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Lot 2343
§ Sherree Valentine Daines (British, b. 1959), young woman seated on a stool and wearing a long white dress, and holding a hat, signed and dated '86, oil on board, 27.5cm x 18.5cm. Please note that Artists Resale Right maybe additionally payable on top of the hammer price for this lot, where above the threshold, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information.
Lot 2140
Preyer, Ernest Mancheser 1842 - Düsseldorf 1917 167 x 116 cm Portrait der Ehefrau Agnes Preyer in historischem Kostüm an einer Balustrade vor Seelandschaft. Öl/Lwd., unten links signiert und datiert 1877, rückseitig bezeichnet. Provenienz: Aus der Familie des Künstlers. PREYER, ERNEST (1842-1917). Portrait of the artist's wife Agnes in a period dress at a balustrade in front of a lake landscape. Oil/canvas, signed and dated 1877, verso inscribed. Provenance: From the artist's family.
Lot 2139
Preyer, Ernest Manchester 1842 - Düsseldorf 1917 207 x 136 cm Portrait der Adele Preyer als Ganzfigur in dunklem Kleid mit Rosen in der Hand auf einer Terrasse vor Landschaftshintergrund. Öl/Lwd., doubl., unten links signiert und datiert 1875. Provenienz: Aus der Familie des Künstlers. PREYER, ERNEST (1842-1917). Portrait of Adele Preyer as full-figure with roses in a dark dress on a terrace in front of a landscape. Oil/canvas, relined, signed lower left and dated 1875. Provenance: From the artist's family.
Lot 2058
Grebber, Pieter Fransz. de (attr.)Haarlem um 1595 - um 1652 47 x 39 cm Bildnis einer Dame in fliederfarbenem Kleid im Profil nach rechts. Öl/Holz, seitlich rechts monogrammiert und datiert 1649, rückseitig altes Lacksiegel mit Wappen, vermutlich der Familie Brett (Brett of Esher). GREBBER PIETER FRANSZ. DE (attr., c.1595-c.1652). Portrait of a lady in a lilac dress in profile to the right. Oil/panel, monogrammed and dated 1649 at the right, verso old lacquer seal with coat of arms, probably of the Brett (Brett of Esher) family.
Lot 53
Eugene Laurent Vail (1857-1934) 'Leonie' Etaples c.1887 or 1893 Oil on canvas, 65 x 54.5cm (25½ x 21½'') Original exhibition label verso with artist's name, title and number 26 Eugene Vail was a cosmopolitan artist of American-French background. He was one of a close-knit circle of young painters in the ateliers in Paris and at the artists' colonies of Grez-sur-Loing, Concarneau and Etaples during the 1880s. He was a close friend of Irish artists Frank O'Meara and John Lavery. His pictures enjoyed great success at the Paris Salon and he was awarded the Legion d'Honneur. Eugene Laurent Vail was born of an American father and French mother in St. Servan, near St. Malo, Brittany, in 1857. He gained and engineering degree at the Stevens Institute of Technology, Hoboken, New Jersey. He worked as a cartographer on a scientific expedition in the West of America. Vail was also a keen sportsman and had an interest in theatre and art. He began to study at the Art Students' League, New York, in the studios of William Chase and Carol Beckwith. He travelled to Paris c.1882 and became a pupil at the Academie Julian. He became a close friend of John Lavery's there. In March 1882, he entered the Ecole des Beaux Arts, studying in the atelier of Cabanel. He was also a pupil of Collin and Dagnan-Bouveret. Vail first exhibited in the Paris Salon in 1883. In common with many of his contemporaries, Vail was impatient to paint from nature. Many years later, Lavery acknowledged the influence of his comrade in introducing him to Grez: I came to know Gres-sur-Loing through Eugene Vail. We were both at the Academie Julian and we decided to go there to spend the weekend. I remained there for nine months. Hawkins also met Frank O'Meara there. In 1883, Vail first exhibited at the Paris Salon. In the same year he visited Brittany: Pont-Aven, and Concarneau, in the company of American students Harrison and Simmons. Vail favoured marine and harbour subjects. His best-known Breton painting, 'Le Port de la Peche, Concarneau' (Musée des Beaux Arts, Brest), is a large, low-key study of the harbour and fishing boats. Although sombre in tone, there is a glowing twilight atmosphere, that was, perhaps, to influence Charles Cottet's paintings of Brittany. The picture was exhibited at the Salon in 1884. It was purchased by the French State for the Musée Luxembourg. In 1887, Vail moved to Etaples, Pas-de-Calais. He spent the winter there, lodging with his friends from Grez, O'Meara and Scottish artist Middleton Jameson. Although less well known than the great art colonies, and less picturesque than Concarneau, Etaples was convenient to reach, being close to Boulogne, and living was cheaper there than at Grez. O'Meara wrote: Etaples is a very convenient place - lots of motifs about, plenty of models and studios to be had cheap. French artist, Cazin, a native of Pas-de-Calais, gained inspiration from the landscape around Etaples. Amongst the artists there in Vail's time were Jameson and O'Meara, French painters Boudin and Tattegrain, the Belgian Faradyn, the Americans Walter Gay and Birge Harrison, Dudley Hardy and a contingent from Cork: William G. Barry, Egerton Coghill and Edith Somerville. Sarah C. Harrison was there in 1890 and E.M. Synge and Frida Moloney in 1909. A large number of British and Australian artists continued to work there up to the First World War. While O'Meara studied figures at the harbour and Barry and Coghill painted woodland scenes, O'Meara wrote to Lavery that: Vail is painting the deck of a fishing boat in a heavy sea, life-size, and I think that it will be very fine. Vail exhibited at the Salon again in 1886 and in 1888, when he was awarded a 3rd class medal. His work was praised by Albert Wolff, art critic of 'Le Figaro'. Vail served on the international jury of the Exposition Universelle in Paris in 1889. Four of his pictures were also exhibited there and he received a gold medal. Some of Veil's paintings were known for their dark tonality. Like Welden Hawkins, some of his subsequent work became more decorative and Symboliste, showing the influences of Whistler, Japonisme and the Nabis. Vail may have visited Etaples again c.1893, for his painting 'Soir d'Automne Etaples', which was exhibited at the Salon in 1894. Veil was awarded the Legion d'Honneur in 1894. Six of his paintings were exhibited at the Salon Nationale in 1899 and his work was praised by Gabriel Mouray in 'The Studio'. The present portrait shows an attractive young woman, wearing a headscarf or bonnet and she is viewed in profile. On the reverse of the stretcher, the words 'Leonie' and 'Etaples' are written, probably by the artist himself. Leonie evidently is the name of the model. The word 'Etaples' and an art supplier's stamp 'Caron Cousin. Peintre Couleurs et Toiles - Etaples' on the back of the canvas, indicate that the picture was painted in this town, probably c.1887 or c.1893. Leonie has a fine profile and healthy red cheeks, set against the simple white costume which she is wearing. Vail enjoyed a profile view, as can be seen in 'A Breton Sunday', c.1890 (National Museum of American Art, Smithsonian Institution), which shows a pious woman in scarf, standing in front of a harbour. On the one hand, 'Leonie' has the heroic quality of a peasant woman viewed in profile by Realist painter Jules Beton, for example 'Repose', 1864 (Musée des Beaux Arts, Arras) and 'Jeanne Calvet', 1865 (Francine Clarke Art Institute, Williamstown). But, on the other hand, Leonie is an ordinary country girl, whose rosy colouring reveals her hardworking, healthy life in the open air and by the sea. Her face is well modelled, with the dress indicated in a simple manner, with relaxed, criss-cross brushstrokes. Vail follows the 'Academie Julian' manner, combining a carefully represented face against a more sketchy treatment of clothing. But this relaxed manner also suggests the influence of Impressionist painters, such as Manet and Berthe Morisot. Julian Campbell
Lot 61
Colin Middleton RHA (1910-1983) Snow (1954) Oil on canvas, 35.5 x 53.5cm, (14 x 21'') Signed; signed again, inscribed and dated 1954 Exhibited: 'Colin Middleton Retrospective Exhibition (1939-1954)', 1955 Victor Waddington Galleries Cat. No. 32 priced at £90.0.0 . Snow is a haunting and unsettling painting, its apparent simplicity subtly undermined to establish an atmosphere of ambiguity not unusual in Middleton's work of the period. A controlled palette of cool greys and blue sets off the snow, flecks of white that fall into more solid passages. The female figure is solidly built up in equally cold tones, the face a frostbitten blue, with the pattern on her dress recalling Middleton's design work, never far away at any point. It is, so far, a conventional, slightly fairytale-ish painting, reminiscent of Middleton's 'Goose Girl' from the previous decade. But a second glance reveals the uncertain contortions of the figure; she appears to be turning to look behind her, her old-fashioned skirt billowed up by the wind and pulling her coat closed with her right hand. But it is almost more natural to read the bustle in her skirt as being behind her, with the torso and arm impossibly contorted. Middleton draws our attention very clearly to this by putting her hand right at the centre of the painting, the only use of warm colours in the work. This figure seems to relate to the wandering refugees of Middleton's post-war period, vulnerable to the elements, apparently with nothing other than her clothes, an identity stripped back to the core. Isolated and unable to fight the cold, her position is suggested subliminally but powerfully. Dickon Hall
Lot 40
Fausto Melotti (Italian, 1901-1986)Quattro coppette (Four little bowls) each signed with seven dots (on the base)glazed ceramica)circa 1960Diameter: 14.5 cm.5 11/16 in.Height: 6 cm.2 3/8 in.b)circa 1965Diameter: 14.1 cm.5 9/16 in.Height: 6.2 cm.2 7/16 in.c)circa 1955Diameter: 13.3 cm.5 1/4 in.Height: 5.4 cm.2 1/8 in.d)circa 1960Diameter: 13 cm.5 1/8 in.Height: 6.5 cm.2 9/16 in.Footnotes:This work is registered in the Fondazione Fausto Melotti, Milan, under no. CT 728, CT 729, CT 730 and CT 731.ProvenanceAngelo Ambrosini Collection, MilanThence by descent to the present ownerBorn in Rovereto in 1901, Fausto Melotti's work is not easily defined. Working as a sculptor, painter, poet, and ceramicist Melotti moved freely between abstraction and figuration and his work is linked to Futurism, Surrealism and Arte Povera amongst others. Having grown up in a musical family, he went on to study mathematics and physics at the University of Pisa and engineering, art and architecture at the University of Milan. Music remained an integral part of his life and its influence, along with his scientific expertise can be found throughout his practice. At 27 Melotti enrolled in the Accademia di Belle Arti di Brera in Milan where, in the Plastica della figura class of the prominent symbolist sculptor Adolfo Wildt, he met Lucio Fontana who would become a lifelong friend. Whilst both Fontana and Melotti went on to produce a considerable ceramic oeuvre, Melotti was long best known for his lithe metal sculptures and Teatrini (Mini Theaters or Puppet Theaters). Ceramics would only really become a main focus of his practice towards the end of the Second World War, after his studio was destroyed in the bombardments of Milan, initiating a period in which the artist would focus exclusively on the production of ceramic and terracotta works. His experimental and hugely prolific foray into the ductile and intriguing material resulted in bas reliefs, abstract vases, lustrous bowls and plates, ashtrays, small ceramic sculptures, and whimsical teatrinos and he frequently mixed ceramics with steel or iron. Highlighting the beautiful iridescent glazes so characteristic of Melotti's ceramics, the present collection of works wonderfully showcase his mastery of the medium and his acceptance that he would never be fully in control of the finished product. To work in ceramics, means to hand over part of the artistic process to the kiln and the fire and according to the artist, that was why many traditional sculptors shied away from the medium. The glazes in countless shades of blue and soft pinks are interlaced with metallic accents that enhance the elegant design and feel of their vessels and gives each pot a delicate, gem like quality. As stated by Melotti, 'For an artist, ceramic is a material like bronze or marble. Ceramic may even be a more fascinating material because of the mystery in which it is born from. [...] The adventure of the piece of ceramic that enters the oven amorphous and emerges in full party dress is the source of an exciting joy, an indefinite limit between sense and beauty. It's like a holiday trip into a world that is more fairy-like [féerique] than magical, a world where expressions like joy in work find value and meaning. (The artist in: Antonella Commellato, 'Lotta. Materia prepotente Cervello luminoso', in Antonella Commellato and Marta Melotti, Fausto Melotti. L'opera in ceramica, Milan 2003, p. 27)Melotti was an integral part of the artistic and intellectual fabric of post-war Italy. A contemporary of Alexander Calder, parallels can also be drawn between the sculptures of Alberto Giacometti and throughout his life he stood in regular artistic exchange with some of the most revered artists of the age, such as Lucio Fontana and Gio Ponti. Today, his work is held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Rome, and the Gori Collection in Pistoia, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 119
DIAMOND DRESS RING, 1991The old brilliant-cut diamond within a reeded bicoloured bombé setting, mounted in 18 carat gold, diamond approx. 1.75cts, London hallmarks, maker's mark, ring size approx. K½Footnotes:Provenance: diamond from the estate of Mary Lee Eppling (1912-1988), wife of Douglas Fairbanks Junior (1909-2000), thence by descent. The diamond was refashioned into its current setting by Douglas and Mary Lee's eldest daughter, Daphne.For further information on this lot please visit Bonhams.com
Lot 213
DIAMOND DRESS RINGOf bombé design, set with brilliant-cut diamonds, diamonds approx. 1.70cts total, maker's mark, London hallmark, ring size approx. NThis lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 218
DE GRISOGONO: DIAMOND 'ICY DIAMOND' DRESS RINGOf bombé form, composed of articulating and overlapping panels, either polished or pavé-set with brilliant-cut diamonds, mounted in 18 carat rose gold, signed De Grisogono, numbered B64031, maker's marks, Swiss assay mark, European convention mark, ring size approx. M, maker's case, box and certificate of authenticityFor further information on this lot please visit Bonhams.com
Lot 264
MOUNTED BY GRIMA: DIAMOND AND RUBY DRESS RING, 1968The old brilliant-cut diamond collet-set within a textured 18 carat yellow gold mount, accented by calibré-cut rubies and rose-cut diamonds, to a geometric band, principal diamond very approx. 1.70cts, one diamond deficient, signed Grima, rubbed maker's mark HJCo., London hallmark, ring size approx. Q½For further information on this lot please visit Bonhams.com
Lot 290
DE GRISOGONO: DIAMOND 'ICY DIAMOND' DRESS RINGOf bombé form, the articulating and overlapping panels either polished or pavé-set with brilliant-cut diamonds, mounted in 18 carat white gold, signed De Grisogono, numbered B63988, maker's marks, Swiss assay mark, European convention mark, ring size approx. K, maker's case, box and certificate of authenticityFor further information on this lot please visit Bonhams.com
Lot 52
Britains set 1339, Royal Horse Artillery, service dress limber and gun dark green finish, with six horse team, four mounted Gunners and Officer in khaki with peak caps (Condition Good, officer Fair, wire traces for limber missing, officer and one trooper one horse leg repaired, one team horse leg broken and one team horse leg bent, box Poor) 1938 (13)
Lot 286
Elastolin British Infantry in steel helmets with 55mm scaletwo-horse tinplate Forage Wagon and Limbered Field Kitchen (Condition Good, on seated man missing) with two in full dress and 70mm scale assorted Elastolin and Lineol Infantry (Condition Good-Fair, most damaged, cracked or chipped) (
Lot 89
Britains sets 1892, Indian Army Infantry with Officer (Condition Good, three damaged), 1907, General Staff, service dress (Condition Good, horse missing, dispatch rider damaged) and 1719, RAMC Stretcher Party (Condition Good, one bearer hand damaged) with thirteen other Britains figures (three damaged, with sixteen by other makers and forty-nine Skybird or similar 20mm scale figures (Condition Good, some damage) 1940 (94)
Lot 172
Britains Life of Queen Elizabeth series 43052 HRH Princess Elizabeth in WWII ATS uniform, 43055 HM Queen Elizabeth in coronation gown, 43054 HM Queen Elizabeth in Knights of the Garter robes and 43055 HM Queen Elizabeth in State Dress for the State Opening of Parliament, in original boxes (Condition Excellent, boxes Excellent) (4)
Lot 213
English School (18th Century)Portrait of a lady, half-length, in a blue dress with lace trimOil on canvas 59.8 x 51.4cm (23½ x 20 in.)Please Note: The cataloguing in the printed catalogue is incorrect, but correct on all online platforms. Condition Report: The canvas has been lined and is on a later stretcher, which is providing good support. There is some fine surface cracking and paint shrinkage. Under UV light there are scattered areas of restoration to the edges and in the background. There also seems to be older and finer areas of restoration on her forehead and in a horizontal line on her neck. It has a layer of old varnish and is presented behind glass in an English 18th Century carved and gilded frame which has chips and losses, particularly in the upper left corner. Condition Report Disclaimer
Lot 24
A fine ivory silk and embroidered coverlet, possibly England, Spitalfields, mid-18th century, worked in coloured and metallic threads, the rectangular field with central abundant basket of flowers, including tulips, roses and peonies, flanked by borders with further baskets, swags and entwined exotic flowers, palm trees and sheaves of wheat, with conforming side panels, quilted overall, embellished with tassel trim, bearing a paper label for the PANTECHNICON BELGRAVE SQUARE, stamped THE DUKE OF LEEDS, linen backed, approximately 263 x 260cmThe present coverlet may originate from the renowned silk workshops of Spitalfields. Spitalfields became the centre of the silk industry after the revocation of the Edict of Nantes by Louis XIV of France in 1685, which resulted in many French protestants fleeing to escape persecution for their religion, and settling in England. They brought with them the knowledge of their trades, including silk weaving, and set up their workshops in Spitalfields and surrounding areas, soon attracting demand from both London's aristocracy and burgeoning merchant classes for dress and furnishing fabrics.The present coverlet shares stylistic similarities with the abundant floral designs of the mid-18th century. A circa 1752-3 dress ascribed to the Spitalfields workshops, designed for 'Lady Mayoress' Ann Fanshawe now in the Museum of London features similarly rich brocade in metal thread as well as an arrangement of wheat sheaves.The clustered arrangement of flowers can also be likened to the designs of Anna-Maria Garthwaite (1690-1763), whose botanical studies in watercolour provided patterns for the most fashionable fabrics. Note for example her watercolour design for a woven silk fabric in the collection of the V&A (Inv. No. 5977:1), which shows similar incorporation of exotic plant and fruit specimens (as with the palm tree-like stems in the present lot). The Pantechnicon, for which the lot bears a tag, was a large repository for luxury goods in Belgravia, functioning in part as a picture retailer and furniture merchant, and as a storage warehouse. It was mostly destroyed by fire in 1874, just over thirty years after its opening around 1830. The stamped title on the label may indicate that this coverlet was once property of the Dukes of Leeds, whose seats during the 18th and 19th century included Kiveton Hall until its demolition in 1812, and Hornby Castle. Various sales of property from the Duke of Leeds' collection were held in London at Christie's and Sotheby's during the 1920s and 1930s, and it is possible that the present lot left their possession during this time. Condition Report: While the silk embroidery to the central field and some of the side sections is still exceptionally vibrant in colour and well preserved, the textile would require conservation/professional attention.There are losses and damages to the edges of the central field and side panels, where the layers of embroidery, stuffing and threads have come away or undone, or have torn. The silk ground is quite worn and in areas the woolly stuffing underneath shows through.Areas of gold and metal thread have retained some of their lustre.Condition Report Disclaimer
Lot 109
A painted dummy board depicting a lady sweeping, 18th century, depicted wearing a bonnet and a blue dress and apron, 169cm high, 89cm widePreviously exhibited at the Bowes Museum, County Durham. Please note: The board may possibly date to the first half of the 19th century. The appearance and evidence of the reverse side of the dummy board in particular appear to support it being of 18th or early 19th century in date. Condition Report: Old marks, scratches and abrasions comensurate with age and use.Old splits and chips. some old repairs. Some later screws to the stretchers of timber/ supports attached to the reverse of the board. Potential buyers should satisfy themselves in reference to the age of this item. The board may possibly date to the first half of the 19th century. The appearance and evidence of the reverse side of the dummy board in particular appear to support it being of 18th or early 19th century in date. The painted side of the board appears to have been cleaned and may incorporate some re-touching to the paint. The board is 89cm wide at the widest point. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
Lot 259
A Chinese Export Coromandel lacquered table cabinet, 18th century, decorated with figures in traditional dress and flowers and musical instruments throughout, with hinged rectangular cavetto moulded top opening to a line compartment, above a pair of panel doors opening to four drawers, the interior decorated with seated figures, 37.5cm high, 41cm wide, 34cm deep
Lot 260
A Chinese Export Coromandel lacquered cabinet on stand, 18th century, decorated with figures in traditional dress and floral motifs throughout, the cabinet with rectangular cavetto moulded top, above a pair of panel doors opening to four drawers, the interior decorated with figures in village scenes and exotic birds, the stand with shaped tapering cabriole legs terminating in scroll feet, 112cm high, 46cm wide, 40cm deep
Lot 883
Lord Alfred Tennyson AssociationAntique Fabric: A very attractive piece of green ground silk Fabric decorated with colourful flowers, approx. 30cms x 20cms (12" x 8"), in 19th Century frame. (1)* N.B. Framed with label under glass, inscribed, 'Part of the Wedding Dress of Alfred Tennyson's Grandmother, Mary Turner of Caistor, c. 1780, or his Great Grandmother, Eliz. Clayton c. 1750. given to me by Rev. E. Jesse, July 1914. His mother Emilia Tennyson told him the strips of it were placed on the wall of the Somersby Dining Room below the picture of her father W.J. Rawnlsey.'
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