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Lot 26
A Royal Crown Derby Imari 2451 pattern shaped circular dessert plate, 21.5cm diameter, first quality; a pair of 8687 pattern side plates, seconds; a five petal trinket tray; a Royal Doulton Brambly Hedge tea plate, Winter; a Royal Worcester Marissa pattern trinket dish; an Aynsley Wild Tudor pattern fruit bowl; jardinière; other Aynsley; qty
Lot 346
Numismatics – UK silver proof crowns in Royal Mint boxes with certificates: 1981 Charles & Diana wedding; 1996 Queen’s 70th birthday; 1997 Queen’s golden wedding; 1998 Prince of Wales’ 50th birthday; 2000 Millennium, also another millennium crown BU in first Day Cover with folder, also 1951 crown maroon box, BU (7)
Lot 735
Diecast Model Vehicles - a Corgi, Buses in Britain, RT London Transport bus, boxed; another; Exclusive First Editions buses, including AEC RF Mk1 Bus London Transport 23320, boxed; AEC STL London Transport 27701, boxed, etc; Corgi Routemaster OM46302 special edition first issue, boxed; others, Barton, Greenline, London Transport, etc, loose and boxed, qty
Lot 25
A Royal Crown Derby Royal Pinxton Roses pattern shaped circular dinner plate, 26cm diameter, printed mark, first quality; a Royal Antoinette pattern shaped circular trinket pot and cover, first quality; a Derby Posies pattern sauce jug, dinner plate, hexagonal vase, pair of miniature trumpet shaped vases, assorted trinket dishes, etc
Lot 97
FOUR ENGLISH ENAMEL PATCH BOXES 18TH CENTURY the first and largest painted with courting couples, the lid opening to a portrait of a lady with a fan; the second painted with a shepherdess and flower sprigs, 6.5cm wide, 3.5cm high, 5cm deep; together with an ENAMEL TREFOIL LID, painted with a courting couple, 6cm deep, 6cm wide, a Continental puce camaieu enamel snuff box on white ground, painted harbour scenes to all sides, the lid and interior of the lid, 8cm wide, 3.5cm high, 6cm deep; together with a smaller POLYCHROME ENAMEL SNUFF BOX painted with a landscape with classical ruins to the lid and flowers to each side, 6.5cm wide, 3cm high, 5cm deep (5) largest 8.5cm wide, 4cm high, 6cm deep
Lot 427
MARBLE HEAD OF A LADY, IN THE LATE 15TH CENTURY ITALIAN STYLE ATTRIBUTED TO GIOVANNI BASTIANINI (ITALIAN 1830-1868) modelled in the Mannerist style with downcast almond eyes, high forehead and plaited hair set with ribbons, mounted on a limed oak veneered tapering square plinth, head 18cm high 35cm high overall, 13cm wide, 16cm deep Provenance: Property of a Private Glasgow Estate, reputed to have been purchased in the mid 20th century Note: From the mid-nineteenth century early Renaissance sculpture was in high demand and short supply. The Florentine dealer Giovanni Freppa (1795–1870) found a solution to this problem in the sculptor Giovanni Bastianini (1830-1868). He had began his career as a stonecutter in the quarries at Fiesole, and was sent by Francesco Inghirami to study in Florence, first with Pio Fedi and then with Girolamo Torrini, with whom he collaborated on a statue of Donatello for the portico of the Uffizi. He worked for the dealer from about 1850 to 1867, for whom he produced numerous neo-Renaissance works, most often busts and bas-reliefs in the style of Donatello, Verrocchio, Mino de Fiesole, Desiderio da Settignano, Francesco da Laurana and other Italian masters. Bastianini's works were sold to collectors and such museums as the Victoria & Albert Museum and the Louvre as Renaissance masterpieces. Shortly before his death some of his works were revealed to be forgeries. Scandal ensued, but discussion continues about his intentions and the extent to which his forgery was encouraged by dealers, including Joseph Duveen.For comparable examples see a bust by Bastianini, in the manner of Desiderio da Settignano, circa 1860, V&A;, Accession Number A.9-1916; and also a portrait bust of a lady, attributed to Bastianini, Princeton University Art Museum, Object Number y1969-125.Literature: A. F. Moskowtiz, Forging authenticity: Bastianini and the Neo-Renaissance in nineteenth century Florence, London, Ad Ilissum, 2018
Lot 378
JEAN-BAPTISTE-CAMILLE COROT (FRENCH 1796-1875) LE COURS D'EAU SOUS LES ARBRES Signed with the Vente Corot stamp, with Vente Corot seal to central stretcher verso, oil on canvas 61cm x 50cm (24in x 19.75in) Provenance:Corot Studio sale, Paris, 1875, no.223 to M. Detrimont;Acquired by Edward and Isabella Balfour, Balbirnie, Scotland in Paris in the 1880s;Isabella Balfour until 1938, and thence by family descent. Literature: Alfred Robaut, L'oeuvre de Corot, ed. Floury, Paris, 1905, Vol. 3, pp. 368-369, no.2372Note: This painting has been inspected first hand by Claire Lebeau-Dieterle and a letter of authentication accompanies this lot. Claire Lebeau-Dieterle dates this painting c.1870-1874. Le Cours d’Eau Sous Les Arbres is redolent of the ethereal stylisation of Camille Corot’s mature work. Amidst a birch grove we find a farm hand, perhaps resting while journeying out from the town delineated in terracotta along the horizon. Corot suffused his landscapes with silvery Elysian ambience by painting on a ground of pale grey. He then applied colours from dark to light, first tracing the shadowy trees which so often frame his compositions and coming last to the sky which, brushed in diffused strokes, appears to glint through the tree canopies. Around Le Cours d’Eau Corot has suggested yellow wildflowers using flicks of marigold pigment, almost audacious in their brevity. To the lower left the work bears the ‘Vente Corot’ stamp confirming its provenance from the artist’s studio.By the 1850s Corot had devised an original landscape genre comprising imagined woodland and riverside idylls populated by peasants, nymphs and bacchantes. These Arcadian visions, which Corot dubbed his Souvenirs, were often based on oil studies made en plein air. Their technical spontaneity and atmospheric verisimilitude constituted a novel approach to landscape painting which anticipated and influenced the work of the Impressionists. The Souvenirs’ fantastical nature ostensibly ran counter to the Impressionists’ objective to portray modern life, but Corot’s pastoral visions were a response to the encroaching industrialisation and modernisation of France, and for this reason their poignancy continues to resonate with audiences to this day.
Lot 462
DENIS FOYATIER (FRENCH 1793-1863) SPARTACUS bronze, medium brown patina, signed and dated ‘Foyatier 1832’, with a presentation inscription stamped in the base 'FOYATIER RECONNAISSANT A SON AMI A. MUSSAT' 39.5cm high, 11cm wide, 16cm deep Note: Foyatier entered the École Nationale Supérieure des Beaux-Arts in Paris in 1817. In 1819 he exhibited his first pieces and, aged 26, was awarded a scholarship for the French Academy in Rome. There he created his most famous work Spartacus, which was sealed by Royal commission for the work to be executed in marble in 1828.
Lot 376
LADY BUTLER (AFTER) THE REMAINS OF AN ARMY, JELLALABAD Oil on canvas 91cm x 158cm (36in x 62in) Note: The original painting upon which this composition is based was gifted to the Tate Gallery, London, by Sir Henry Tate in 1897. The painting commemorates one of the worst disasters in British military history. In 1842, during the First Afghan War, the British Army in Kabul was forced to retreat sixty miles over snow-covered passes to the fort at Jellalabad, while being continually harried by the Afghans. When Dr. William Brydon, an Assistant Surgeon in the Bengal Army, arrived alone at the gates of Jellalabad it was thought he was the sole survivor of a force which had been some 16,000 strong. A few others eventually struggled through to the fort.
Lot 351
TWO GEORGE III TEA CADDIES LATE 18TH CENTURY the first a mahogany caddy of rectangular ogee form with brass swing handle on bracket feet, later converted into a ink stand with glass wells; the other an hexagonal satinwood veneered rolled paper caddy, the floral panels in coloured and gilt paper (2) the larger 26cm wide, 17cm high, 15cm deep; smaller caddy 21cm wide, 14cm high, 11cm deep Provenance: Select items from the estate of the late Lady Penn Note: The larger caddy gifted by HM Queen Elizabeth, the Queen Mother, to Sir Arthur Penn 1958
Lot 229
FIVE PLATES FROM THE SERIES 'VIEWS OF CALCUTTA', BY THOMAS DANIELL RA (BRITISH 1749-1840) CIRCA 1786-88 hand-coloured aquatints, each cut down to the image and mounted on backing paper, including Plate 2 'The Old Court House and Writers' Buildings'; Plate 3 ‘Part of the Old Tank’; Plate 5 ‘The New Court House and Chandpal Ghaut’; Plate 6 ‘The Old Fort Ghaut’; and Plate 11 ‘The Old Government House’, all framed in matching ebonised and gilt frames; together with three loose Daniell plates from the series ‘Oriental Scenery: Twenty Four Views in Hindoostan’ including; Plate XIV ‘Ramnagar, Near Benares, On the River Ganges’, London 1796; Plate XVIII ‘The Taje Mahel, At Agra’, London 1796; Plate XXI ‘View in the Fort of Trichinopoly’, London 1798 (8) 55.5cm high, 67.5cm wide (including frames) Provenance: The Estate of the late Lynette F. H. Cole, Rutherford House, Town Yetholm, Scottish Borders Note: In 1784 Thomas Daniel obtained permission from the East India Company to travel to India to work as an engraver, assisted by his nephew William. The pair reached Calcutta in 1786 and soon began to issue the first topographical prints of the colonial capital. Twelve etched and aquatinted “Views of Calcutta” were completed by 1788, printed and hand-colored by Indian assistants. The images proved immensely popular in India and Europe, and helped to launch a vogue for Indian ornament and design in Britain.
Lot 87
THREE GEORGIAN SILK NEEDLEWORK PICTURES LATE 18TH CENTURY all oval and worked in silk with various stitches on silk grounds, the first depicting a young man playing a pipe while a young lady looks on, 40cm x 29 [sight size]; the second with three young maidens laying floral tributes on an urn while a Roman soldier looks on, in an eglomise mount, 35cm x 27cm, [sight size]; and a small scene of a cottage by a river, in an eglomise mount, 14cm x 18cm [sight size]; in gilt frames (3) overall sizes 54cm x 43cm; 40cm x 34cm; and 24cm x 28cm Provenance: Property from a Glasgow estate Note: One with a handwritten inscription on the back ‘Worked by one of my Aunts … at a boarding school in Dundee (?) in 1799’
Lot 486
PAINTED PORCELAIN PLAQUE, AFTER DAVID (DALHOFF) NEAL LATE 19TH CENTURY depicting ‘The First Meeting of Mary Stuart and Rizzio’, on a Continental porcelain blank, signed and dated ‘ETHEL MASON, 3.10.96’, the plaque incised ‘23-39’ verso, in a giltwood frame plaque 35cm x 23.5cm; 47.5cm high, 35cm wide overall Note: David Rizzio was an Italian courtier who travelled to Edinburgh and, as the story goes, initially came to the attention of Mary, Queen of Scots, one night as he lay asleep on an oak chest in the Palace of Holyroodhouse. At first, he entertained her as a musician and later became her private secretary. Unfortunately, this led to rumours of a more intimate relationship, which led to his assassination in the Queen's presence in 1566.
Lot 357
Javier Calleja, Spanish b.1971- First Look, 2021; soft ground & etching on 300gr off-white Arches Velin paper, hand finished by the artist with watercolour, wash and pencil, signed in pencil, edition of 70, with a Gravura Taller de Grabado blind stamp, sheet: 80 x 60 cm, (unframed) (ARR)Note: in original box, together with a certificate of authenticity from Avant Arte, signed by the artist
Lot 11
Paul Nash, British 1889-1946, The Strange Coast, 1920; lithograph on yellow wove, signed, dated, titled and inscribed 'edition 30' in pencil, from the edition of 30, plate: 31.5 x 40.8cm, (framed) Note: This lithograph depicts a coastal scene at Dymchurch, Kent, where Nash moved in 1921, having visited for the first time two years prior. The seawall shown here became a recurring image in Nash's work of this period. Provenance: The Leicester Galleries, London, 1978.
Lot 510
Banksy X Clown Skateboards, British 21st Century,Clown, 2022; one layered hand pulled gloss acrylic screenprint on JPP textured Somerset 300 gsm,edition of 750 + 75 APs, numbered 651/750 and embossed, published by the Stowe Gallery, sheet: 40 x 60 cm, (unframed) Note: together with a certificate of authenticity issued by Stowe Gallery. This image was created by Banksy and gifted to Clown. The team at Clown Skateboards were involved in Banksy’s early career, which included showcasing Banksy's work for the first time in London.
Lot 825
John Michael Wright (1617-1694) Portrait of a lady, traditionally identified as Mrs John Wallis, half-length, wearing a blue dress, and pearl necklace and earringOil on canvas, oval70.6 x 62.2cm; 27¾ x 24½inProvenance:By family descent to the present ownerWe are grateful to Dr Carla van de Puttelaar for confirming the attribution of the present work. Dr van de Puttelaar dates the portrait to the first half of the 1660s and will include it in her forthcoming catalogue raisonné of John Michael Wright’s work.
Lot 867
John Constable RA (1776-1837) The Gravel Pits of Hampstead Oil on paper laid on board, c.1820-22 18.1 x 25.8cm; 7 x 10¼in Provenance: Probably Charles Golding Constable (1821-1878); Probably with Dowdeswell and Dowdeswell, London, 1890s (the above according to inscription to reverse); Sotheby's, London, c.1952, where purchased by B. Y. McPeake; And by family descent “The world is wide. No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world … In a sketch, there is nothing but the one state of mind – that which you were in at the time." -John ConstableThe Gravel Pits of Hampstead is a previously unpublished oil sketch by one of the great masters of not only British but of European art, John Constable. Painted in c.1820-22, it depicts workers at a gravel pit on Hampstead Heath. The Heath and its surroundings were one of the mainstays of Constable’s art in the second half of his career. He first took lodgings there in 1819, in part to help improve the health of his young family. However, with its combination of panoramic views across London and the rustic ruggedness of its steep banks and hollows, the area also held great appeal to him as an artist. He spent most summers there until 1827, when he purchased a house in Well Walk that was to remain his home for the rest of his life.It is Constable’s Hampstead period, alongside his time in Suffolk, which is most associated with the oil sketches, such as our painting, which today are amongst his most admired and best loved works. The Gravel Pits of Hampstead would have been executed in a single sitting and with its fluid, vigorous brushwork, it provides a fascinating insight into his working technique. Constable had the virtuoso ability to paint rapidly wet-on-wet, or alla prima, creating spontaneous impressions of the landscape around him. Constable painted these open air sketches in Hampstead, Suffolk and other locations until 1829, when he ceased the practice. These works were never intended for exhibition or sale, but instead he could refer back to them as he worked on larger compositions. In fact along the edges of our painting one can see the evenly placed pencil marks which indicate the artist intended to place ‘squaring threads’ in order to work up a larger version of the composition. There are also pin holes in the corners of the sheet, suggesting that Constable either had it pinned to a board whilst working in the open air, or that he had it attached to a studio wall as a compositional aid.An inscription to the reverse of the board reads ‘This sketch on paper, formerly the property of Captain C Constable, son of John Constable was mounted on this card by Dowdeswell the picture dealer.’ The London dealers Dowdeswell and Dowdeswell did in fact purchase works by John Constable at his son Charles Golding’s posthumous sale on 11 July 1887, including lot 70 (‘Sketch of Hampstead Heath – 1821’), and lot 74 (‘Hampstead Heath 1823’), both purchased for £21. It is conceivable that one of these lots is the present work.In the early 1950s the work was purchased by Ben McPeake, who was Managing Director of International Magazines, part of William Randolph Hearst’s publishing empire. The company published a number of titles, including McPeake's personal favourite, The Connoisseur magazine. McPeake lived for a time at Frognal House in Hampstead, and so it seems plausible that he acquired the present work, in part for the local subject matter.Constable’s oil sketches have always been held in the highest esteem and, for some, are more sought after than his finished paintings. The landscape painter Frederick Richard Lee wished to buy some, and was refused, and Samuel and Richard Redgrave wrote that ‘Constable himself knew the value of such studies, for he rarely parted with them. He used to say of his studies and pictures that he had no objection to part with the corn, but not with the field that grew it’. The oil sketches were also hugely influential on future generations of artists, both in Britain and in Europe, and even 100 years after his death John Piper wrote ‘His sketches mean more to us today than his big paintings in the end; they are so complete, vivid and timeless. … Constable … deeply affected the course of the [landscape] tradition and made the Impressionist movement, and ultimately the whole of the modern movement, possible and necessary’.We are grateful to Anne Lyles for her assistance in cataloguing the present work. Please note, this painting is displayed in a loan frame from Douglas McLeod Framing Ltd. Salisbury. Should you wish to purchase it please contact a member of the Old Masters, British & European Paintings department.
Lot 877
Attributed Nicholas Pocock (1740-1821)The Capture of the French Frigate La Tribune by The Unicorn, 8 June 1796Oil on canvas49 x 71.9cm; 19¼ x 28¼inTogether with Francis Chesham (1749-1806) after Nicholas Pocock; The Capture of the French Frigate La Tribune by The Unicorn, 8 June 1796; Etching and aquatint with hand-colouring; 41.7 x 61cm; 16½ x 24in (image) (2)The 32-gun frigate HMS Unicorn, in company with HMS Santa Margarita, were cruising west of the Scilly Isles when, on 8th June 1796, they sighted, chased and brought to action two larger French frigates, the Tribune and the Tamise, both mounting 36-guns. Two fierce duels ensued, with the Tamise surrendering to HMS Santa Margarita first. Determined not to suffer the same fate, the Tribune fought all the harder for many hours and it was not until 10.30pm that night that she finally ‘struck her colours’ and surrendered to the Unicorn.
Lot 518
Crimean War Period 1854 Wilkinson Sword Patent Solid Hilt 1822 Infantry Pattern Sword. A very rare early example, the blade with the number 5035 (1854) representing the first year of the register of blade numbers which started at 5001. The blade with spear point, etched floral panels and Crowned VR Cypher. To the forte maker's panel for Henry Wilkinson London, also etched with “Patent Solid Hiltâ€. The hilt with brass bar open guard with crowned VR cypher and folding guard. Housed in brass scabbard. Etching to the blade very clear. Some service wear otherwise GC.
Lot 264
China. Shanghai Volunteer Corps cap badge. Good scarce British made die-stamped bronzed brass eight pointed star resting on 4TH APRIL 1854 scroll; centre of star bearing SVC. Loops. VGC 4th April 1854 refers to the unit's first engagement, the Battle of Muddy Flats. The SVC was disbanded early in 1942 after the Japanese took over the International Settlement. Bob Betts Collection
Lot 347
WW2 RAF 1940 Navigator's Bomber Command Medals and Logbook. A scarce early WW2 Navigator's group attributed to Warrant Officer Austin Borden Rex Sutton who commenced operations with 115 Squadron Wellingtons on the night of the 14th July 1940. 1939/45 Star, Aircrew Europe Star, Defence Medal, War Medal (Medals loose) ... Aircrew Log Book covers the period October 1939 to May 1945 and records 33 Operations. ... various Items of Ephemera, Service Release Book, Certificates etc. Warrant Officer Austin Borden Rex Sutton RAF career began when he applied to the RAFVR Observer Section in April 1939, his log records his first flight in a Hart on the 17th June 1939. After completing training he flew his first op with 115 Squadron 14th July 1940 to the oil refinery at Gelsinkirchen. A steady flow of ops followed with a trip to Berlin on the 4th August 1940. Then followed his part in the Battle of the Barges with a number of trips to bomb the docks at Le Havre, during September 1940. The German cities including Essen, Cologne, Hamburg were visited and the last op of his tour took place on the 14th December 1940 with an 8 hour 40 minutes trip to Turin. He was then posted as a screened Navigator instructor to 15 OTU at Harwell He remained here until October 1942 and the log then records occasional flights as a Navigator.
Lot 344
WW2 RAF North Africa Campaign Air Gunner's Medals & Logbook. Recording the RAF career of flying Officer N.S. Thomas who flew operationally with 37 Squadron. 1939/45 Star, Africa Star, clasp North Africa 1942-43, Defence Medal, War Medal. Mounted as originally worn ... Aircrew Logbook covering the period 1st November 1941 to 24th July 1944 including 6 Operations ... Air Gunner's brevet badge ... Side cap badge ... RAF Service and Release book ... Correspondence regarding medal issue ... etc. Flying Officer N S Thomas, originally served in the ranks of the Territorial Army before volunteering and transferring to the RAF qualifying as an Air Gunner. He was posted to 37 Squadron operating the Wellington bomber in North Africa in November 1942 and flew his first op to Crete on the 24th December 1942. By the 18th January 1943 he had completed 6 operations, one of these involving a flight to Malta on the on the 8th January and a crash landing on the 11th January. After a short posting with 70 Squadron he returned to the UK as a Gunnery Instructor with AGS. He was demobbed from the RAF on the 8th January 1946.
Lot 55
First Somerset Militia (Taunton) Victorian glengarry badge c. 1874-81. Good scarce die-stamped white metal crowned strap FIRST SOMERSET enclosing the Cap of Maintenance, at the base an ornate ended scroll DEFENDEMUS. Loops. VGC Raised 22.3.1759 at Taunton; redesignated 3rd Battalion Somerset Light Infantry on 1.7.1881.
Lot 124
19th (Bloomsbury) Middlesex Rifle Volunteers Victorian Officer's first pattern forage cap badge c. 1859-63. Fine rare die-stamped silvered strung bugle with stylised WM cypher between the cords. Loops. VGC 19th Middlesex RVC formed 13th December, 1859 at Bermondsey by members of the Working Men's College. Renumbered 10th in 1880, attached to KRRC in 1881 then in July 1883 became 1st VB Royal Fusiliers.Provenance. Bosleys March 2007, Lot 69
Lot 523
Victorian 1st Manchester Rifles Attributed 1822 Pattern Officers Sword. This example was carried by Edward Peel Dewhurst. The straight single edged blade with etched decoration of a Crowned VR cypher, strung bugle device, Arms of Manchester, regimental title FIRST MANCHESTER RIFLES and name EDWARD PEEL DEWHURST. The forte with the retailer's details of Firmin & Sons London. The hilt is of the 1822 pattern sword with fixed guard and shagreen grip. Housed in a steel scabbard. The blade remains in very good condition etching clear, the hilt has been professionally restored. Lieutenant Edward Peel Dewhurst was promoted to this rank on the 20th December 1882. His HQ was at Hulme Manchester. He died in 1910 at the age of 57 years
Lot 330
WW2 Polish Air Force Air Gunner's wing and medal ribbons of Warrant Officer Aleksander Stanislaw Suczynski. Attributed to W/O Aleksander Stanislaw Suczynski, who after escaping Poland flew with Bomber Command and was shot down and taken POW in 1941. Air Gunner's bronze wing by J R Gaunt & Son London ... medal ribbons worn on the uniform ... added RAF Warrant Officer rank badges ... original June 1945 Portrait postcard photograph of W/O Suczynski. in RAF uniform. Warrant Officer Aleksander Stanislaw Suczynski was born in 1919 and appears to have been a pre war member of the Polish Air Force serving as an Air Gunner. Escaping to the UK, he was quickly posted to the newly formed 307 (Polish) Squadron RAF and then posted to 300 (Polish) Squadron as an air gunner. On the night of the 21st March 1941 along with four other crews he would become one of the first Polish airman to bomb Berlin. Continuing operations with 300 Squadron on the night of the 11th July 1941 his Wellington bomber took off for a raid on Koln, his aircraft was attacked by a night fighter and shot down. All the crew survived by bailing out and Suczynski was taken a POW. He was held at Stalag Left 3, Segan and Belaria. Choosing to remain in the UK after the war he settled in Cheshire and died in Tameside in 1979.
Lot 59
5 albums cigarette cards, early as 1902, many complete collections and rare cards inc Portraits of European Royalty 1908, Buffs East Kent Reg't, Film Stars 1938, Household Hints, Dogs, Allied Army Leaders 1917, Gardening hints 1923,First Aid, Historical events, Derby and Grand National etc etc
![Circle of Franz Xaver Winterhalter – Portrait of Anna Thillon [Sophie Ann Hunt], 19th century oil on canvas, 65cm x 54.5cm, w](https://cdn.globalauctionplatform.com/7a24c71a-f65f-4899-8ef5-b1d1009cdfcf/9c3f6719-bbda-4f08-b4f8-b1d50127804a/468x382.jpg)
Lot 3
Circle of Franz Xaver Winterhalter – Portrait of Anna Thillon [Sophie Ann Hunt], 19th century oil on canvas, 65cm x 54.5cm, within a gilt composition frame. Note: Anna Thillon, born Sophie Anne Hunt on February 12, 1819, in London, was a noted 19th-century opera singer. She adopted the stage name ‘Thillon’ after marrying French tenor Jean-Baptiste Thillon. Thillon's operatic debut occurred in Paris in the early 1840s. She gained prominence in 1843 with her performance in Auber's ‘L'Ambassadrice’ at the Théâtre de la Renaissance. Known for her emotional expression and strong stage presence, she performed in major European cities, including London and Vienna, and later toured the United States. Her repertoire included roles in operas such as ‘Les Huguenots’ by Meyerbeer and ‘Le Domino Noir’ by Auber. Thillon retired from performing later in life to Torquay, where she died in 1903, leaving behind a significant legacy in opera. Exhibited: ‘Winterhalter’, Galeries Jacques Selgmann, Paris, 1928, cat. no. 891. Provenance: According to the Selgmann exhibition catalogue note, it was commissioned by composer Daniel-François-Esprit Auber (1782-1871); bequeathed by him to composer and theatre director Camille du Locle (1832-1903); and bequeathed by the latter to Opéra Comique, Paris, c. 1871, where it was rescued from a fire in 1887. By family repute it was gifted circa 1937 by the First World War flying ace Jean-Paul Jacques Favre de Thierrens to aircraft designer Norman Arthur Thompson; thence by family descent. Literature: The International Studio, vol. 91., (International Studio, New York 1928) p.44.
Lot 45
Leonard Hugh Long – Australian Landscape with Ghost Gum Trees and Mountains, mid-20th century oil on canvas laid onto board, 48.5cm x 58cm, within a painted wood frame. Provenance: Sir John Galvin (1908-1994), thence by family descent. Note: Sir John Galvin was an important patron of Leonard Long's, sponsoring the artist's first overseas painting expedition. Albert Namatjira and Leonard Long were close friends and often painted and exhibited together - this painting may have been included in their 1958 joint exhibition. Exhibited: possibly Recent Paintings by Albert Namatjira and Leonard Long, A.R.A.S., Artlovers Gallery, Sydney, August 1958.
Lot 44
Albert Namatjira – Valley Landscape with Gum Trees, early/mid-20th century gouache on panel, signed recto, gallery label verso, 15cm x 30.5cm, within a gilt frame. Note: Albert Namatjira (1902-1959) was a pioneering Aboriginal Australian artist known for his distinctive watercolour landscapes that captured the beauty of the Australian outback. Born Elea Namatjira and raised in the Hermannsburg Lutheran Mission in the Northern Territory, he was educated in both Aboriginal traditions and Western customs. Namatjira discovered his talent for painting in his mid-30s after meeting the artist Rex Battarbee, who was touring Central Australia. Battarbee taught him the techniques of watercolor painting, and Namatjira quickly developed a unique style that combined Western techniques with his deep spiritual connection to the land. His works vividly portrayed the rugged and vibrant landscapes of Central Australia, especially the MacDonnell Ranges, using soft hues and detailed brushwork. His art gained widespread acclaim, and by the 1940s, Namatjira had become one of Australia's most celebrated artists. He was the first Aboriginal Australian to achieve commercial success in the Western art world, holding numerous exhibitions across Australia. His fame also brought attention to the cultural and political issues faced by Aboriginal people at the time. Despite his success, Namatjira's life was marked by the complexities of navigating two cultures. Although he was granted limited citizenship rights in 1957, he still faced significant legal and social discrimination, pressed home in 1958 by his imprisonment for supplying alcohol to an Aboriginal person. Namatjira's legacy endures as a trailblazer in Australian art. His work not only opened doors for future Aboriginal artists but also helped to change perceptions of Aboriginal culture in Australia. Provenance: Artlovers' Gallery [Artarmon Galleries], Sydney, New South Wales, stock no. 20243; Sir John Galvin, thence by family descent. Exhibited: possibly Recent Paintings by Albert Namatjira and Leonard Long, A.R.A.S., Artlovers Gallery, Sydney, August 1958.
Lot 43
Albert Namatjira – Australian Landscape with Ghost Gum Tree and Mountains, early/mid-20th century watercolour, signed, 35cm x 53cm, within a gilt composition frame. Note: Albert Namatjira (1902-1959) was a pioneering Aboriginal Australian artist known for his distinctive watercolour landscapes that captured the beauty of the Australian outback. Born Elea Namatjira and raised in the Hermannsburg Lutheran Mission in the Northern Territory, he was educated in both Aboriginal traditions and Western customs. Namatjira discovered his talent for painting in his mid-30s after meeting the artist Rex Battarbee, who was touring Central Australia. Battarbee taught him the techniques of watercolor painting, and Namatjira quickly developed a unique style that combined Western techniques with his deep spiritual connection to the land. His works vividly portrayed the rugged and vibrant landscapes of Central Australia, especially the MacDonnell Ranges, using soft hues and detailed brushwork. His art gained widespread acclaim, and by the 1940s, Namatjira had become one of Australia's most celebrated artists. He was the first Aboriginal Australian to achieve commercial success in the Western art world, holding numerous exhibitions across Australia. His fame also brought attention to the cultural and political issues faced by Aboriginal people at the time. Despite his success, Namatjira's life was marked by the complexities of navigating two cultures. Although he was granted limited citizenship rights in 1957, he still faced significant legal and social discrimination, pressed home in 1958 by his imprisonment for supplying alcohol to an Aboriginal person. Namatjira's legacy endures as a trailblazer in Australian art. His work not only opened doors for future Aboriginal artists but also helped to change perceptions of Aboriginal culture in Australia. Provenance: Sir John Galvin (1908-1994), thence by family descent.
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596772 item(s)/page