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Lot 34
A pair of Derby figural candle snuffers possibly 18th century for Stevenson and Hancock, modelled as a bearded monk dressed in black robes reading a Bible, his female companion dressed in black caped robe and bonnet above a violet dress, the squat cylindrical candle deposits on counter form bases bearing blue crown and crossed swords mark above a letter `D`, the letter `H` can be clearly seen to right of swords on one of bases and an indistinct `S` to left of swords of remaining base, 4½in. (11.5cm.) high. (2)
Lot 657
English School (circa 1820) a portrait miniature of Rebecca Gillman of Hoveton, Norfolk, wearing a yellow dress, white chemise with blue and gilt brooch, pale pink sprigged shawl, white lace ruff collar and white lace bonnet, watercolour on ivory, 9.2 x 6.9cm., ivory split, in a black papier-mâché and gilt frame with gilt metal hanging mount.
Lot 106
An 18ct gold, glass-filled ruby and diamond dress ring, the large oval mixed cut ruby, estimated weight 15.37cts, claw set above shoulders with shield shaped inset plaques pavé set with round brilliant diamonds to a broad tapered two tier band, size N, of hallmarked 18ct gold, Birmingham 2006 The ruby is quite a light red, edging towards pink with orange hints more dominant than blue; it measures 17.78 x 13.17 x 7.81mm. The crown has various small nibbles and abrasions and a scratch down a facet edge; and some of the fine fractures are surface-rising. There are no notable areas of `windowing`, but numerous fine inclusions, veils and feathers with areas that catch the light like platelets - assumed to be micron sized gaps; small colour flashes can be observed with the right light and angles; there is one distinct hexagon of fine silk, the lines straight, the angles crisp. The ruby fluoresces under UV light - very faintly in SW and strongly red in LW. The setting is solid and sound, just light wear and tear appropriate to age.
Lot 435
Mary Lomax (British, 20th Century) Portrait of a young girl in striped dress, seated full length, reading at her desk signed lower left ""M Lomax"" oil on canvas 44 x 34cm (17 x 13in) Condition appears fine - gilt slip has slipped down under the frame. White bloom present across surface. Appears to be unvarnished. Hazing could be removed by surface cleaning. A few chips and losses to frame. Under glass.
Lot 440
Sir Edward Coley Burne-Jones, Bt., ARA (British, 1833-1898) Girl with Plait, for the figure of Fortune, from The Wheel of Fortune pencil on white paper 18 x 18cm (7 x 7in) Provenance: With Peter Nahum, 5 Ryder Street, London, SW1. Private collection, East Anglia. Exhibited: Burne-Jones, The Pre-Raphaelites and their century, Peter Nahum, in the text p. 71 and Volume II: The Plates, illus. Plate 36, pub.1989, Girl with Plait. The present drawing for the head of Fortune from the 1870s shows an intermediate stage in which Burne-Jones combined the elaborate plaits and the swathed head-dress from the two ideas for the figure he was considering. The present treatment of the head can be compared with the head-dresses of the Libyan and Erythraean Sybils on the Sistine ceiling. A Hollyer photograph exists of a drawing of the head of Fortune, with a very elaborately plaited hairstyle and dated 1876 (Witt Library). Although this date is retrospective and may be slighly inaccurate, it indicates the height of Burne-Jones`s interest in fanciful hairstyles in the early and middle 1870s. Note in the present drawing the indication of Fortune`s raised left arm, turning the wheel. Condition is fine. Lovely frame.
Lot 454
Circle of Sir Peter Lely (British, 1618-1680) Portrait of a lady as a shepherdess, in a grey dress and pink cloak, with a red rose in her hair, and holding a huette oil on canvas 125 x 100cm (49 x 39in) Provenance: From a Cambridgeshire country house. Oil on a twill weave canvas, unlined. A few small, scattered paint losses, but otherwise in good condition. Two small holes along the bottom edge of the canvas with associated paint loss. Numerous scratches to surface, which could just be in the varnish rather than the paint layer. Varnish is yellowed and uneven with surface dirt.
Lot 459
Walter Frederick Osborne, RHA (1859-1903) A pensive moment signed and dated lower left ""Walter Osborne 20/4/94"" oil on canvas 17 x 24cm (7 x 9in) Unlined canvas. Paint layer in good condition. Varnish glossy, some hazing in varnish causing opaque white patches in sitter`s dress. Frame has a few knocks to gilding.
Lot 462
Richard Thomas Moynan, RHA (Irish, 1856-1906) Portrait of the artist`s daughter, seated full length, in a turquoise dress, a doll at her feet signed upper left ""R T Moynan, RHA, 1891"" oil on canvas 51 x 41cm (20 x 16in) Provenance: Christie`s, London, Irish and Sporting Art, 8 May 2009, lot 16. Unlined canvas. Waxy looking patch on reverse at left hand side but no obvious signs of damage on front. Small area of flaking at bottom edge but otherwise paint layer in good condition. Varnish clear and glossy. Missing section of frame on the decoration to the middle of the upper edge. Cleaned at some stage. Old stretcher bar marks can be seen from the front.
Lot 85
Two single stone dress rings, the first an oval cut pale lemon citrine claw set with geometric gallery and shoulders to a plain band of yellow precious metal, size M; and a step cut synthetic colour change sapphire claw set above an arched gallery and cast foliate shoulders, band stamped `14k`, size N (2)
Lot 17
* GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander , signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17?29 April 1933. Literature: A. Klevitsky, ?Amerika? Borisa Grigorieva?, Novyi zhurnal, No. 231, 2003, mentioned in the text. The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920?1930s had a reputation in Europe and the USA as a master of the ?Russian theme? and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of Renoir?s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artist?s style but also with the status of his model ?a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885?1969). Moreover, Selma Alexander sponsored an exhibition of Grigoriev?s paintings and watercolours in New York from the 17?29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was Grigoriev?s first exhibition in the USA after an eight-year hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. In the aftermath of the exhibition, Grigoriev?s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933?1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of Grigoriev?s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia TomáÅ¡ Masaryk (1932), Still Life (1932) and others. Upon Grigoriev?s return from the USA, his friendship with the Bashkirovs grew even stronger. Bashkirov?s suppor
Lot 17
* GRIGORIEV, BORIS (1886-1939) Portrait of Selma Alexander , signed. Oil on canvas, 91.5 by 71 cm. Provenance: Collection of Selma Alexander, Los Angeles. Bequest from the above to the present owner, c. 1982. Private collection, Australia. Authenticity of the work has been confirmed by the expert T. Galeeva. Exhibited: Paintings and Watercolours by Boris Grigoriev, Marie Sterner Gallery, New York, 17–29 April 1933. Literature: A. Klevitsky, “Amerika” Borisa Grigorieva”, Novyi zhurnal, No. 231, 2003, mentioned in the text. The Portrait of Selma Alexander, offered here for auction, is an outstanding example of the work by Boris Grigoriev, who in the 1920–1930s had a reputation in Europe and the USA as a master of the “Russian theme” and as a brilliant portrait painter. He was always attracted to human mysteries and the inner life of his sitters, which is why he focused primarily on their faces, expressive details and psychological characteristics. The sitter is depicted full-length, wearing an evening gown and expensive jewellery. The delicate figure appears to be simultaneously seated on a golden covered sofa but also standing elegantly, reminiscent of RenoirÂ’s Jeanne Samary. The stylish Selma Alexander, clad in a scarlet dress with embroidered white flowers and wearing tiny turquoise shoes, conjures up an image of a precious toy in a glittering wrapping. The free brushstrokes, complex textural surfaces and resonant bright colours of the work signal a shift in the painterly approach of the artist, who back in the 1920s, gravitated heavily towards Neoclassicism, with its precision of form and clarity of line. Presumably, the new traits evident in this portrait are connected both with the general changes in the artistÂ’s style but also with the status of his model –a society lady, then married to a well-known cultural figure in New York, the highly successful businessman, philanthropist and collector, Vladimir Bashkirov (1885–1969). Moreover, Selma Alexander sponsored an exhibition of GrigorievÂ’s paintings and watercolours in New York from the 17–29 April 1933 in the Marie Sterner Gallery. This show was an important milestone for the artist, as the gallery owner, Marie Sterner, was a keen supporter and promoter of modernism in the USA, having worked with such artists as George Bellows, Arthur Bowen Davies, Elie Nadelman, Marcel Duchamp, John Sloan and others. Besides, it was GrigorievÂ’s first exhibition in the USA after an eight-year hiatus (in the 1920s, he used to exhibit in the New Gallery). The artist exhibited 18 paintings and 30 watercolours, amongst which, the present lot. It is stylistically similar to another portrait included in the exhibition, that of Anna Robene, who was also a patron of the artists and whom he also depicted full-length and wearing a white dress. In the aftermath of the exhibition, GrigorievÂ’s interaction with Bashkirov and Selma peaked, as evidenced by his numerous letters to the couple written in 1933–1934. In addition to the portrait of Selma, Grigoriev also painted her husband. More crucially, Bashkirov acquired a few of GrigorievÂ’s works for his private collection of Russian art, part of which is now in the Metropolitan Museum in New York. Among them were Fishermen (1922), Portrait of the President of Czechoslovakia TomáÅ¡ Masaryk (1932), Still Life (1932) and others. Upon GrigorievÂ’s return from the USA, his friendship with the Bashkirovs grew even stronger. BashkirovÂ’s support, both financial and emotional, was essential to the artist at that time. In one of his letters to Bashkirov, written in his typically emotional manner, Grigoriev confides: “When I think of you, my heart shrinks –you are so far away. Not seeing you has become a great concern for me; honestly, it is hard. I hope you received my letter sent from the ship – as I travelled home, I was thinking more of you than of my home. My gratitude to you has no bounds, and this extends to your charming wife whom I remember fondly, please kiss her hands from me.” In 1933–1934, Grigoriev frequently invited Bashkirov and his wife to visit him in France at Cagnes-sur-Mer, but it seems the meeting never took place. In the mid-1930s, BashkirovÂ’s family circumstances changed when he left Selma for another woman. However, his correspondence with Grigoriev continued until the latterÂ’s death in 1939. The workÂ’s provenance is impeccable. After the 1933 exhibition, the portrait was displayed in SelmaÂ’s home in Los Angeles, where it was spotted by the present owner. Delighted by the impression it made on him, Selma exclaimed: “IÂ’ll bequeath it to you when my time comes!” And she kept her promise. In 1982, the Portrait of Selma Alexander made its way to Australia and became part of her close friend and future biographerÂ’s collection and where it has remained until now. Dr Tamara Galeeva, art historian.
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