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![* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaque](https://cdn.globalauctionplatform.com/bb56183a-a288-4c5b-9887-ac3f00a88bf2/deb6bb3c-5485-4283-8527-ac4100ff75e5/468x382.jpg)
Lot 353
* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaquette, showing the scourging of Christ at the pillar below a twin barrel-vaulted ceiling, initialled P.V.R. to lower edge, integral hanging loop to verso, 14 x 10.5 cm (5.5 x 4 ins)Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Literature: Douglas Lewis, 'The Plaquettes of "Moderno" and His Followers', Studies in the History of Art , volume 22, 'Symposium Papers IX: Italian Plaquettes', Washington, 1989, pages 105-141. Galeazzo Mondella (1467-1528), prominent goldsmith and guild master of Verona, and perhaps the most accomplished artist of Italian Renaissance plaquettes. His work, which included both sacred and profane subjects (including the Labours of Hercules and the Life of Christ) was influenced by Mantegna and other artists in his native Veneto, as well as by fellow artists such as "Antico" (Pier Jacopo Alari Bonacolsi, circa 1460-1528), whose "trade" name almost certainly influenced his own. 'P.V.R.' may represent the name of the foundry that created this later casting.
Lot 363
* Attributed to Robert Dighton (1752-1814). A series of six drawings illustrating the story of the Prodigal Son, circa 1780s, 6 oval pen, ink and wash drawings on rectangular laid paper, one with partial watermark, image size 110 x 153 mm (4.3 x 6.1 ins), sheet size 125 x 165 mm (5 x 6.5 ins), a few minor marks, tipped-in to 19th century album leaves, bound in later (probably 20th century) antique-style half morocco over marbled boards, with red morocco title 'Prodigal Son' to spine, (192 x 235 mm, 7.5 x 9.2 ins)Qty: (1)NOTESThe story of the Prodigal Son has a long tradition in European art, and became especially popular in England during the 18th century. The six scenes represent 1) The Prodigal Son receives his patrimony, 2) The Prodigal Son taking leave, 3) The Prodigal Son revelling with the harlots, 4) The Prodigal Son in misery, 5) The Prodigal Son returns reclaimed, and 6) The Prodigal Son feasted on his return.
Lot 378
* Vicentino (Niccolo, active circa 1510-circa 1550). Olympus (Surprise), (after Parmigianino), circa 1540s, oval chiaroscuro woodcut on laid paper, printed from three blocks: olive green, grey-green and black, trimmed to the edge of the oval image (with loss of the outer rectangular edges of the print), sheet size 231 x 149 mm (9.1 x 5.9 ins), tipped-on to mount card, framed and glazedQty: (1)NOTESBartsch XII, 146, 10. Also attributed to Ugo da Carpi (1450/80-1532). See Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy (2018), Los Angeles County Museum of Art (2018), 47 (pages 136-139).
Lot 418
* Chinese School. Hen and Chicks, attributed to Lang Shih-Ning (1688-1766), Qing Dynasty, fine pen, ink, watercolour and bodycolour on silk, titled in black ink lower left, with artist's seals, 605 x 325 mm (23.75 x 12.75 ins), mounted on silk scroll, with manuscript label, silk tie, one handle missingQty: (1)NOTESProvenance: A.W. Bahr Collection, with small circular handwritten sticker affixed to the foot of the manuscript label: BAHR L 47.112. Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938. Lang Shih-Ning was the adopted Chinese name for the Italian Jesuit missionary Giuseppe Castiglione, who served as an artist at the Imperial Court of Kangxi, Yongzheng and Qianlong. His work represents a fusion of Western and Chinese traditions.
Lot 419
* Chinese School. Snow and Plum Flowers, in the manner of Cui Bai, Song Dynasty, fine pen, ink and watercolour on silk, 650 x 420 mm (25.5 x 16.5 ins), mounted on silk scroll, with manuscript title label, silk tying thread, handles missingQty: (1)NOTESProvenance: A.W. Bahr Collection. Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938. Lang Shih-Ning was the adopted Chinese name for the Italian Jesuit missionary Giuseppe Castiglione, who served as an artist at the Imperial Court of Kangxi, Yongzheng and Qianlong. His work represents a fusion of Western and Chinese traditions.
Lot 442
* O'Neil (Henry Nelson, 1817-1880). Study for Eastward Ho!, circa 1857, oil study on wood panel, for part of the larger finished work exhibited by the artist at the Royal Academy in 1858, 52 x 41.5 cm (20.5 x 16.3 ins), attractive moulded gilt frameQty: (1)NOTESProvenance: Private Collection, Devon. A preliminary oil sketch for a section of one of O'Neil's most famous works, Eastward Ho!, first exhibited at the Royal Academy in 1858. The full-scale painting depicts soldiers on board a ship at Gravesend, destined for service in India during the Indian Mutiny, saying their farewells to loved ones. The work changed the artist's career, and became one of the most popular images in Victorian art. Following its first public appearance at the Royal Academy in 1858, a tour of Britain was organised for the picture, during which time an estimated 540,000 people came to see it. O'Neil made a companion painting, entitled Home Again, depicting the return of the same troops, which was exhibited at the Royal Academy in the following year. Mixed method mezzotint engravings of both works by William Turner Davey were published in 1860 and 1861 respectively, thereby contributing further to their popularity. The present work shows the artist working on details of the composition, which were significantly altered in the finished version. For example, the direction of the composition is in reverse, and the female figure in the foreground is shown with her face covered by a handkerchief to hide her anguish, whereas in the final version she is given assistance down the gangplank by an old salt. The motif of the woman with her face buried in a handkerchief is transferred to another figure further up the gangplank.
Lot 485
* Powell (James & Sons). A small collection of original designs for stained glass, Whitefriars Glass Works, late 19th/early 20th century, together 8 pen, ink, and watercolour drawings on heavy stock paper, 5 showing triptychs, and 3 showing single windows, each with calligraphic ink title and manufacturer's name (except one with the information in pencil), further marginal annotations in pencil or ink pertaining to the design, generally dust-soiled, and some spotting and marks, sheet size of largest 34.5 x 28.5cm (13.5 x 11.25ins) and of smallest 25 x 16.5cm (9.75 x 6.5ins)Qty: (8)NOTESWhitefriars Glassworks was England's longest producing glassworks. The firm is believed to have been established in 1680, and was purchased by James Powell in 1834, with production continuing until 1980. Although the firm produced high quality art glass on a par with Tiffany, it is best known for its stained glass. The firm under Powell became an innovative world leader in the field of decorative glass, and business was aided by the building of hundreds of new churches during the Victorian era. During the latter part of the nineteenth century Whitefriars Glass formed associations with a number of leading artists and designers, including Philip Webb, William Morris, Edward Burne-Jones and William De Morgan. The designs offered here are for: Catthorpe Church, near Rugby; All Saints Church, Woodford Green (North Aisle window); St Mark's Church, Bromley; St John's Ambulance, Clerkenwell; Hereford Cathedral (east window of Crypt Chapel, alternative design); Southwark Cathedral (window over altar in Lady Chapel); Carmelite Church, Kensington; Dunnevirke, Waiapu, New Zealand.
Lot 517
* Severn (Walter, 1830-1904). Nearing Home, 1861, etching on chine appliqué, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), plate size 18.8 x 23.5 cm (7.5 x 9.3 ins), stained oak frame with gilt inner slip, glazed, with Maas Gallery label to verso, together with Clayton (J.N., 19th century). Mother's Love, etching, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), 102 x 130 mm (4.1 x 5.2 ins) mount aperture, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso, plus Horsley (John Callcott, 1817-1903), Madame se chauffe, 1872, etching on chine appliqué, as published in Etchings by the Etching Club, published by the Art Union of London (1872), plate size 20 x 15 cm (8 x 6 ins), period black and gilt frame, glazed, with Maas Gallery label to versoQty: (3)
Lot 519
* After Frederick Walker (1840-1875). Phillip in Church, 1885, uncoloured etching by Hubert von Herkomer after Frederick Walker, published by The Fine Art Society in 1885, an artist's proof, with remarque portrait of the artist, repaired closed tears to lower right corner, 510 x 390 mm, period walnut veneer frame with gilt slip, glazedQty: (1)
Lot 534
* Chadwick (Tom, 1915-1942). The Introduction, 1935, wood engraving on cream simile Japan paper, with full margins, from the published edition of 60 impressions, signed, titled and numbered 8/60 in pencil, a few light spots (generally in excellent, clean condition), image size 195 x 253 mm (7.7 x 10 ins), sheet size 280 x 377 mm (11 x 14.8 ins), framed and glazedQty: (1)NOTESTom Chadwick studied at the Grosvenor School of Modern Art under William Kermode and Iain Macnab, the latter regarding him as his most brilliant student. The present woodcut, The Introduction, depicting cockfighters on the island of Bali, was exhibited at the Society of Wood Engravers in 1935 when the artist was just 20 years old. Chadwick was tragically killed at the Battle of El Alamein in 1942. All of Chadwick's prints are rare, the present work especially so, as the intended edition of 60 published proofs was never completed.
Lot 556
* Spear (Francis Howard, 1902-1979). Harlequin, Pulcinella, Colombina, Scopino, & Dottore, 1928, a series of five lithographs on wove paper, each signed, titled and dated in pencil, image size 345 x 235 mm (13.6 x 9.25 ins), and similar, with margins, matching gilt frames, glazedQty: (5)NOTESFrancis Howard Spear, printmaker and stained glass artist, attended the Royal College of Art alongside Edward Bawden and Eric Ravilious, where he also later taught lithography.
Lot 613
* Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-profile to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins)Qty: (1)NOTESProvenance: Believed to have been given to the owner's grandmother's family by the artist, and thence by descent. The owner's grandmother worked at the Royal Academy of Music and subsequently the Admiralty; her father, Sven Didericksen, was head chef at The Rembrandt Hotel in Knightsbridge, London, and her uncle was the proprietor of an antiquarian book and print shop in London. The family moved in artistic circles, and Australian painter George Lambert, who lived for a time in London, is known to have been a friend. It has been suggested that the subject is the artist Thea Proctor (1879-1966), an Australian painter, known as a prominent arbiter of taste, who was also a printmaker, designer and teacher. Although Proctor didn't travel to London until 1903, she and Lambert met at art school in Sydney, and this portrait does appear to bear a strong resemblance to her. Beautiful and elegant, she was tutored privately by Lambert, sat regularly for him and was a frequent visitor to his London home. On her part she found Lambert intellectually stimulating and was apparently devoted to him. Their exact relationship is unknown but he became her mentor and their friendship was lifelong.
Lot 630
* Colbert (Anthony, 1934-2007). Young girl in Vietnamese orphanage, 1967, mixed media on paper, signed lower right, 33.5 x 45.5 cm (13.25 x 17.75 in) mount aperture, framed and glazed, together with Child receiving blood transfusion on hospital floor Saigon, 1967, mixed media on paper, signed lower left, some spotting, 34.5 x 38 cm (13.5 x 15 in) mount aperture, framed and glazed, plus Young Vietnamese Girl in Hospital Cot, 1967, mixed media on paper, signed lower right, 53 x 39.5 cm (20.75 x 15.5 in) mount aperture, framed and glazedQty: (3)NOTESAnthony Colbert (1934-2007) studied at Worthing College of Art and Farnham School of Art, before joining The Observer as staff artist in 1959. He illustrated several books including the Folio Society's Jane Eyre before going to Vietnam with Save the Children in 1967, where he recorded the plight of displaced children, his artworks of which were exhibited at the AIA Gallery the following year. He later went on to lecture at various art colleges before taking up landscape painting in the 1980's.
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