There are 5655 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeAltmeister 18./19. Jahrhundert, Madonna della Seggiola nach Raffael da Urbino, old master 18th/19th century,Öl/Leinwand, keine erkennbare Signatur, Heilige Madonna mit Christus im Arm und ein junger Johannes der Täufer, Sichtmass D 71 cm, Leinwand H 76 cm x B 76 cm, Prunkrahmen 101,5 x 101,5 cm, rest.
John Glover (British, 1767-1849), a sketchbook begun in 1817 and including a Scottish Tour from August 30th to October 27th, to include ten full page sketches, and approximately eighty others, some with three or four to a page, some titled, pencil, pen and ink and wash, page size 14.5cm x 23.5cm. From the property of a deceased local collector. PROVENANCE: Lent by the vendor for 'Rosslyn - Country of Poet & Painter', Exhibition at The National Gallery of Scotland April to July 2002. Previously bought Sotheby's lot 5, 10th March 1988. The sketchbook, started more than a decade before Glover emigrated to Australia, is consigned for sale from a local deceased estate. FURTHER NOTES on JOHN GLOVER Glover decided to move to Australia at the age of 64 in 1831, securing one of the largest land grants in Van Diemens Land, now Tasmania, at Mills Plains, Deddington. By that time he had already served as president of the Old Water Colour Society in London and exhibited at the Royal Academy and Society of British Artists, enjoying one-man shows in 1823 and 1824 as his standing grew. Settling at Patterdale, his new home in Mill Plains, Glover kept a record of his difficult relationship with his neighbour John Batman, the bounty and aboriginal hunter who co-founded Melbourne, calling Batman the vilest man I have ever known. Glover spent his remaining 18 years consolidating his reputation as a master of Australian landscape, painting scenes of Tasmania, focusing on its unique flora and light. The John Glover Society was established in 2001 to promote his memory and contribution to Australian art, with a statue to him being unveiled two years later in Evandale, Tasmania. The Glover Prize, Australias richest award for landscape painting, is presented for the best views of Tasmania, while Glovers own works are to be found in public and private collections all over Australia. This is one of two exceptional lots with links to Australian history that are in this sale, the other being the lost pages from the ship's log by Alexander Weynton featuring his 1850-52 voyage, lot 1332. Condition Report: There are 34 leaves (68 pages counting each side). There are 5 or 6 instances of full page sketches on both sides of the same paper, the majority are single sided.
Laurent, Jean -- Views of Spain: Aranjurez (Palacio Real); Granada; San Ildefonso (Palacio Real); Sevilla (Palacio de San Telmo, Alcazar) and many views of parks, temples and fountains. 1870s/80s. 34 albumen prints. Each circa 33 x 25 cm and reverse. Each with number and title in the negative in lower edge, tipped in corners to card (soiled, number in blue crayon on mount). Jean Laurent opened a daguerreotype studio in Paris under the name Laurent & Company in 1843. Circa 1857 he moved to Spain and established a studio in Madrid, becoming one of the great photographers of nineteenth century Spain and Portugal. He photographed a vast variety of subjects including city views, architecture, historic monuments, old master paintings and local inhabitants of all social classes. He first published his armor studies in 1868. His output was prolific and over 11,000 negatives have been attributed to the J. Laurent studio. – Most with fading in edges, some with light foxing, some handling creases, some with stronger creases, otherwise in good condition, several with strong contrasts.
* Court Rolls: Hensall Court, Yorkshire, 1600-1623 & 1626, 1633, 1635 & 1639, manuscript on two rolls of stitched vellum membranes, each court is conducted by Robert Somerscales, then from 1602, William Richard, and opens with a prescription giving the date of its holding, then a list of the sworn panel of jury men, then often a list of men who owe suit at court but are in default, with their fines indicated above their names, usually 4d or 6d, plus records of land conveyances, with some precise descriptions and scattered references to the old manorial strip system of farming, fines include one relating to a feud between Charles Salmon and Lord of the Manor of Hethensall, Alan Percy, succeeded in 1619 by Jaslin Percy, whereby Salmon is accused of various offences including cutting and uprooting woodland and digging up the dividing baulk between his Lord's lands and another, leading to Salmon's lands being seized and a heavy fine being paid, etc., the earlier court rolls for 1600-23 on 16 stitched vellum membranes, the other for courts on 5 stitched membranes, each measuring approximately 60-80 cm in length x 28 cm wide, some soiling, occasional rubbing of text with loss of legibility, a few scattered holes and tearsQty: (2)NOTESHensall is a village now in North Yorkshire in an area known as the Humberhead Levels. An old 15-page photocopy of a typed summary of the Rolls plus a few other related photocopies is included with the lot.Note: This lot is subject to the Manorial Documents Rules 1959, 1963 and 1967, administered by The Historical Manuscripts Commission at The National Archives on behalf of the Master of the Rolls. Accordingly the purchasers of the documents lie under an obligation to notify the Secretary of the Commission of their acquisition and to provide details of where they will be kept. They may in no circumstances be removed from England and Wales without the prior consent of the Master of the Rolls.
Roethlusberger (Marcel). Claude Lorrain, The Drawings, 2 volumes, 1st edition, Berkeley: University of California Press, 1968, numerous monochrome plates, uniform original cloth in dust jackets & slipcase, spines lightly toned & rubbed to head & foot, large 8vo, together with; Zöllner (Frank), Leonardo da Vinci, the complete paintings and drawings, Köln: Taschen, 2003, numerous colour & monochrome illustrations, bone-in cloth bookmark lightly frayed, original cloth in dust jacket, covers slightly faded to foot & lightly rubbed to head & foot, folio, and White (Christopher), Rembrandt As An Etcher, a study of the artist at work, 2nd edition, New Haven: Yale University Press, 1999, numerous black & white illustrations, original cloth in dust jacket, spine very lightly rubbed to head & foot, large 8vo, plus other old master & Dutch art reference & related, any original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQty: (3 shelves)
McDonald (Mark). The Print Collection of Cassiano dal Pozzo, 3 volumes, London: Royal Collection Trust, 2019, numerous black & white illustrations, original cloth in dust jackets, 8vo, together with; Lugt (Frits), Les Marques de Collections de dessins & d'estampes..., Amsterdam: Vereenigde Drukkerijen, 1921, contemporary green cloth, spine lightly rubbed to head & foot, 8vo, Vodret (Rossella [editor]), Caravaggio's Rome 1600-1630, 2 volumes, 1st edition, Milan: Skira, 2012, numerous colour & monochrome illustrations, publishers original wrappers in slipcase, slipcase slightly rubbed with minor wear to head, foot & spine, large 4to, plus other old master & drawing collections monographs, some original cloth in dust jackets, many in publisher's original wrappers, G/VG, 8vo/4toQty: (37)
ABRAHAM JANSSENS VAN NUYSSEN (FLEMISH 1575-1632) JUPITER AND SEMELEOil on canvas 126 x 126cm (49½ x 49½ in.)Provenance:Sale, Christie's, London, Important and Fine Old Master Pictures, 7 July 1995, lot 56 Abraham Janssens studied under the tutorage of Jan Snellinck and was registered under the local Guild of Saint Luke in Antwerp. It is believed that Janssens travelled to Italy and resided in Rome between 1597 and 1602. He was to become a master in the Antwerp Guild on his return home in 1602. Janssens had eight children with his wife Sara Goetkint. One of their daughters, Maria Anna, went on to be the wife of Jan Breughel the Younger. In Greek and Roman mythology, Semele was a mortal woman and one of many recipients of the god Jupiter's (Zeus') affections. The myth goes that Jupiter, disguised as an eagle, fell in love with Semele as she was bathing in the river Asopus. The affair eventually resulted in Semele falling pregnant with a son and god, Bacchus (Dionysus). Upon discovering his infidelity Jupiter's wife Juno (Hera), jealous of her husband's affairs, disguised herself as an old crone and befriended Semele. Before long Semele had confessed to her new confidant that she was indeed Jupiter's lover. Juno worked quickly, planting seeds of doubt in the young woman's mind. So much so, that Semele asked Jupiter to grant her a request to prove his divinity by showing himself in all his glory. Eager to please his lover, Jupiter had agreed to Semele's plea before she had revealed to him the full extent of the request. Once he learned what Semele was truly asking, he begged her to reconsider but she refused, and bound by his oath he was forced to appear before her in a cloud of thunderbolts and thunderstorms. But mortals cannot look upon the gods without perishing and so Semele died. Years later, her son, rescued from her womb by his father, rescued Semele from Pluto (Hades) and she became the goddess Thyone living on Mount Olympus.
Antique Dutch Old Master Still Life Painting. Oil on board, still life of flowers. Original frame. Basket of plants, with flowers, grapes and a bird nest, on top of a marble base. Overall size: 23 x 26 1/2 in. Sight size: 15 1/2 x 19 in. Please note that all sales are final. No refunds will be given under any circumstances.
[^] Waterloo, Anthonie -- Alte Weiden am Flussufer.Feder und Pinsel in Schwarz und Braun, schwarze und weiße Kreide, auf blauem Papier, alt montiert und in ein Fensterpassepartout eingelassen. 28 x 22,7 cm.Provenienz: Erasmus Philipps, um 1720, durch Erbschaft anRichard Philipps, Lord Milford, Picton Castle (Lugt 2687), durch Erbschaft anSir John Philipps. Sotheby's, London, Auktion am 13. Dezember 1950, Teil von Los 36.Jacobus A. Klaver, mit dessen Sammlerstempel (Lugt 5353).Sotheby's, Amsterdam, Auktion am 10. Mai 1994: "The Jacobus A. Klaver Collection of Dutch Old Master Drawings", Los 12 (als Simon de Vlieger).Sotheby's, Amsterdam, Auktion am 12. November 1996, Los 19 (als Simon de Vlieger).Christie's, Paris, Auktion am 21. März 2002, Los 110. Literatur: Ausst.Kat. Tekeningen van oude Meesters. De verzameling Jacobus A. Klaver, Rijksmuseum, Amsterdam 1993, Nr. 38 (als Simon de Vlieger). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Saftleven, Herman -- Studie eines stehenden Jägers mit Hut, von hinten gesehen. Schwarzer Stift, grau laviert. 30,1 x 19,3 cm. Dr. Wolfganz Schulz hat seinerzeit die Zuschreibung an Herman Saftlven bestätigt und verweist auf ähnliche Zeichnungen dieser Art im Prentenkabinet der Rijksuniversiteit, Leiden (vgl. Wolfgang Schulz, Herman Saftleven, München 1982, S. 450, Nr. 1303-06).Provenienz: Christie's, Amsterdam: Dutch, Flemish and German Old Master Drawings, Auktion am 25. November 1991, Los 85 mit Abb. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Various engravers after Old Master painters - Engravings from the Gallery of the Duke of Orleans, twenty four, on laid paper with margins, c1800, 49 x 31.5cm, Hogarth frames In typical country house condition, long undisturbed in the present frames, several with damp or exposure stains and discoloured, a decorative ensemble, ideal for a corridor or stair, when cleaned
Dickens, Charles "Master Humphrey's Clock - The Old Curiosity Shop, Barnaby Rudge", Chapman & Hall, 2 vols, 1840, illustrations by George Cattermole and Hablot Browne, contemporary marble boards, half leather, owners name, gilt letters on leather pastedown inside front boards, pastedown with gilt titles and decorated bands to backstrip (2) BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID
AN AMBER-GLAZED POTTERY FIGURE OF A LADYTang DynastyGracefully modelled standing with the hands held together at her waist under a long scarf flowing down from her shoulder, the hem of her high-waisted robe folded naturally revealing the tips of her upturned shoes, the waistband tied in a long trailing bow on the back, her hair in an elaborate coiffure above the full round face.39cm (15 2/8in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 陶胎褐黃釉仕女俑Provenance: James (1914-1990) and Marilynn Alsdorf (1925-2019), New YorkSotheby's New York, 22 March 1999, lot 362Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2000, no.29.來源：紐約James（1914-1990）與Marilynn Alsdorf（1925-2019）伉儷舊藏紐約蘇富比，1999年3月22日，拍品編號362展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2000年，編號29The Alsdorfs operated an export and investment business based in Chicago, and James served as president of the Cory Corp., the largest manufacturer of glass coffee equipment that was later sold to Hershey Food Corporation. The couple were renowned art patrons, having built a wide-ranging collection across categories including Old Master Drawings, 19th-century Impressionism, mid-20th century Surrealism, Post War and Contemporary American art, Asian works of art, and more. Moreover, they were instrumental in founding and expanding the Museum of Contemporary Art in Chicago, the Art Institute of Chicago, and the University of Chicago's Smart Museum of Art.See a related figure, Tang dynasty, illustrated by S.G.Valenstein, The Herzman Collection of Chinese Ceramics, New York, 1992, no.16; see another example illustrated by J.Ayers, The Seligman Collection of Oriental Art, Volume 2, Chinese and Korean Pottery and Porcelain, London, 1964, no.D44, pl. XVIII.For further information on this lot please visit Bonhams.com
A LATE VICTORIAN JAMES DEAKIN AND SONS EPNS DOUBLE OPENING OVAL BISCUIT BARREL AND A BISCUIT TIN, the barrel engraved with fruits and vine, hinged handle bears presentation inscription 'Presented by Wm. L. Boyle 1901', height including handle 25cm, the biscuit tin transfer printed with Old Master pictures, width 22.5cm x height 9.5cm (2)
Monumental 18th Century Old Master Painting, Samson & Delilah. Depicting the biblical scene of Delilah cutting Samson's hair. Oil on Canvas. Painting has been re-lined. Appears to be unsigned. Provenance: Important Private Central Florida private collection. Sight Size: 46 x 58 in. Overall Framed Size: 52 x 64 in.
Monumental Old Master Painting, Follower of Peter Paul Rubens (1577 - 1640), "The Virgin and Child with Saint Elizabeth and Saint John the Baptist" Oil on Canvas. Painting has been re-lined and re-stretched. Appears to be unsigned, has not been examined out of frame. Provenance: Important central Florida private collection. Sight Size: 56 x 44 in. Overall Framed Size: 64.25 x 52.25 in.
Spanish School, 17th C. Old Master Painting of Mother & Child. Oil on canvas. Appears to be unsigned, has not been examined out of frame. Painting has been re-lined and re-stretched. Housed in a gilt wood frame. Provenance: Important Central Florida Private Collection. Sight Size: 27 x 19 in. Overall Framed Size: 35 x 28 in.
Attr. Adriaen Jansz van Ostade (1610 - 1685) Old master oil painting depicting two peasants drinking wine with a playful dog. Appears to be unsigned, has not been examined out of frame. Provenance: Important central Florida private collection. Sight Size: 9 x 7 in. Overall Framed Size: 11.5 x 9.5 in.
Exceptional Large Old Master Figural Painting Depicting Figures Near a Coast with Ships in the Distance. European School, likely 17/18th century. Oil on canvas. Appears to be unsigned, has not been examined out of the frame. Atelier label verso. Provenance: Important New York City private collection. Sight Size: 28.5 x 42 in. Overall Framed Size: 34 x 47 in.
Large Old Master Painting, Orpheus and the Animals. Depicting a figure playing the violin in a wooded landscape with two of each kind of animal. Appears to be unsigned, has not been examined out of frame. Oil on canvas. 17/18th century. Provenance: Important central Florida private collection. Sight Size: 40.5 x 58 in. Overall Framed Size: 44 x 62 in.
A SUPERB ZESHIN-STYLE INLAID LACQUER SUZURIBAKO WITH DRAGON AMONGST CLOUDS AND COMBED WAVESJapan, late 19th century, Meiji period (1868-1912)Published: Little, Stephen / Lewis, Edmund J. (2011) View of the Pinnacle: Japanese Lacquer Writing Boxes: The Lewis Collection of Suzuribako, Honolulu: University of Hawai'i Press, cat. no. 69.Of rectangular form with canted edges, superbly decorated in red and gold takamaki-e and kirikane as well as glass and mother-of-pearl inlays with a fierce dragon with finely detailed scales amid flames emerging from thick clouds, all on a dark-red seigaiha (combed-wave pattern) ground continued to the sides of the cover and the box, the underside of the cover with the attributes of a lucky god, including a treasure sack, a fan decorated with a phoenix, and a long gnarled staff with a double-gourd and scroll, all against a densely sprinkled nashiji ground, the interior of the box with nashiji and fitted with two compartments, a rectangular inkstone, and the original silver water dropper in the form of a tama (magical pearl), the underside with nashiji as well.SIZE 5.2 x 23.7 x 25.4 cmCondition: Very good condition with minor expected wear to lacquer and some old restored cracks to the edges of the box.Provenance: Collection of Drs. Edmund and Julie Lewis.This exceptionally well-crafted suzuribako clearly shows at least the influence of Shibata Zeshin, particularly in its use of the impressive seigaiha (combed-wave pattern) lacquer technique, a characteristic of the master lacquer artist Zeshin.Auction comparison: Compare a red-lacquer tray and cover from an original tiered jubako by Shibata Zeshin, of related size and also showing seigaiha on dark-red lacquer, at Bonhams, Fine Japanese Art, 14 May 2015, London, lot 338 (sold for 31,250 GBP). Compare also with a black-lacquer inro by Shibata Zeshin, also showing seigaiha on dark-red lacquer, at Bonhams, Fine Japanese Art, 5 November 2020, London, lot 57 (sold for 18,812 GBP).
UTAGAWA HIROSHIGE (1797 – 1858), THE SEA AT SATTAJapan, c. 1850sWoodblock print, ink and color on paper. Vertical Oban. Signed Hiroshige ga. Entitled Suruga Satta kaijo (The Sea off Satta in Suruga Province), from the series Fuji sanjurokkei (36 Views of Mount Fuji).SIZE of the sheet 22.2 x 34 cm, passepartout 32.2 x 44.5 cm Condition: Trimmed, colors faded, backed with Japan paper. Mounted at the upper margin to a passepartout. Comes with a wooden backplate showing an old Japanese label. Provenance: German private collection.Utagawa Hiroshige (1797 – 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige’s work focuses on landscape. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige’s prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Auction comparison: Compare with another edition of this print sold at Bonhams New York, Fine Japanese and Korean Art, 11 September 2019, Lot 732 (sold for 13,825 USD).
UTAGAWA HIROSHIGE (1797 – 1858), THE COAST AT HOTAJapan, c. 1850sWoodblock print, ink and color on paper. Vertical Oban. Signed Hiroshige ga. Entitled Boshu, Hoda no Kaigan (The coast at Hota in Boshu), from the series Fuji sanjurokkei (36 Views of Mount Fuji). Framed, behind glass.SIZE of the sheet 22.2 x 33.6 cm, frame 34 x 46 cmCondition: Trimmed, colors faded, backed with Japan paper. Mounted at the upper margin to a passepartout. Comes with a wooden backplate showing an old Japanese label and behind glass in a used frame.Provenance: German private collection.Utagawa Hiroshige (1797 – 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige’s work focuses on landscape. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige’s prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.
UTAGAWA HIROSHIGE (1797 – 1858), BAY AT KOMINATOJapan, c. 1850sWoodblock print, ink and color on paper. Vertical Oban. Signed Hiroshige ga and published by Koshishei. Entitled Awa, Kominato no ura (Kominato Bay, Awa Province), from the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Framed (no glass).SIZE of the sheet 24.5 x 36 cm, framed 37.5 x 50 cmCondition: overall fine condition - colors slightly faded, very minor material loss along the margin. Mounted at the upper margin to a passepartout, old and used frame.Provenance: German private collection.Utagawa Hiroshige (1797 – 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige’s work focuses on landscape. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige’s prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Auction comparison: Compare with another edition of this print sold at Christie’s New York, An Important Collection of Japanese Prints, 25 March 2003, lot 220 (sold for 5,975 USD).
GOTO EIJO: A MASTERFUL INLAID SUAKA (REFINED COPPER) LOBED KORO WITH MYTHICAL BEASTSSigned Goto Eijo with kakihan Japan, Meiji period (1868-1912)Supported on a lobed base with four feet, the lobed sides of the koro with two reserves framed by scrolling clouds, inlaid with copper and gold depicting a baku to one side and a mythical creature with the body of a kirin and the head of a phoenix to the other, both against ishime ground while the surrounding body shows a finely polished surface, the openworked cover surmounted by a koma-inu (Korean Buddhist lion) in shibuichi with gilt eyes, the underside with the signature GOTO EIJO with a kakihan within a rectangular silver-inlaid reserve.HEIGHT 14.6 cmWEIGHT 736.0 gCondition: Very good condition with minor wear, the koma-inu slightly loose.Provenance: French private collection, old collector’s label to interior.Although the present koro is signed Goto Eijo (1577-1611), it is likely crafted as an homage to the famous Goto school master by a member of the Goto school during the Meiji period. Goto Eijo was the 6th main-line master of the famous Goto school and rarely signed his work, see Haynes, Robert (2001) The Index of Japanese Sword Fittings and Associated Artists, no. H 00431.
Maltese(?) School (18th/19th century)Portrait of a saint blessing a childOil on metalInscribed HELIS I (upper left)16.5 x 12.5cm (6¼ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The paint surface is dirty throughout with ingrained dirt and some losses. The metal sheet is dimpled and starting to oxidise on the reverse. Ultraviolet light reveals scattered retouching. Would recommend viewing.Condition Report Disclaimer
After Jean-Antoine WatteauL'indifférentOil on panel27 x 19cm (10½ x 7¼ in.)UnframedProvenance: The Estate of the late David Fyfe-JamiesonAfter the original painting held by the Louvre, Paris.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Light surface dirt throughout. Some areas of craquelure, especially to the figure's chest, arms and hat. Some surface scratches with associated loss. Rubbing and abrasions to the panel edges. An area of loss and associated retouching, visible in natural light running across the width of the panel through the figure's hips. Inspection under UV reveals scattered retouching and a green cloudy masking varnish, which may be masking further evidence of restoration. Condition Report Disclaimer
English School (circa. 1700)Portrait of a seated lady with flowersInk and washWith Collectors wax seal inscribed Christo Duce below an anchor (to backboard)9.5 x 7.5cm (3½ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Attributed to Benedetto Luti (Italian 1666-1724)Choir boy holding a crucifixOil on copper, oval, unframed10.5 x 8cm (4 x 3.1/8in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Surface dirt throughout. Some spots of retouching to the background visible in natural light. Some light surface scratches throughout. Inspection under UV reveals scattered retouching to the aforementioned areas of the background and some further areas around the lower edge and to the sitter's face. Condition Report Disclaimer
Dutch School (late 17th century)Self portrait of an artist at his easelOil on canvas21.5 x 16.5cm (8¼ x 6¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. Condition Report: The canvas has been relined. There is craquelure throughout and some surface scratches and dirt. There is no evidence of retouching under ultraviolet light although there is a heavy varnish which may conceal some restoration.Condition Report Disclaimer
Italian School (early 17th century)The Rape of the Sabine WomenSepia ink21 x 27cm (8¼ x 10½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Alessandro Casolani (Italian 1552-1606)The expulsion from ParadiseInk and washInscribed with collectors initials PH for P. Huart (Lugt 2084) (lower right)10.5 x 14cm (4 x 5½ in.)Provenance:Sale, Sotheby's, London, 1st December 1983, lot 186The Estate of the late David Fyfe-JamiesonBritish Museum label verso compares the present work with a sheet of studies for the same composition in the Uffizi (no. 4876F).David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work has been laid down. Discolouration throughout the sheet. With general wear commensurate with age to the extreme edges. There are two small white blemishes to the left side of the sheet and a small area of possible water damage approx. 1cm to the lower left corner. There is a further white blemish approx. 1cm to the lower edge. Small tear approx. 6mm to the upper right edge. One or two spots of surface dirt throughout. Light undulation to the sheet. Under glass, unexamined out of glazed frame. Dimensions including frame: 30 x 32cm Condition Report Disclaimer
Attributed to Hubert-François Gravelot (French 1699-1773)A man holding a Greek bookPen and ink8.5 x 7.5cm (3¼ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
English School (early 18th century)A marriageInk and wash22 x 19.5cm (8½ x 7½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Antoine-Denis Chaudet (French 1763-1810)Classical figures in a kitchenPen and ink with white heighteningSigned (lower left)17 x 12.5cm (6½ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Albert Venus (German 1842-1871)Albaner SeeInk and watercolourSigned, titled and dated Juli 66 (lower right)26 x 41.5cm (10 x 16¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Louis B**** (French 19th century)Portrait of a seated boyPencilIndistinctly signed, dedicated and dated le 24 septembre 1899 (lower left)33 x 25cm (12 x 9¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Willem Isaaksz Swanenburgh the Elder (Dutch 1581-1612) After Abraham BloemaertVanitas & ZachaeusTwo etchings, 1611Each sheet: 27.5 x 17.5cm (10¾ x 6¾ in.) (2)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
After Polidoro da CaravaggioA group of poets and Muses on Mount ParnassusEtching, published by Jacob Frey22.6 x 44.8cm (8¾ x 17½ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Jan Pietersz Saenredam (Dutch 1565-1607) (After Abraham Bloemaert)Die Geschichte des ersten MenschenpaaresFive engravings, 1604, framed togetherEach sheet: 26.5 x 19.2cm (10¼ x 7½ in.) Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Each sheet has been hinge mounted with white tape at the top two corners, and appear to have been previously cleaned. The margins have all been cut down. There are some very minor and very isolated, small brown spots to each sheet but these are very small and barely noticeable. The first sheet has two small areas of skinning to Eve's stomach. Each sheet appears to have been previously folded in half horizontally, and although this crease is quite defined to the reverse, it is much lighter recto. Some light handling softness to the extreme edges. All sheets appear to be in good condition commensurate with age. Condition Report Disclaimer
After Hendrik de Clerck (18th century) A Circle of Entwined PuttiOil on panel28 x 27cm (11 x 10½ in.)For a comparable panel on copper attributed to de Clerck, see Sothebys, London, Old Master and British Paintings, 2008, lot 228 . Condition Report: Craquelure and surface dirt throughout. Masking varnish causing discoloration. Surface scratches scattered throughout, the largest approx. 7cm, a vertical scratch from the centre of the lower edge. Rubbing and abrasions with associated loss to the edges. Areas of cupping and flaking, with associated loss especially notable to the lower right quadrant. Inspection under UV reveals a green cloudy masking varnish and evidence of scattered retouching throughout. Condition Report Disclaimer
Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer
Emilie Mediz-Pelikan (Austrian 1861-1908)Study of a sleeping womanPencilDated Februar 1905 and indistinctly inscribed (lower right)21 x 50cm (8¼ x 19½ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Emilie Mediz-Pelikan (Austrian 1861-1908)Blossom treesMixed media on cardboardSigned with initials and dated 10 Mai 1903 (lower right)44 x 49cm (17¼ x 19¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: Unframed. Discolouration to the sheet. Staining to the edges of the sheet under the mount. The work has been laid down to a card mount. Discolouration to the sheet. The front of mount has become partially unstuck and has left a layer of white card to the extreme edges to the sheet (where it was previously stuck down) there are also traces of glue residue. Some discolouration to the sheet and brown spots of foxing scattered throughout. There is a small area of skinning to the lower centre, which is lifting approx. 2cm. There is an area of heavy surface scratching and some associated skinning and lifting to the lower right quadrant. Very small nick to the sheet approx. 1mm to the left of the left tree. Small area of water damage approx. 1cm to the upper right corner. Condition Report Disclaimer
Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
AN ITALIAN SARDONYX CAMEO OF OMPHALE, PROBABLY ROMAN CIRCA 1810-20 carved in relief through the brown band of the floral headband and the attribute of Hercules' Nemean lion on her shoulder to the white of the young woman's dexter profile, hair and draped shoulders against the almost black oval base, 38 x 28mm, perhaps later set in an unmarked gold brooch mount with a band of pearls between a corded border and a scalloped milled rim, 49 x 37mm Provenance: The Estate of Mrs Harriet Bull Pitman (nee Brown, 1922-2019), of the 'Brown-Goodwin' House in Marblehead Old Town, Massachusetts. The house was purchased in 1832 by William Peach Brown (1780-1838), son of Captain John Brown, a privateer during the American Revolution. It remained in the Brown family for six succeeding generations. Omphale, a Lydian queen, became the wife of Hercules. Following advice from the oracle at Delphi, the hero was enslaved in recompense for the slaying of Iphitos; purchased by Omphale, his strength and beauty resulted in their marriage upon his release. The hairstyle with floral headband and strongly Neo-classical profile of this cameo bear close affinities with the 'Ideal Head' of Antonio Canova (1757-1822), presented by the sculptor to the Duke of Wellington, which arrived in England in 1818. One of four 'Ideal Heads' epitomising female beauty, the bust at Apsley House also resembles the head and hairstyle of Canova's 'Dancer', commissioned by Josephine Bonaparte and now at the Hermitage Museum in St Petersburg. The quality of carving displayed by the present cameo was undoubtedly carried out by a master of the glyptic arts; for comparisons with signed works by Nicolo Morelli (1771-1838), renowned for his work for Napoleon and the Bonaparte family, see Bonhams, London, 12 Nov 2020, lot 12, similarly brooch-set with pearls. Also see for another, similarly mounted, Sotheby's, 20 March 2018, lot 182, and one of Bacchus, Bonhams, London, 25 April 2012, lot 21. For an unsigned cameo, attributed to Morelli, see Sotheby's, London, 9 July 2020, lot 64. The Roman studio of Morelli were not alone in producing high quality cameos however; for the work of Giuseppe Girometti (1780-1851) see the British Museum, No. 1978,1002.249, or for that of Angelo Angelo Amastini (1754-1815) see Lempertz, Cologne, 17 November 2016, lot 35.
Loading...
![[^] Waterloo, Anthonie -- Alte Weiden am Flussufer.Feder und Pinsel in Schwarz und Braun, schwarze und weiße Kreide, auf blau](https://cdn.globalauctionplatform.com/d2c77cd6-5783-4b1f-8d22-ad2e0101830d/9b113909-4e31-46ff-ae06-ad2e01768c31/468x382.jpg)
