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Click here to subscribeCircle of Adam Buck - Full Length Portrait of a Young Girl wearing a White Dress with Blue Ribbons, holding a Basket of Summer Flowers, 19th century pastel with coloured chalks on paper, 25.5cm x 21.5cm, within a painted composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
THREE VICTORIAN STAFFORDSHIRE POTTERY PORTRAIT FIGURES AND A SIMILAR JAR AND COVER, the figures comprising a pair titled 'PR OF WALES' and 'PR ALFRED', modelled as wearing military dress and standing by chairs, heights 27cm and 26cm, a family group of Queen Victoria and Prince Albert with Princess Victoria as a baby, height 20cm and a Victorian Staffordshire pottery jar and cover modelled as a queen wearing crown and robes, bears label to the base 'NEW HALL EX.COLLECTION OF SIR ALFRED OWEN', height 20cm (4) (Condition Report: Wales has paint loss and some crazing, Alfred has minor paint loss and a glaze scuff to the jacket, family group has some crazing and light staining, a few patches of paint loss, firing crack around Albert's neck, fine crack to the front of the base, the jar has crazing and staining)
FIVE VICTORIAN STAFFORDSHIRE POTTERY FIGURE GROUPS OF COUPLES, comprising a harvest scene, height 30cm and the other four of couples arm in arm or with arms around shoulders and modelled wearing a variety of 19th century costume, smallest height 18.5cm (5) (Condition Report: harvest scene has restoration to the brims of the hats, extensive crazing and some paint loss, top hat group has a repair to the lady's neck, minor paint loss, the Highland dress group has minor paint loss and several glaze scuffs, the couple with blue jackets is generally ok and the couple with military man has extensive crazing , minor paint loss and a few glaze scuffs and a crack to the side of the lady)
NORMAN HARTNELL (1901-1979) Two signed pencil, watercolour and gouache dress designs 'Specially designed for H.R.H THE PRINCESS MARGARET', one of a black dress and jacket with two fabric swatches pinned to the top left corner, verso top left corner written in pencil 'Delivered', the other of a 1950's full skirt dress in claret with blue embellished elbow length cuffs, top left corner inscribed 'Reject. 11.' paper size 35.5cm x 25.5cm (2) (Condition report: the design with fabric swatches has a purple crayon mark to the side of the head, a fainter diagonal mark adjacent to the shoulder and arm and another mark and a crease about 4.5cm above the signature, the paper is darker in the bottom right hand corner, the other design has a darker strip along most of the bottom edge)
NORMAN HARTNELL (1901-1979) A signed pencil and watercolour design 'Specially designed for: H.M.THE - QUEEN.' (probably Queen Elizabeth The Queen Mother) of a peach and brown / fur trimmed dress and coat with matching hat, bag, gloves and shoes, inscribed 'No 3' to the top left corner, paper size 35.5cm x 25.5cm (Condition report: several dirty marks to the right hand side edge of the paper, stain to top right hand corner)
NORMAN HARTNELL (1901-1979) Two signed pencil, watercolour and gouache dress designs, one for the actress 'Miss Olga Lindo' (1899-1968) of a lilac evening dress with yellow trained coat and belt, the other with typed slip of paper clipped to the design 'SKETCH NO. 19 Dinner dress with full gathered back of black taffeta and straight front of black velvet, inscribed 'No: 19' in pencil to the top of the image, both 35.5cm x 25.5cm (2) (Condition report: the Olga Lindo sketch has patches of torn brown paper below the signature, various annotations in ink and pencil, a number of dirty marks, mainly around the edges, the black dinner dress design has a few dirty marks, particularly along the right hand side)
NORMAN HARTNELL (1901-1979) Four signed dress designs, two pencil and watercolours of floral full length evening dresses from the 1940's-50's era, one of which is inscribed 'Specially designed for NANTY FROCKS INC:', the other has 'when a princess' inscribed in pencil verso, the two ink and watercolour sketches from the late 1960's - 1970's era, comprising of a cream knee length dress 'DOUBLE CREAM' and a full length A line dress with wide sleeves 'SCARLET LADY', the latter two designs signed in felt pen, Scarlet Lady 32cm x 21.8cm, the other three 35.5cm x 25.5cm (4) (Condition report: the rosebud dress design has a dirty surface and light staining, especially down the left hand side, some wrinkles and crease in the paper, pin holes below a blue biro '6' in the top left hand corner, two pin holes in the bottom left corner, the 'Nanty Frocks Inc' sketch has staining to the bottom half left hand edge, lighter staining along the bottom edge, dirty mark in the bottom right hand corner and another to the right of the head, 'Double Cream' has pin holes to the corners / edges and light creases in the paper, 'Scarlet Lady' has pin holes to the corners/ edges and areas of staining, particularly along the right hand side)
A strand of pearls with 18ct gold clasp, together with an 18ct gold pearl dress stud, a further pearl set gold coloured dress stud, a gold coloured carved cameo brooch, a pair of 9ct gold hoop earrings, a gold coloured pearl brooch and a 9ct gold watch on plated strap (8)Hoop earrings: 2.3gmsBar brooch (unmarked): 3.3gms18ct stud: 0.9gmsunmarked stud: 0.8gmscameo (unmarked): 4.2gmsWatch (excluding strap, including movement): 7.9gmsUnable to weigh gold clasp on pearl necklace Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
An early 20th century garnet and diamond set 9ct gold ring, designed as three oval mixed cut garnets, the principle garnet measuring 6mm x 4mm, interspersed by diamond chips, all set in 9ct gold, marks for Chester 1912, ring size L (at fault), together with a Victorian garnet set brooch, stamped '9c', 43mm wide (at fault), an amber pendant set in a yellow metal mount, pendant bail stamped '333', 30mm long, upon a 9ct gold box link chain, 47cm long, a white stone set dress ring, stamped '9ct & SIL', size N, and a vintage 9ct gold TEXA wristwatch, 23mm diameter, upon a leather strap (5) Texa watch (excluding strap): 12.1gmsgarnet set ring: 1.4gmsthree stone ring: 1.5gmsbrooch: 2.3gmsPendant: 4.3gmschain: 5.5gms Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
A Victorian style garnet and diamond 9ct gold dress ring, designed as five graduated oval mixed cut garnets, measuring between 4mm x 3mm and 6mm x 4mm, interspersed by eight cut diamonds, all set in 9ct gold to a scrolling gallery and tapering shank, marks for Birmingham 1990, ring size N 1/2, together with an early 20th century diamond three-stone 9ct gold ring, size O, gross weight 9.1gms (2)
A 9ct gold pearl dress ring, the central cultured pearl measuring 7mm diameter, all set in 9ct gold to a plain polished shank, ring size I 1/2, together with an emerald, diamond and opal coloured stone 9ct gold ring, size O, a red paste set 9t gold cluster ring, size Q 1/2, an emerald and white stone gold coloured dress ring, size O 1/2, a blue spinal gold coloured dress ring, size N 1/2, and nine further silver and gold plated paste set dress rings (14) (at fault)
A Danish porcelain terrier by Bing & Grondahl, modelled standing, printed mark, 9.5cm high, with seven Royal Doulton figurines comprising: HN1485 Greta, HN1402 Miss Demure, HN1760 4 O'clock, HN1558 Dorcas, HN1772 Delight, HN1670 Gillian, and Marie, all with printed and painted marks to base, and two Royal Doulton miniature character jugs (10) (at fault)Condition report'Greta' is heavily repaired around the neck and shoulders with excessive glue residue.'4 o'clock' has a hairline crack to the base, 3cm long, along with two further minor cracks.'Dorcas' has a repaired crack to the waist with excessive glue residue.'Delight' has a glued repair to the right wrist and neck, loss of fingers to the left hand.'Gillian' has three fine hairline cracks running from the base up the dress.'Miss Demure' has an extensive crack running around the waist and down the dress, further hairline cracks to the base.
A contemporary toleware style lamp base, the hexagonal form body painted with Chinese symbols and figures in traditional dress, gilt highlight throughout, 44.5cm high, together with a contemporary copper coloured pierced lantern, 60cm high (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Oil on canvas50 1/8 x 40 1/4 in. (127.3 x 102.2cm)ProvenanceLady Leontine Sassoon, The Manor House, Upton Grey, Hampshire.Thomas Agnew & Sons Ltd., London, United Kingdom.Christie's, London, sale of 18 November 1983, Lot 45.Private Collection, The Manor House, Upton Grey, Hampshire.Christie's London, sale of July 9, 2008, Lot 155 (as Portrait of Lady Almeria Carpenter (1752-1809), three-quarter-length, in a White Dress with a Chiffon Shawl, in a Landscape).Acquired directly from the above sale.Collection of David and Virginia Ford, Bryn Mawr, Pennsylvania.The Estate of David B. Ford, Bryn Mawr, Pennsylvania.NoteThe eldest daughter of George Carpenter, 1st Earl of Tyrconnel, Lady Almeria Carpenter (1752-1809) was lady-in-waiting to Maria Walpole, the wife of Prince William Henry, 1st Duke of Gloucester and Edinburgh, younger brother of King George III. Described by Sir Nathaniel Wraxall as "one of the most beautiful women of her time," Carpenter soon attracted the attention of her employer's husband and became his mistess by the early 1780s, later giving him a daughter.Although Cosway is primarily remembered for his detailed work as a miniaturist, the present work proves the artist's accomplished skills in executing life-like portraits. With its feathery touch, pearlescent tones and slight idealization of the sitter (all at play here), Cosway became one of the leading portraitists of the Regency era. He may have been asked to paint the present portrait of Lady Carpenter at the request of his famous patron, the Prince of Wales (the future King George IV), who Cosway painted in 1780 before becoming his official Painter in 1785.The relined canvas in overall good condition. The painting presents well, with some abrasions along the right outer edge of the canvas due to frame abrasions (to that effect, the canvas is slightly wobbly in the frame and might need consolidating). Examination under UV light reveals remnants of old greenish varnish at the bottom of the painting, thus indicative of a selective cleaning. With localized, careful restoration throughout. See for example at upper center right, to the right of the figure: series of linear repairs in the sky. The figure is mostly intact, but we notice pinpoint inpainting on her headband, the bridge of her nose, as well as her bosom. Scattered repaired losses (or abrasions) at bottom center on the figure's dress. Broader (almost feathery) retouch at bottom right on the tree. To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Dedicated and signed 'à l'ami Colville/J.J. Tissot' bottom right; also illegibly inscribed in pencil (by another hand) 'Antoine [illeg.] (Colville) / Porzellanmaler [?]ab. 1793 Ruffey sur Seille/Jura/1867' on the middle stretcher bar verso, oil on canvas19 1/2 x 22 1/4 in. (49.5 x 56.5cm)Executed circa 1864.Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.A gift from the above.Collection of Antoine Colville.Collection of Mr. and Mrs. John Marqusee, New York, New York.A gift from the above.Private Collection, Philadelphia, Pennsylvania.Exhibited"James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition," Museum of Art, Rhode Island School of Design, Providence, February 28-March 29, 1968; and Art Gallery of Ontario, Toronto, April 6-May 5, 1968 (traveling exhibition), no. 5LiteratureDavid S. Brooke, Michael Wentworth et al., James Jacques Joseph Tissot, 1836-1902: A Retrospective Exhibition, an exhibition catalogue, Rhode Island Museum of Art Rhode Island School of Design, Providence, 1968 (illustrated).Michael Wentworth, James Tissot, Clarendon Press and Oxford University Press, New York and Oxford respectively, 1984, pl. 22 (illustrated).NoteWe wish to thank Ms. Krystyna Matyjaszkiewicz for confirming the authenticity of the present lot, and for her assistance in preparing the below catalogue entry.During the early years of his career, James Tissot (1836-1902)—christened Jacques Joseph but known as James from childhood and using that name professionally as an artist—painted compositions of figures in historical dress, as well as undertaking portrait commissions. At first he used costumes based on German 16th century fashions, which were considered to be “medieval”. After a visit to Italy, including Venice, Tissot extended his costume range to include Italian and French-inspired late 16th century garments. Such costumes appeared frequently on the Paris stage at that time in both operas and plays, such as Les Huguenots and Hamlet. History pictures depicting the same era, when Henri IV was king of France, had also been popularised in the 19th century by artists whom Tissot admired, notably Jean-Auguste-Dominique Ingres (1780-1867). Tissot either borrowed “Huguenot-style” theatrical dress or had similar garments made up by dressmakers, as a number of pieces are worn by models posed in different ways for various historical-dress compositions, including Sur la Plage.The young woman in the centre wears a black gown with sleeves that are puffed and “paned” or slashed at the top, and close-fitting below. White edging emphasises the paned sleeves and high neckline, with a tall collar ending in a small white ruff. The paned sleeves reveal a pale-grey silk lining below. She wears a matching black velvet cap with white feathers. A black chalk drawing by Tissot of a bare-headed model wearing the same dress is known (currently unlocated) and the same costume appears full-length in Promenade on the Ramparts, 1864 (Cantor Arts Centre, Stanford University, California), Tentative d’Enlèvement [The Attempted Abduction], 1865, and Le Rendez-vous, about 1867 (both unlocated). Both male costumes also feature in Promenade on the Ramparts, where the boy in pink jerkin and black puffed-sleeve jacket has grey hose and black shoes rather than the over-the-knee boots he wears in Sur la Plage, and the man has different trunk hose with grey rather than buff-coloured jerkin.The white and grey horses, and a dark-coloured animal beside the man that might be intended as a mule or donkey rather than a horse, are lightly sketched in. The dog is sketched with more confidence than the other animals, and dogs of various types appear in many of his works but horses are rarer. Although the painting was not sufficiently complete for exhibition, it was probably liked, and may have been requested by Tissot’s friend, Antoine Colville (1793-1867), to whom it was dedicated by the artist. Colville painted miniatures and was also employed to decorate ceramics. He was born in the Jura, west of France, near to where the family of Tissot’s father had lived after emigration from Italy, and their origins may have linked the two artists.Tissot’s paintings often provide hints of stories, leaving the viewer to imagine what may have occurred or is about to happen. Given the historical costumes, the figures on the beach here could be Huguenots escaping from persecution and waiting to escape France by boat. In escaping they haven’t been able to take much with them, as no baggage is evident. Alternatively they might be waiting for someone about to arrive by sea. The rocky cliffs and narrow stretch of sand suggest precariousness. Both adults are looking out to sea but the boy is looking directly at the viewer (and the artist), sullen and less than happy about having to sit and wait.Frame: 25 12 x 28 x 2 1/2 in.The relined canvas in overall very good condition. Examination under UV light reveals scattered areas of old greenish varnish, indicative of a clean. We also notice two small areas of restoration: one to the right of the male figure, in the rocky background; and another on the central horse's mane and neck (pinpoint sized). For more information, please see Specialist's images. To have access to such images, please email Raphael Chatroux at rchatroux@freemansauction.com.
Signed and dated 'W-BOVGVEREAV-1895' bottom left, oil on canvas62 3/8 x 36 in. (158.5 x 91.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.Acquired directly from the above.Collection of Solomon Mehrbach, New York, New York.A.A.A, New York, New York, sale of March 1, 1906, Lot 128 (as The Gardener's Daughter).Acquired directly from the above sale.Collection of Colonel Nathan H. Heft, Bridgeport, Connecticut.A.A.A., New York, sale of January 22, 1920, Lot 72 (as The White Rose).Acquired directly from the above sale.Private Collection, New York.A.A.A., New York, sale of November 17, 1938, Lot 64 (as The Wild Rose).Acquired directly from the above sale.Collection of Michael J. Kutza, USA.Sotheby's, New York, sale of April 28, 1977, Lot 169 (as La Fille du Jardinier).Acquired directly from the above sale.Private Collection, North Carolina.Exhibited"North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 7 (as Peasant Girl).LiteratureWilliam Bouguereau's Accounts, as L'odorat.Amable Charles Franquet de Franqueville, "William Bouguereau" in Le Premier Siècle de l'Institut de France, Vol. I, J. Rothschild, Paris, 1895, p. 370 (as La Fleur).Marius Vachon, W. Bouguereau, A. Lahure, Paris, 1900, p. 29 (as L'odorat).Braun & Clément, Oeuvres Choisies des Maîtres Anciens et Modernes, Braun, Clément et Cie., New York, 1907, no. 5445 (illustrated as La Fleur Préférée). Mark Steven Walker, William Bouguereau: A Summary Catalogue of the Paintings, New York, 1991, p. 74.Damien Bartoli and Frederick C. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, Vol. II, Antique Collectors' Club , New York and Art Renewal Center, Woodbridge, NJ, 2010, no. 1895/12, pl. 225 (illustrated as La Fleur Préférée).NoteThe highly refined and polished art of William Bouguereau is often used as the quintessential illustration of 19th Century French Academism. His name is forever associated with images of elegant female sitters, mostly young girls and teens, as well as mythological figures, caught in a moment of grace, lightness, and sensuality, with an almost photographic quality. These artistic traits, which Bouguereau refined throughout his fifty-year-long-career, made him hugely successful, both academically and financially. It also enabled him to present and sell his work in the United States early on, where such academic finesse and gentle moralization appealed to conservative, often industrialist, collectors of the Gilded Age. At the time of Bouguereau’s death in 1905, The New York Times even concluded: “at one time to possess a Bouguereau was regarded as the first necessity for an art patron.”Appearing at auction for the first time in over fifty years, the present work dates from the artist’s mature, experienced period, just ten years before his death. It was most likely a “tableau de vacances,” executed in the summer of 1895 while Bouguereau sojourned in his villa on rue Verdière in La Rochelle, and completed later that same year in the artist’s Parisian studio. Bouguereau repeatedly worked from live models and was known for hiring Italian teenagers in the region, whom he paid generously to gain their trust, so they would appear in later works. While the identity of our sitter remains a mystery, she was most likely a local Rochelaise, whose delicate treats and slender allure appealed to the master.On many levels, La Fleur Préférée is a textbook example of Bouguereau’s artistic mastery. In a lush landscape stands an almost life-size paysanne, unalarmed, her bare feet firmly planted in the dirt path on which she was walking before stumbling upon us. Simply dressed (she wears a traditional bodice and draped dress like many peasant girls of the time), she holds a small bouquet of wildflowers, from which she plucked a white rose -the titular favorite flower- which she languorously sniffs. Like many of Bouguereau’s earlier works, La Fleur Préférée stands as an idealized version of rustic life. Contrary to Jean-François Millet, Léon Lhermitte or Jules Breton who also depicted farmers and peasants, Bouguereau does not hint at the harsh conditions associated with the rural way of life. The young woman is beautiful, elegant (although her attire is simple, a rather sophisticated scarf is tied on her shoulders), and immaculate, as revealed by her pristine apron, and her clean hands and feet, which Bouguereau particularly excels at rendering here in a formidable foreshortening. According to Alfred Nettement, a student of the master at the Académie Julian in Paris, Bouguereau in fact had “absolute horror of what he would call realism and he always said that reality is charming when it borrows a gleam of poetry from imagination.”Yet, the present work slightly differs from Bouguereau’s past depictions of young maidens, as it introduces a new sense of confrontation and directness which resembles the more provocative, modern works such as Jeune Bergère (1885), Jeune Bergère Debout (1887) and Petite Bergère (1891). This bold face à face is duplicitous. While at first glance one might see a young girl slightly intimidated by her encounter with the viewer, using the flower as a screen, a second read reveals a self-assured adolescent voluntarily engaging with us, assessing the male audience directly, with no hint of slyness, pruderie or reserve. The sitter projects self-assurance, and her heavy gaze implies coyness, flirting even, which somehow clashes with the so-called naïveté and innocence Bouguereau aimed at depicting in the French peasants he portrayed, and for which wealthy American collectors would pay large sums of money.Here, the narrative is stronger than usual, as revealed by the successive changes of title in our painting’s history, subtly implying that each of its owner preferred a different facet of the story. The bouquet the girl holds in her hands may have been assembled by her, as she wandered through the woods along the dirt path. In this version, Bouguereau would have depicted a moment suspended in time; a halt during which “the gardener’s daughter” picked her favorite flower to smell its intoxicating perfume before returning home, or to work. But the flowers could also have been collected by someone else.
Signed and dated 'J.E. Blanche/1904' bottom right, oil on canvas48 x 32 in. (121.9 x 81.3cm) ProvenanceThe Artist.Acquired directly from the above.McKean Family Collection, Philadelphia, Pennsylvania.By descent in the McKean family.Exhibited"One Hundred and First Annual Exhibiton," Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 22-March 3, 1906, no. 767 (as Portrait of Nancy McKean).NoteThe present work is recorded (as Miss X) in the Online Jacques-Émile Blanche Catalogue Raisonné prepared by Dr. Jane Roberts under reference number RM 925.The relined canvas in overall very good condition. With a glossy finish and slight craquelure throughout (most due to age, others like at bottom right on the chair due to paint contractions) and the mark of a light middle stretcher bar impression running horizontally across the middle of the painting (through the sitter's dress). Examination under UV light reveals a thick layer of old glowing varnish, especially visible in the darker parts of the canvas (background). The figure presents well, which is likely indicative of a selective cleaning. No evidence of restoration could be spotted, except for a minor restored area above the sitter's right eyebrow (most likely a result of old scratching). See Specialist's additional images.To receive images, or any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
JEAN-GABRIEL DOMERGUE (France, 1889 - 1962)."Casino de Paris".Oil on masonite.With label on the back.It has a period frame with damage and faults.Signed in the lower left corner and titled on the back.Measurements: 46 x 38 cm; 66 x 57,5 cm (frame).Jean Gabriel achieved great recognition for his paintings of elegant and beautiful women belonging to Parisian high society. This work is a masterful example of one of his most explored themes and of his technical quality, in which colour plays a major role. The pictorial treatment of this work shares the limelight with the lady depicted, the way in which he applies the brushstrokes in the background or how he configures the shade of the satin of the dress show us the level of skill of the work, in which with few elements the artist is capable of capturing the casual and vibrant essence of the most bohemian Paris. A French painter specialising in portraits of Parisian women, Jean-Gabriel Domergue trained at the École Nationale Supérieure des Beaux-Arts. A highly talented and extremely precocious artist, he exhibited his works at the Salon des Artistes Français from 1906, when he was only seventeen. In 1913 he was awarded the Second Prize in Rome, and at the 1920 Salon he was awarded the Gold Medal. From then on he showed his works outside the Salon. In his early years he achieved success thanks to his landscapes, the focus of his work at the time, but his language took a definitive turn in the 1920s. From then on he became the painter of the Parisian lady. Domergue invented a new type of woman: slender, ethereal, elegant, with a swan's neck and slanting, seductive eyes, looking at the world with melancholy. He would later state: "I invented the pin-up". Although Domergue painted numerous nudes modelled on fashionable actresses and young dancers, he was nevertheless highly appreciated in aristocratic circles as a portraitist, and in fact painted portraits of prominent ladies of the time such as Liane de Pougy and Nadine, the future Baroness de Rothschild. An active participant in the Parisian cultural life of the time, he played an essential role in the evolution of fashion at the time, and designed numerous dresses, hats and accessories for famous couturiers such as Paul Poiret and Henry Marque. As for his pictorial work, it was in the 1930s that Domergue's language reached its personal form. At the height of his career, he reached maturity with a painting indebted to the 18th century masters, such as Fragonard and Watteau, in terms of its mastery and delicacy, and helped to establish the canons of feminine beauty of his time. His academic training, together with his aura of fantasy, made his portraits unique and inimitable, much sought after by collectors even then. In fact, Domergue changed the way in which women were portrayed, breaking with traditional, melancholic and vaporous poses. In her hands, the female figure became ethereal, sparkling and shimmering like champagne bubbles, in her own way laying the foundations for the feminine revolution that was to unfold in the decades that followed. Apart from his artistic output, Domergue was director of the Jacquemart-André Museum in Paris, a member of the Académie des Beaux-Arts and a Knight of the French Legion of Honour. He is now mainly represented in the museum that bears his name in Cannes, as well as in the Royal Collection in London and other public and private collections.
A pair of Japanese Meiji period bronze vases decorated with bubble blowing man in relief with traditional dress and bubbles floating up to the swelling neck, with areas of gilt splatters to body of vase, two character signature to base height 30cm. Appears to be in good condition, with no obvious signs of damage, repair or restoration.
Norman Prescott Davies (1862-1915); 'A Despot' Orientalist oil on canvas of elderly Middle Eastern man in traditional dress seated with hookah, monogrammed and dated N.P.D 1889, tiled and signed en verso to label, in gilt frame, 39x29cm --The original canvas is in good condition, the painting appears to have been cleaned and the frame re-gilded
A 19th century miniature portrait of a young man in high colared coat and shirt with signtaure ofver left shoulder in yellow J Wheatly? 6cm and to the other side a daguerreotype portrait of same man later in life in similar dress --This is a framed locket, the two pictures sealed within glass in a gilt mount which appears to have had a clasp. Both portraits appear in good condition, the daguerreotype has a little edge blooming
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