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Lot 1218
A set of four 19th century oak dining chairs; a mahogany framed nursing chair; a small 19th century wall-mounted oak box 34cm by 26cm by 68cm; a Singer sewing machine; a reproduction oak drop-leaf occasional table; a glazed oak framed hanging display cabinet 41cm by 17cm by 76cm, and a folding mahogany chair bearing patent label (10)
Lot 1249
A three drawer filing cabinet, 58cm by 50cm by 115cm, two Murano style ceiling lights, approx 52cm drop, together with two matching wall lights, 45cm high and an Art Deco style wall mirror 70cm by 90cn, (6). No noted condition issues. The wiring is not tested on the lamps. Mirror free from cracks.
![Napoléon I (Emperor of France, 1769-1821) [Piece of red velvet from the Emperor's Closet in the Tuileries Palace], small piec](https://cdn.globalauctionplatform.com/458dcef5-8ad2-4b82-ac33-ad1800cbd552/b2806f99-9155-4287-8a62-ad1801171aee/468x382.jpg)
Lot 84
Napoléon I (Emperor of France, 1769-1821) [Piece of red velvet from the Emperor's Closet in the Tuileries Palace], small piece of red velvet, rubbed and faded, secured by a pin to a manuscript paper recording it's location in the Tuileries and provenance, browned and creased, velvet 55 x 100mm., paper 157 x 114mm., n.d. [c. 1800]; and another, portrait photograph of a painting, (tear), n.d., v.s., v.d. (2). ⁂ "Supposed to be a piece of the velvet that hung on the wall of Napoleon's favourite room (the Emperor's Cabinet)." - Manuscript note.Provenance: "This velvet was among the Articles purchased by the Earl of Shrewsbury at the sale of Napoleon's effects in Paris belonging to the palace of the Tuileries."
Lot 132
Maltese(?) School (18th/19th century)Portrait of a saint blessing a childOil on metalInscribed HELIS I (upper left)16.5 x 12.5cm (6¼ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The paint surface is dirty throughout with ingrained dirt and some losses. The metal sheet is dimpled and starting to oxidise on the reverse. Ultraviolet light reveals scattered retouching. Would recommend viewing.Condition Report Disclaimer
Lot 133
After Jean-Antoine WatteauL'indifférentOil on panel27 x 19cm (10½ x 7¼ in.)UnframedProvenance: The Estate of the late David Fyfe-JamiesonAfter the original painting held by the Louvre, Paris.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Light surface dirt throughout. Some areas of craquelure, especially to the figure's chest, arms and hat. Some surface scratches with associated loss. Rubbing and abrasions to the panel edges. An area of loss and associated retouching, visible in natural light running across the width of the panel through the figure's hips. Inspection under UV reveals scattered retouching and a green cloudy masking varnish, which may be masking further evidence of restoration. Condition Report Disclaimer
Lot 134
English School (circa. 1700)Portrait of a seated lady with flowersInk and washWith Collectors wax seal inscribed Christo Duce below an anchor (to backboard)9.5 x 7.5cm (3½ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 135
Attributed to Benedetto Luti (Italian 1666-1724)Choir boy holding a crucifixOil on copper, oval, unframed10.5 x 8cm (4 x 3.1/8in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Surface dirt throughout. Some spots of retouching to the background visible in natural light. Some light surface scratches throughout. Inspection under UV reveals scattered retouching to the aforementioned areas of the background and some further areas around the lower edge and to the sitter's face. Condition Report Disclaimer
Lot 136
Dutch School (late 17th century)Self portrait of an artist at his easelOil on canvas21.5 x 16.5cm (8¼ x 6¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. Condition Report: The canvas has been relined. There is craquelure throughout and some surface scratches and dirt. There is no evidence of retouching under ultraviolet light although there is a heavy varnish which may conceal some restoration.Condition Report Disclaimer
Lot 137
Italian School (early 17th century)The Rape of the Sabine WomenSepia ink21 x 27cm (8¼ x 10½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 138
Alessandro Casolani (Italian 1552-1606)The expulsion from ParadiseInk and washInscribed with collectors initials PH for P. Huart (Lugt 2084) (lower right)10.5 x 14cm (4 x 5½ in.)Provenance:Sale, Sotheby's, London, 1st December 1983, lot 186The Estate of the late David Fyfe-JamiesonBritish Museum label verso compares the present work with a sheet of studies for the same composition in the Uffizi (no. 4876F).David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work has been laid down. Discolouration throughout the sheet. With general wear commensurate with age to the extreme edges. There are two small white blemishes to the left side of the sheet and a small area of possible water damage approx. 1cm to the lower left corner. There is a further white blemish approx. 1cm to the lower edge. Small tear approx. 6mm to the upper right edge. One or two spots of surface dirt throughout. Light undulation to the sheet. Under glass, unexamined out of glazed frame. Dimensions including frame: 30 x 32cm Condition Report Disclaimer
Lot 140
Attributed to Hubert-François Gravelot (French 1699-1773)A man holding a Greek bookPen and ink8.5 x 7.5cm (3¼ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 141
English School (early 18th century)A marriageInk and wash22 x 19.5cm (8½ x 7½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 142
Antoine-Denis Chaudet (French 1763-1810)Classical figures in a kitchenPen and ink with white heighteningSigned (lower left)17 x 12.5cm (6½ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 144
Albert Venus (German 1842-1871)Albaner SeeInk and watercolourSigned, titled and dated Juli 66 (lower right)26 x 41.5cm (10 x 16¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 145
Louis B**** (French 19th century)Portrait of a seated boyPencilIndistinctly signed, dedicated and dated le 24 septembre 1899 (lower left)33 x 25cm (12 x 9¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 147
Willem Isaaksz Swanenburgh the Elder (Dutch 1581-1612) After Abraham BloemaertVanitas & ZachaeusTwo etchings, 1611Each sheet: 27.5 x 17.5cm (10¾ x 6¾ in.) (2)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 148
After Polidoro da CaravaggioA group of poets and Muses on Mount ParnassusEtching, published by Jacob Frey22.6 x 44.8cm (8¾ x 17½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 149
Jan Pietersz Saenredam (Dutch 1565-1607) (After Abraham Bloemaert)Die Geschichte des ersten MenschenpaaresFive engravings, 1604, framed togetherEach sheet: 26.5 x 19.2cm (10¼ x 7½ in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Each sheet has been hinge mounted with white tape at the top two corners, and appear to have been previously cleaned. The margins have all been cut down. There are some very minor and very isolated, small brown spots to each sheet but these are very small and barely noticeable. The first sheet has two small areas of skinning to Eve's stomach. Each sheet appears to have been previously folded in half horizontally, and although this crease is quite defined to the reverse, it is much lighter recto. Some light handling softness to the extreme edges. All sheets appear to be in good condition commensurate with age. Condition Report Disclaimer
Lot 264
Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer
Lot 269
Emilie Mediz-Pelikan (Austrian 1861-1908)Study of a sleeping womanPencilDated Februar 1905 and indistinctly inscribed (lower right)21 x 50cm (8¼ x 19½ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 272
Emilie Mediz-Pelikan (Austrian 1861-1908)Blossom treesMixed media on cardboardSigned with initials and dated 10 Mai 1903 (lower right)44 x 49cm (17¼ x 19¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Discolouration to the sheet. Staining to the edges of the sheet under the mount. The work has been laid down to a card mount. Discolouration to the sheet. The front of mount has become partially unstuck and has left a layer of white card to the extreme edges to the sheet (where it was previously stuck down) there are also traces of glue residue. Some discolouration to the sheet and brown spots of foxing scattered throughout. There is a small area of skinning to the lower centre, which is lifting approx. 2cm. There is an area of heavy surface scratching and some associated skinning and lifting to the lower right quadrant. Very small nick to the sheet approx. 1mm to the left of the left tree. Small area of water damage approx. 1cm to the upper right corner. Condition Report Disclaimer
Lot 273
Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Lot 232
BLACK LACQUER AND GILT COMPOUND CABINET (SIJIANGUI) QIANLONG SIX CHARACTER MARK BUT LATER QING DYNASTY of rectangular form comprising a smaller top cabinet resting on a larger bottom one, decorated throughout with warriors on horseback, officials, lion dogs, scrolling tendrils and panels depicting mountainous landscape views, the interior fitted with drawers and shelves 214cm high, 100cm wide, 46cm deep PROVENANCE: Prominent Scottish collection
Lot 429
CARVED HONGMU DISPLAY CABINET QING DYNASTY, 19TH CENTURY the openwork cresting carved with two confronting dragons, centered by a flaming pearl, below are two glazed panel doors flanked by dragon carved pilasters, raised on square cabriole legs joined by a conforming apron and ending in claw and ball feet 178cm high, 125cm wide, 35cm deep PROVENANCE: Prominent Scottish collection
Lot 441
IMPRESSIVE CARVED HONGMU DISPLAY CABINET QING DYNASTY, 19TH CENTURY the arched top above an arrangement of open shelves, the pierced sides ornatley carved with prunus, bamboo and fruit, flanked by dragon carved columns, raised on mask carved squat cabriole legs united by a pierced apron and ending in claw and ball feet 209cm high, 121cm wide, 38cm deep
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