: P.G Konody and Sidney Dark, William Orpen; Artist and Man, Seeley Service London 1932, p.272A woman with many identities, Yvonne Aupicq was presented in so many different forms over the course of her relationship with Orpen that it is difficult for us to get a sense of who she really was. Her birth certificate and other historical records have recently revealed that her identity was further misrepresented, firstly by the incorrect spelling of her name, it is not Aubicq but Aupicq and that her father was not the mayor of Lille as previously believed but a school teacher in Hergnies. As we can see from the exhibition history of this work, the painting was also wrongly listed as 'Lady Diana Manners in theatrical costume', when on show in The National Gallery of Ireland’s centenary exhibition for Orpen in 1978. Orpen painted her initially as Frida Nater, a German spy, in an attempt to mask their true relationship as lovers. As the official allied war artist, he was tasked with documenting the reality of life on the front line. His work from this period was supposed to be strictly related to the conflict and in particular the lives of the soldiers fighting. There are two portraits of Yvonne from this period, now both titled ‘Refugee’ and held in the collection of the Imperial War Museum in London. One shows her partially nude, holding a white sheet up to cover her breasts. The other she is presented sitting, wearing a rudimentary blue coat and dress. In both works her hair is instantly identifiable, tousled blonde curls sitting on top of her head. The War Office was immediately suspicious of Orpen’s story about the German spy which he had embellished further with falsehoods. On being recalled to London to explain himself, he retracted the story and was reprimanded. However, he maintained his position in France due to his connections within the War Office itself and was favoured again when an artist was needed to document the post war peace process. Yvonne had met Orpen, we understand, while working as a nurse during the war. He had been admitted to hospital with a suspected case of scabies which ended up being a far more serious case of blood poisoning as he recounts in his wartime memoir ‘An Onlooker in France’. Their relationship continued after 1918 when Orpen was appointed as the official artist to The Paris Peace Conference. They relocated to capital and over the following decade he painted her numerous times, often nude as in Amiens 1914, or The Rape and Nude Girl Reading (1921). Working with her as his model during these early years after the war allowed Orpen an opportunity to re-fuel his creativity. On this occasion she is disguised further, not as a war time collaborator or nude model but as a nun. His young and beautiful companion is recast as the pious Sister X. There is another version of this portrait, with Yvonne set against a completely white background. It is not unusual for artists to produce more than one example of a portrait, exploring different variations of the composition. However, the only difference between these two works is in the background colour. This present work, starker in its contrasts, was kept by Orpen for his own personal collection, the other gifted to Yvonne. As a composition, Orpen often favoured a tight, close-up format to give greater scrutiny to the sitter’s features. The black background serves to enhance the brilliant white of her religious habit. It frames her face as the light falls delicately across her features, the long bridge of her nose and lips. Her eyes seem to express a sense of sorrow or inner turmoil, suggesting the emotive connection between the sitter and the artist. The relationship between an artist and their model is complex and we get the sense that Orpen maintained a deep curiosity and interest in Yvonne over their decade spent together. These portraits represented different aspects of her personality, at least as seen through Orpen’s eyes. In this work her youth and innocence are symbolised in the white shroud. Using the strong contrast of the white against black, with only her face visible to us, suggests a desire to limit the focus of the work. There are no extraneous details, no background scene, it is just Yvonne. The simple wooden crucifix hanging around her neck captures our attention, with the body of Christ at the centre of the composition. Yvonne, or Sister X meets our gaze, asking us to consider this bodily sacrifice, which is central to the Catholic faith and to ultimately remind us of the fragility of human life. Condition Report: Very good overall condition, very sound.The canvas is unlined.Craquelure is evident particularly in the black areas – see photos.There is also a small amount of craquelure in the area of the lower veil.Light stretcher marks are also evident particularly across the bottom of the painting.The signature is in the top right-hand corner, painted in a dark pigment.Under UV inspection we saw some florescence – see photos.
Aristide Maillol (French, 1861 - 1944) Young Seated Woman, 'Renoir's Bather', c. 1906 Plaster Dimensions: 10 in. (24 cm) (H) This model is known as "Baigneuse Renoir", because the painter Pierre-Auguste Renoir had an example in his collection. This statuette appears in several paintings by Renoir. In 1906 Maillol modelled a portrait of Renoir (previously dated to 1907, however, it was referred to in a letter of 1906, written by Renoir). It is possible that Maillol made 'Jeune Fille assise' at the same time. Previously, this sculpture was thought to have been one of the models sold by Maillol to Vollard, however, no record of it can be found in the Vollard papers, nor has any bronze example appeared to date with a Vollard provenance, even though there exist two photographs of the figure in the Fonds Vollard, RMN. Models edited in bronze by the sculptor himself, prior to 1914, such as this one, were cast in limited numbers. To date, only three are known of this model. The detail of this plaster is comparable to that found on the bronze versions It is not possible to ascertain exactly for which reason this plaster was cast. The varnish and the mould lines on the surface seem to indicate that it was used for bronze casting. However, as the incised lines are rather delicate, it is unlikely that this plaster was used repeatedly. A certificate of authenticity is available with this lot upon request.
![Gilbert Holiday (1879 - 1937) Barrack stables (double-sided) Gouache and watercolour on paper Dimensions: [front portrait]](https://cdn.globalauctionplatform.com/cd1a31d9-9fc8-49b8-ad06-afa20127bae1/1a04d80f-9f45-48ac-b9c6-afa2012d5c36/468x382.jpg)
Property of a Gentleman 16th Century A pair of portraits of Margaret Roper and William Roper Margaret Roper with inscription 'AETATIS SU[A]E 32' (lit: In her 32nd year) William Roper with inscription 'ANNO 1537' (lit: In the year 1537) Oil on panel On the portrait of Margaret Roper there is an inscription, verso 'Titian pinxt 1547'. On the portrait of William Roper there is an inscription, verso 'Titian pinxt'. In the portrait of Margaret Roper there is a plaque with an inscription painted above her head on the right wall. It reads 'AETATIS SU[A]E 32' (lit: In her 32nd year). In the portrait of her husband, William Roper, there is an inscription painted above his head on the left wall which reads 'ANNO 1537' (lit: In the year 1537). Margaret Roper (1505–1544) was the eldest daughter of Sir Thomas More. She is considered to have been one of the most learned women in sixteenth-century England and was a scholar as revered as those male scholars in her society, in spite of the prejudices of her time. Roper's best known publication is a Latin-to-English translation of Erasmus' Precatio Dominica. It is a testament to her rare and unusual abilities, that Erasmus entrusted her with this task. In addition, she wrote many Latin epistles and English letters, as well as an original treatise entitled The Four Last Things. She also translated the Ecclesiastical History of Eusebius from the Greek into the Latin language. William Roper the second was the eldest son of John Roper (d. 1524), Attorney-General to Henry VIII, and his wife Jane (died c.1544), daughter and coheir of Sir John Fyneux, Chief Justice of King's Bench. His biography of his father-in-law, Sir Thomas More, is still held in high-regard for its accuracy and clear sense of devotion.  He was educated at one of the English universities and the studied law at Lincoln's Inn, being called to the bar in 1525. Aged about twenty-three it is thought he joined the household of Sir Thomas More, marrying Margaret, More's eldest daughter, in 1521. Erasmus, who knew More and his family well, described Roper as a young man "who is wealthy, of excellent and modest character and not unacquainted with literature". Roper became a convert to the Lutheran doctrine of Justification by Faith and spoke so freely of his belief that he was summoned to appear before Cardinal Wolsey on an accusation of heresy. Provenance: Margaret and William Roper;By descent to Hon. Anne Maria Roper (1719 - 1782), mother of Admiral Sir Charles Tyler (1760 - 1835);By direct descent through the Tyler family to the current owner. Dimensions: (Panel) 6 in. (H) x 4 in. (W)
Property of Stephanie Hoppen German School 17th Century A Portrait of a Bergermeister Oil on canvas Inscribed, upper left and with a coat of arms, upper right In a gilded frame The inscription upper left tells us that the sitter was born in 1612 and died in 1682 at the age of 69. He was a mayor (bergermeister). Dimensions: (Canvas) 33 in. (H) x 25 in. (W) (Frame) 38.75 in. (H) x 30.5 in (W)
Property of the late Marcello Violante Mikhail Fedorovich Larionov (1881 - 1964) Portrait of Sergei Diaghilev, the founder of The Ballet Russes (c. 1914) Ink on paper Signed: "t.r." Provenance: Bonhams London, The Russian Sale, Monday 26 November 2007, lot 90 Exhibited: Chaucer Fine Arts, Ballet Russes 1909-2009: Diaghilev and his Circle, no. 3 Dimensions: (Paper) 10 in. (H) x 6.5 in. (W) (Frame) 17 in. (H) x 13 in. (W)
Attributed to John Hoppner (1758 - 1810) Portrait of a gentleman said to be John Harvey Oil on canvas Provenance: Private Collection, New Jersey. Freeman's, Philadelphia, sale of January 28, 2014, lot 56. Acquired directly from the above sale. Private Collection, Pennsylvania. Dimensions: (Canvas) 37 in. (H) x 32 in. (W) (Frame)Â 29.25 in. (H) x 24 in. (W)
Property of the late Marcello Violante Filipp Andreevich Malyavin (1869 - 1940) Portrait of the singer Nadezhda Plevitskaya Pencil and coloured crayon on paper Dimensions: (Paper) 33 in. (H) x 23.5 in. (W) (Frame) 45 in. (H) x 36 in. (W) Filipp Andreevich Malyavin (Russian) (October 22, 1869, Kazanka (Julian calendar: October 10) – December 23, 1940, Nice, France) was a Russian painter and draftsman. Trained in icon-painting as well as having studied under the great Russian realist painter Ilya Repin. In 1900, Malyavin traveled to Paris, and took France by storm. French newspapers hailed him as "a credit to Russian painting," and Laughter was awarded a gold medal and bought by the Museo d'arte moderno in Venice. His work was suddenly in demand, with the Luxembourg Museum in Paris buying Three Women. On returning to Russia, Malyavin married Natalia Novaak-Sarich, the daughter of a rich industrialist from Odessa and a private student at the Higher Art School. They settled in a village near Ryazan, and Malyavin devoted himself entirely to his art. His work began appearing in the salons of the World of Art group, and the Union of Russian Artists.
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