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Lot 491
CHINESE BLUE & WHITE PORCELAIN 'LOTUS' JAR, Kangxi, of slender ovoid form, painted with continuous frieze of densely scrolling lotus, beneath diaper collar, short tapering neck, base with 6-character Chenghua mark in a double circle, gold wax Duveen seal, 16cms high Provenance: J. M. Duveen & Sons, Liverpool; private collection, consigned via our Cardiff office Auctioneer's Note: Legendary Dutch dealer Joseph Duveen set up shop in Hull in 1866, followed by Liverpool, and eventually as his empire grew, in London, Paris and finally New York, where his dealership was patronised by the millionaire elite of American society. His canny marketing ensured that the collecting of antique blue and white delft, Chinese Kangxi porcelain and Old master paintings became extremely fashionable, and he dominated the art market around the turn of the 19th Century. Cf. Duveen: The Story of the Most Spectacular Art Dealer of All Time, by S. N. Behrman, London, Hamish Hamilton, 1952 and J. H. Duveen, The Rise of the House of Duveen, London, Longmans, 1957. Condition Report: hairline cracks to neck.
Lot 218
Two framed Old Master pen and ink drawings, each cut as circular panels, the first emblematic of Victory or War and the other with a woman holding a lyre and man, perhaps emblematic of Music and Art, within late 19th century glazed, verre egolise black and parcel-gilt circular ebonised frames, image size 17cm diameter
Lot 152
MATSUDA SUKENAGA: A SUPERB WOOD NETSUKE OF A FOX PRIEST IN MID-TRANSFORMATION By Matsuda Sukenaga, signed Sukenaga 亮長Japan, Takayama, Hida province, first half of 19th century, Edo period (1615-1868)Published: Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, p. 17, no. 421, pl. XII.Sydney Moss L. Moss Ltd. (1993) Zodiac Beasts and Distant Cousins: Japanese Netsuke for Connoiseurs, no. 68.Katchen, Arlette (2010) Netsuke 7, vol. 2, p. 129, no. K902.The fox standing, turned to the left and holding its bushy tail to one side, dressed in a long robe with a cowl, with many finely carved details subtly exhibiting the change from fox to human, such as the wrinkled face, the fox ear hidden underneath the cowl, the paw-like hand raised toward the head, and the furry back with prominent spine. The back with two asymmetrical himotoshi flanking the tail, the underside signed SUKENAGA.HEIGHT 4.8 cmThe netsuke illustrates the tale of Hakuzosu. In this story, an old fox assumes the shape of the priest Hakuzosu in order to convince hunters that they should cease hunting foxes.On the present netsuke, Sydney Moss writes, “This is an infrequent departure for Sukenaga, the master of the Hida school, whose few figural subjects are generally darker and more angular; he [specialized] and excelled in reptilian models, and we may surmise that this represents his later work, perhaps when the Tokyo taste for legendary figures became dominant […].”Condition: Very good condition with minor surface wear.Provenance: W. L. Behrens collection, no. 421. Sydney L. Moss Ltd., London, 1993. Ex-collection Julius and Arlette Katchen. Australian private collection, acquired from Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 22 (sold for 8,750 GBP). Literature comparison: A closely related netsuke by the same carver is in the collection of the Victoria and Albert Museum, accession number A.43-1915.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 265
HOMIN: A STAG ANTLER NETSUKE OF THE BUNBUKU CHAGAMA By Homin, signed Homin 法民Japan, Tokyo, Asakusa, late 19th centuryVery finely carved from the coronet of a branch of deer antler, the natural features brilliantly incorporated into the design by this master carver. Depicted is a tanuki tea kettle from the famous tale Bunbuku Chagama. The tanuki has two handles, a fixed lid at the top, a bushy tail which curls around the side, and a whimsical face with large ears, a curiously upturned snout, a red-colored mouth, and inlaid eyes of pale horn. The underside shows the beautifully porous and caramel-colored surface of the antler material. Himotoshi underneath and signature within an oval reserve - HOMIN.LENGTH 4 cmCondition: Excellent condition.Provenance: Old Viennese private collection assembled within the same family over three generations.Literature comparison: Another netsuke by this rare artist is illustrated in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, pp. 244-245, no. 480.
Lot 210
Francis Nicholson (British 1753-1844): 'Roslin Castle' near Edinburgh, watercolour unsigned 29.5cm x 39.5cm Provenance: private collection; exh. The National Trust Killerton House Exeter 2015 'Francis Nicholson the Killerton Drawing Master'; inscribed verso 'From the Collection of Randall Davies'. Davies edited the annual volume of the Old Watercolour Society's Club, in 1931 he published an invaluable account of Nicholson's life based upon surviving letters and correspondence owned by members of the family
Lot 621
VANITY FAIR - FOX HUNTERS A Hard Rider, May 26th 1904, 39.5 x 26.5 cm Serlby, Jan 5th 1899, 39.5 x 26.5 cm Berks and Bucks, Nov 5th 1903, 40 x 26.5 cm Cattistock, March 30th 1899, 40 x 27 cm A Leicestershire Man, April 6th 1899, 39 x 26 cm Worksop Manor (Sir John Robinson) Supplment, 40 x 26.5 cm An Old Master, Nov 3rd 1898, 39.5 x 26.5 cm (7)
Lot 623
VANITY FAIR - FOX HUNTERS The General , Dec 3rd 1881, 40 x 27 cm Tom, Nov 21st 1885, 40 x27 cm The Quorn, July 12th 1884, 40 x 27 cm Doggie, Dec 6th 1884, 40 x 27 cm An Old Master, Oct 29th 1896, 39.5 x 26.5 A Hard Rider, May 26th 1904, 39.5 x 27 cm A Leicestershire Man, April 6th 1899, 39 x 26 cm (7)
Lot 624
VANITY FAIR - FOX HUNTERS Berks and Bucks, Nov 5th 1903, 39.5 x 26.5 cm To The Manner Born (Mr Reginald Corbet) Supplement 38 x 26.5 cm The Sinner (Lord Southampton) Supplement 40 x 26.5 cm Mr Hargreaves, June 11 1887, 39.5 x 27.5 cm The Quorn, July 12th 1884, 40 x 27 cm A Very Old Master, Oct 29th 1896, 39.5 x 26.5 cm Alfred (Mr Alfred Curnick) Supplement 40 x 26.5 cm Serlby, Jan 5th 1899, 40 x 26.5 cm (8)
Lot 625
VANITY FAIR - FOX HUNTERS A Hard Rider, May 26th 1904, 40 x 26.5 cm To The Manner Born (Mr Reginald Corbet) Supplemet 38 x 26 cm Tom, Nov 21st 1885, 40 x 27 cm Doggie, Dec 6th 1884, 39 x 26.5 cm Mr Hargreaves, June 11th 1887, 39 x 27 cm Blackmore Vale, Nov 11th 1897, 39.5 x 26.5 cm A Very Old Master, Oct 29th 1896, 39.5 x 27 cm An Old Master, Nov 3rd 1898, 39.5 x 27 cm
Lot 1068
Football programmes and ephemera relating to Arnold Josephs, Professional Referee - The Football Association Referees' Chart, Season 1928-29; The List of Referees and Linesmen for April & May 1930; four programmes for matches refereed by Josephs - Grimsby Town v Manchester City, September 4th 1926, Huddersfield Town v Sheffield Wednesday, February 12th 1927, Leeds United v Birmingham City, May 4th 1929, and Manchester United v Sheffield United, March 28th 1931, all items signed by Josephs. (6)NB: Arnold Josephs (1890-1983) was born in Poland and was the fourth of five brothers, all of whom became soccer referees. He was educated in South Shields and Sunderland and qualified as a secondary school teacher. By the 1950's he was Senior House Master of Chapman House School, but had been refereeing since the age of 15. He became an official Football Association Referee in 1926, first officiating at the Scotland v Ireland match, 22nd February. His most notable game was perhaps the Cup- Final between Bolton Wanderers v Portsmouth in 1929, and in the same year he conducted the England v Scotland International at Hampden Park. He retired from the professional game in 1936 due to a knee injury, but continued to write his "Knotty Soccer Problems" column in the Daily Express and acted as President of the South Shields Referees' Association for many years later. He died in Hull at the ripe old age of 93.
Lot 260
John Leech (1817-1874) - Nine various coloured lithographs - 'The Old Foxhunter', 'Ruggles - Hold hard Master George', 'Don't move there, we shall clear you!', 'A Capital Finish', 'The Noble Science', 'Gone Away' (cut down), 'A Friendly Mount', 'Where there's a Will, There's a Way', 'No Consequence', each approx 51 x 70 cm, pub Thomas Agnew & Sons, 1865, plates 43 x 63 cm, frame size 69 x 52 cm
Lot 515
Diogo de Contreiras (1500-1560)The meeting at the golden door Oil on panel Portugal, c. 1550 Provenance: Late Alpoim Calvão Collection118x50 cmAdditional Information:Present day Art Historians are unanimous in their appreciation of Diogo de Contreiras, one of the most creative painters of the Portuguese Mannerism who, by embracing a distinctive personal style, freed himself from the restrictive models defined by Gregório Lopes (ca.1490-1550). Through novel experimentation Contreiras would simultaneously be able to absorb contemporary Italian innovations on drawing, composition and colour.The artist’s biographical details have been thoroughly researched and it is today widely accepted that he worked from Lisbon for the wealthiest Portuguese patrons, namely Duke Teodósio I of Braganza (1510-1563), the Order of Christ’s Head–Commander Afonso de Lencastre (ca.1505-1572), the Royal House nobleman João Rodrigues Português and the aristocratic Costa family from Évora. This information, as well as other important data, resulted from research developed in 1977-78 by Professor Vitor Serrão, which led him to identify with certainty the artist previously known as the “Master of São Quintino”, as being in fact Diogo de Contreiras.Up until then the artistic production attributed to this “Master of São Quintino” had been mistaken, namely in 1954 by Luís Reis Santos (1898-1967), for the later phase of the painter Gregório Lopes. Reynaldo dos Santos (1880-1970) however, had argued that this artist had no connection to that master, being instead an independent, yet unknown, entity. Further research in 1957, by the Spanish Art Historian Martin Sória (1911-1961), on a group of over thirty paintings identified as being by “São Quintino” would later be reinforced by Vitor Serrão’s attributions.The work we are now presenting for sale at Veritas is one of three versions that Contreiras completed on the same subject. One first version was painted circa 1540 for Saint Catherine’s Parish Church. One other was completed at a later date for the central panel of the tryptic of the Conception at the Benedictine Monastery of Cástris, near Évora.Factors such as the robustness of the figures and their depiction in pray, rather than in the usual embrace of Conception, point to an evolution in Contreiras’ artistic development and suggest, with some certainty, that our painting is likely to date from the early 1550s.According to the Historian Joaquim Caetano who, following from Vitor Serrão’s research results, has focused his attention on Contreira’s work, the artist does not always follow the same exact models. As such, in this painting, the Saint Joachim’s figure – of long beard and grey hair - is portrayed in profile, and that of Saint Anne – of oval face characteristic of the artist’s female models – appears facing the viewer but placed towards the back.In this particularly tall and narrow panel the placement of the Golden Gate oblique arch, reinforced by a buttress, creates an angle at the centre of the painting and provides an opening for two backgrounds. One with buildings, to the left, and another to the right with a landscape that becomes the setting for the complimentary scene of the “Annunciation to Saint Joachim” both with considerable depth of perspective.By replicating the arch diagonally supported by the buttress, the artist created a central X intersection that overlaps at this particular point. One of the axes connecting to Saint Anne’s and the landscape (whose colours reflect the Saint’s mantle) and the other corresponding to Saint Joachim and the succession of warm colours in the background with buildings. Vertically these two axes are intersected by the line that, from the rose stems that extend from the spouses’ hearts, holds the Immaculate Virgin suspended on a fine crescent and resplendent on the luminous halo.According to Anísio Franco “this is an unsurpassable work in the production of this Portuguese Renaissance artist that, although out of his intended original context, has its own independent status and relevance as a work of art that will undoubtedly enhance and value any Old Master paintings collection.” Bibliografia/Literature:Joaquim Oliveira Caetano, A identificação de um pintor in "Oceanos", n.º 13, Lisboa, 1993;Grão Vasco e a pintura europeia do Renascimento: Galeria de Pintura do Rei D. Luís, 17 março a 10 junho 1992, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, em colaboração com Secretaria de Estado da Cultura, Instituto Português do Património Cultural, Instituto Português de Museus, 1992;Vítor Serrão, História da Arte em Portugal - o Renascimento e o Maneirismo, Lisboa, 2002 Vítor Serrão, Os painéis da igreja de Unhos: séculos XVI - XVII, Boletim Cultural, nº 73-74, Lisboa, 1970, p. 27-52;Pedro Almeida Flor, A autoria do Retábulo de Santa Maria de Almoster por Diogo de Contreiras (1540-1542), in ARTIS, Lisboa, Instituto de História da Arte da Faculdade de Letras de Lisboa, 2004, n.º 3, pp. 335-34;Vítor Serrão e Joaquim Oliveira Caetano, A Pintura Maneirista em Portugal. Arte no Tempo de Camões, catálogo de exposição comissariada por Comissão Nacional para a Celebração dos Descobrimentos Portugueses, galeria de D. Luís, Palácio Nacional da Ajuda, Lisboa, 1995, n.º 8, pp. 194 e 195;
Lot 314
A QUANTITY OF TUDOR MINT BOXED FIGURES comprising The Minotaur, Wizard of Light, Loving Dragons, Dragon of Icextals (x2), Wizard of Winter (x2), Excalibur (x3), Dragon of Skulls, Wizard of the Lake, Spirits - Forest, The Spirited Pegasus, Merlin (x2), Sir Lancelot, The Moon Wizard, Dark Dragon, Brontosaurus, Unicorn T Box, Sorceror's Light, Dragon of Light, Cauldron of Light, Dragon of Sun, Ice Dragon, Old Father Time (x2), Jewelled Dragon, Sword Master, Earth Wizard, The Sleepy Dragon and The Hobbit (33)
Lot 403
The Great War pair awarded to Lieutenant Arthur Cyril Ball, Royal Air Force, younger brother of Captain Albert Ball, V.C., D.S.O**, M.C., who was killed in May 1917; Arthur Ball was himself forced down on 5 February 1918 and made Prisoner of War British War and Victory Medals (Lieut. A. C. Ball R.A.F.); together with 9-carat gold and enamelled past-Lord Mayor’s Badge for the City of Nottingham, hallmarked Birmingham 1936, 53.78g gross weight, the reverse engraved ‘Presented by the City Council to Alderman Sir Albert Ball, Kt., J.P., Lord Mayor of Nottingham, in recognition of his services as Lord Mayor 1935-36. Mayor 1920 (part). Mayor 1909-1910.’, nearly extremely fine (3) £800-£1,200 --- Arthur Cyril Ball, or Cyril as he was called to differentiate between him and his famous elder brother Albert Ball, V.C., was born in Nottingham on 10 January 1898, son of Albert Ball, a master plumber who, by the turn of the century, changed his profession to become an estate agent in Nottingham, and who also entered local politics, serving four terms as Mayor of Nottingham and being honoured with a knighthood in 1924. Cyril followed in his elder brother’s footsteps as soon as he was of age, joining the 3/8th Battalion Sherwood Foresters, before transferring to the Royal Flying Corps to train as a pilot. In December 1917, some six months after Albert Ball, V.C., D.S.O., M.C., had been killed on the Western Front, Cyril was posted to France for active service, and joined his brother’s old unit, 60 Squadron, based then at St Marie Cappel, flying SE5As, where he was allotted to ‘A’ Flight.. His Flight Commander, Captain R. L. Chidlaw-Roberts, M.C., said of Cyril, ‘He thought he could carry on like his brother. He was wrong, though full of guts.’ Undoubtedly Cyril Ball felt that as Albert’s brother he had a reputation to live up to, indeed, throughout his life he inevitably suffered ‘comparisons’ with his elder, famous brother, and at times part-resented the continuous comparison. His fighting career with 60 Squadron lasted only a few weeks. On February 5th, 1918, he flew SE5A B533 as part of a fighting patrol deep into German-held territory, and his engine was hit by a stray sliver of a shell from some desultory anti-aircraft fire. With a dead engine, Cyril turned for home, but at that moment the patrol was jumped by Albatros DV scouts from Jagdstaffel 26, and Cyril was singled out for attack by the veteran Leutnant Otto Esswein. With no alternative open to him, Cyril was forced to land and become a captive of some local German troops. That day he was entertained briefly by the pilots of Jagdstaffel 26, and was then whisked away to a prisoner of war camp for the remaining months of the war. In December 1918, he was repatriated to England, and returned to his home in Nottingham, where he married his fiancée, Marie Prince, and commenced in business with his brother’s old firm, the Universal Engineering Company in Castle Boulevard. He maintained his interest in aviation to the extent of flying with the local flying club, the Nottingham Aero Club at Hucknall aerodrome. In 1939, he started the Nottingham unit of the Air Defence Cadet Corps, and when this was turned into the Air Training Corps, became the first Wing Commander R.A.F.V.R. (T) of the Nottingham Wing, a post he held until the end of the war. He remained connected with the A.T.C. until his death. Unlike his father, Cyril had little real ambition in the field of politics, and it was not until November 1947 that he became a city councillor for the Meadows Ward of Nottingham, and was re-elected for the years 1951-54. Only four years later Cyril Ball died on 2 July 1958, in the Nottingham General Hospital after a brief illness. Throughout his life Albert Ball’s father seldom overlooked any opportunity to perpetuate the memory of his eldest son. As Cyril Ball once remarked, ‘Albert, my brother, hated any kind of show at all. My father loved it; he liked being the father of England’s first real ace.’ These medals, together with those of his brother Captain Albert Ball, V.C., D.S.O., M.C., and his nephew Flight Lieutenant G. A. S. Anderson, were exhibited together at the Nottingham Numismatic Congress of 1960.
![Henry Robert Morland [1716-1797]-Churning butter,:-oil on canvas, 74 x 61cm.* Provenance. Bonhams Old Master Sale, 21.04.2004](https://cdn.globalauctionplatform.com/c37839ad-821d-4b34-b947-ac9200bc821b/20cc8030-bae3-4bd6-98ff-ac9300bb4e49/468x382.jpg)
Lot 1456
Marion Edith Hewkley (aka Sutherland Gill,19th/20th century), five miniature portraits, circa 1920, watercolour, comprising 'Anne', initialled, oval, inscribed verso, gilt frame, another probably of the same sitter, signed, oval, silvered metal frame, 'His Old Regiment', signed, inscribed verso, oval, ebonised frame, 'Italian Peasant', signed and dated 1923, inscribed verso, ebonised frame and another after an Old Master portrait (16th century?), signed and dated MDCCCCXXIV (1924), pewter frame, three with handwritten labels verso with artists Worthing address, 11 x 8cm and smaller
Lot 802
Ethereal landscape, with diffused light and softly defined forms. Signed lower left, oil on canvas, in restored condition. Provenance: Christie's label verso. Overall: 24 3/4 x 30 1/2 in. Sight: 19 x 24 1/4 in. George Inness was a prominent American landscape painter of the nineteenth century who was influenced in turn, by the Old Masters, the Hudson River school, and the Barbizon school. Although Inness's style evolved through distinct stages over a prolific career that spanned more than forty years and 1,000 paintings, his works consistently earned acclaim for their depth of mood, atmosphere, and emotion. Neither pure realist nor impressionist, Inness was a transitional figure who intended for his works to combine both the earthly and the ethereal in order to capture the complete essence of a locale. A master of light, color, and shadow, he became noted for creating highly ordered and complex scenes that often juxtaposed hazy or blurred elements with sharp and refined details to evoke an interweaving of both the physical and the spiritual nature of experience. Inness is best known for his mature works that not only exemplified the Tonalist movement but also displayed an original and uniquely American style.
Lot 379
dating: Period (1603-1867) provenance: Japan, Made of iron, of round and convex shape, consisting of two riveted parts, majestically embossed with dragon among clouds, silver-inlaid claws and tail, gilt-inlaid eyes and whisker, a row of holes at the border. Thin covering of black lacquered rice paper at the inside, eyelet and rectangular loops for the cushion and the binding. An old paper label at the verso, featuring the inventory number. The Jingasa was worn by first-rank Samurai during the ceremonies. They were lighter and more comfortable than the kabuto, but nonetheless they guaranteed a discrete protection. This beautiful and scarce Uchidashi Jingasa from the Edo period can be attributed to the famous Myochin school, already operating in the 16th Century. The works manufactured by Munesuke Myochin (a magnificent master of this manufacture) are kept in the most important museum of the world and can be easily compared with this one. diameter 40,5 cm.
Lot 550
ANGELA REILLY, CHANGE oil on board, signed and titled verso 26.5cm x 23cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 647
ANGELA REILLY, GUISE oil on board, initialled, further signed and titled verso 30cm x 33cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 648
ANGELA REILLY, ABANDON oil on board, initialled, further signed and titled verso 25cm x 31cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 653
ANGELA REILLY, MIEN oil on board, initialled, further signed and titled verso 23.5cm x 26cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 654
ANGELA REILLY, JUNO oil on board, initialled, further signed and titled verso 21cm x 26cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 114
Attributed to Sir John Watson Gordon (1790-1864) Portrait of Alexander Graham, three quarter length, in riding dress Oil on canvas, 125.5cm by 100cm Provenance: Carbeth Guthrie Estate; Lyon & Turnbull, The International Sale: Old Master Paintings, Drawings and Prints, 3rd October 2012 See illustration Alexander Graham of Capellie was an enthusiast of hare coursing and amongst other awards won the Waterloo Cup, the most prestigious coursing trophy in the UK. For many years he was chairman of the annual Waterloo Dinner.
Lot 3021
FLÄMISCHER MEISTER, MITTE DES 16. JAHRHUNDERTSBildnis einer jungen Dame mit Handschuhen.Öl auf Holz.34,4 × 25,6 cm.Provenienz:- Alter Berner Familienbesitz. - von Obigem erworben, Schweizer Sammlung.Dieses qualitätsvolle Bildnis einer Dame mit Handschuhen dürfte um die Mitte des 16. Jahrhunderts entstanden sein und weist gewisse Parallelen zu Frans Floris (1517 Antwerpen 1570) und auch zu Catharina van Hemessen (1528 Antwerpen nach 1565) auf, weshalb eine Entstehung in Antwerpen gut denkbar ist. FLEMISH MASTER, MID 16TH CENTURYPortrait of a young lady with gloves.Oil on panel.34.4 × 25.6 cm.Provenance:- Old Bernese family collection. - acquired from the above. Swiss private collection.
Lot 131
Hamilton (Alexander) Madison (James) and John Jay. The Federalist; a Collection of Essays written in favour of the new Constitution, as agreed upon by the Federal Convention, September 17, 1787, 2 vol., first edition, printed on thick paper, vol.1 with two small old ink smudges on title, 36 blank leaves added after the text at the end, title and first leaf washed with slight fading to later ink ownership stamp of W. B. Crosby, next leaf slightly soiled, vol.2 title also with ink ownership stamp of W.B. Crosby also slightly faded, front endpapers with ink signature of William Bedlow, that in vol.2 dated 1787 and in vol.1 1788, other ownership inscriptions by later family members, contents leaves of both vol. with identification of author (name or initials) in ink, presumably in William Bedlow's hand, armorial bookplate of William Bedlow, contemporary tree calf with gilt-stamped Greek key design borders, flat spines fully gilt with contrasting green and red labels, each volume showing minor signs of restoration, especially to joints and spine ends, bumping and wear to corners, but overall near fine copies now preserved in a double-backed quarter calf drop-back box, gilt extra, by Trevor Lloyd, [Sabin 23979; Howes H114; PMM 234; Church 1230; Grolier, American 100, 19], 8vo (165 x 93mm.), New York, Printed and sold by J. and A. McLean, 1788.⁂ An excellent copy with superb provenance of one of the most important works of Americana. The Bedlow-Crosby-Rutgers-Vanneck copy with family ownership dating back to the year of publication.The Federalist Papers is a collection of 85 articles and essays written by Alexander Hamilton, James Madison, and John Jay under the collective pseudonym 'Publius' to promote the ratification of the United States Constitution. Originally published in various New York state newspapers including The Independent Journal, New York Packet and the Daily Advertiser between October 27, 1787, and August 1788, they were finally published in book form in 1788, though the dated inscription in volume one would suggest that this volume at least appeared at the very end of 1787."When Alexander Hamilton invited his fellow New Yorker John Jay and James Madison, a Virginian, to join him in writing the series of essays published as The Federalist, it was to meet the immediate need of convincing the reluctant New York State electorate of the necessity of ratifying the newly proposed Constitution of the United States. The 85 essays, under the pseudonym 'Publius,' were designed as political propaganda, not as a treatise of political philosophy. In spite of this, The Federalist survives as one of the new nation's most important contributions to the theory of government" (PMM, 234). The Federalist "exerted a powerful influence in procuring the adoption of the Federal Constitution, not only in New York but in the other states. There is probably no work in so small a compass that contains so much valuable political information. The true principles of a republican form of government are here unfolded with great clearness and simplicity" (Church 1230). "A generation passed before it was recognized that these essays by the principal author of the Constitution and its brilliant advocate were the most authoritative interpretation of the Constitution as drafted by the Convention of 1787. As a commentary and exposition of the Constitution, the influence of the Federalist has been profound" (Grolier American 100, 56)."Provenance: William Bedlow, (1722-1798), with his armorial bookplate on front pastedown in each volume and with his ownership signature dated 1788 in vol.I and dated 1787 [sic] in vol.II. He married Catharine Rutgers who was the mother of Catharine Bedlow who was the niece and heir of Colonel Henry Rutgers.William Bedlow Crosby (1786-1865) with his signature on the flyleaf of each volume and the signature "W.B. Crosby" on each title.Thereafter by marriage and descent to the present owners.This copy of The Federalist evidently remained in the ownership of William Bedlow and a succession of prominent and related New York families, during the whole of the 19th and 20th centuries, during which time there is no evidence that it was ever actually offered for sale. The original 18th century owner of this copy was William Bedlow (1722-1798), a New York resident who had been a sea captain and merchant, and who during the latter part of his life had evidently been engaged in public duties connected with the American war effort. He was chosen, on June 8, 1775, to be a member of the Committee of Secrecy and Inspection, whose duty it was to supervise the enforcement of the decrees of the Provincial Congress. An example of the work of the Committee is illustrated in Appendix A, being a report on the violation of the import rules being flouted by a ship landing illegal goods from Greenock in Scotland. The letter is dated New York, July 5, 1775. Bedlow was thus committed to the revolutionary cause from the outset. He was also on a committee of 48 tasked with conducting the election of officers for the military companies organised in New York [City]. In that same year (1775) Bedlow was appointed a "Commissioner for the Erection of Fortifications in the Highlands on the Hudson River" from 1775-1777, a theatre of war of the utmost importance for the defence of New York itself. A Dutch engineer, Bernard Romans, was appointed to supervise construction work, but this soon resulted in a complete breakdown between Romans and the three Commissioners (including Bedlow). Very little of military use was achieved and eventually Romans was dismissed in February 1776 [see Journal of the New York Provincial Congress, passim, and the Journal of the American Revolution, passim].William Bedlow appears again in the historical records in the shape of a letter dated September 5, 1780, written by Bedlow from Clinton House to Richard Varick (1753-1831), the noted Revolutionary soldier who in 1780 had been deputy commissary-general of musters and, in 1780 aide to General Benedict Arnold at West Point. Bedlow asks for help to secure forage for his three horses, the forage master having died in post. [See George Washington Papers, Series 4, General Correspondence]. It is worth noting that Bedlow adds an interesting footnote to his letter in which he gives the news that "Mrs Bedlow and Mrs Rutgers" have gone on a journey together and that "Miss Rutgers & Miss Bedlow present their best respects to you".Bedlow's final public appointment seems to have been as Post-Master of New York City. Although the precise date of his appointment seems to be unknown, he submitted financial accounts for the Post Office from April 5, 1784 through October 1789.There is another extant letter to George Washington from William Bedlow, dated 27 September 1789, in which Bedlow clearly and bitterly complains about his unfair sacking from his role as Post Master of New York by Samuel Osgood (1747-1813), the …
Lot 238
Rovere, called Il Fiammenghino (Giovanni Battista della, 1561-1627), Follower of. The Annunciation, pen and brownish-black ink, traces of black chalk, on laid paper without watermark, ruled ink framing line, sheet 107 x 149 mm (4 1/4 x 5 3/4 in), inset at edges into 19th century collector's mount, bears pencil stock number verso, 'D29875 HX', framedProvenance:Mount bears pencil inscription verso that reads: 'Collection - King Philip V of Spain & ? Orleans Coll.'⁂ Showing distinct influences of the graphic style of Giovanni Battista della Rovere, as found in the drawings 'St Thomas standing holding a book and spear', held in the British Museum (acc. no. SL,5227.45), and the finished study for the decoration of a chapel showing Christ in Glory, sold by Sotheby's, New York (Old Master Drawings, 30th January 2013, lot 235).
Lot 239
Piola (Domenico, 1627-1703), Attributed to. Madonna and Child with St Francis, pen and brown ink, brown wash, traces of black chalk, on laid paper without watermark, sheet 390 x 290 mm (15 1/4 x 11 1/2 in), inscribed with attribution to Piola and inventory number in pencil verso 'D30727', laid onto old paper support, two small tears to extremities of sheet, framedProvenance:Possibly with Colnaghi, LondonPrivate collection, London⁂ Comparative drawings executed by Piola, all in his distinctive style, show a clear influence on the present sheet, which was likely produced within the artist's workshop, possibly by the master himself or a close pupil. Comparative sheets include 'The Sacrifice of Abel', from The Ralph Holland Collection, (sold by Sotheby's, 5th July 2013, lot 283), and the Metropolitan Museum's 'Putti with the Attributes of the Arts' (acc. no. 80.3.515).
Lot 327
* Pontormo (Jacopo Carrucci, 1494-1557). Monk in full-length habit, standing with hands behind his back, red chalk on pale cream laid paper, with early inscription in brown ink to lower left margin 'Andrea del Sarto nel stile d'Alberto Duro 49.', collector's mark (Lugt 2793) to lower right corner, and a further collector's mark (Lugt 2364) to lower left corner, some overall soiling and one or two surface abrasions, near-horizontal central crease, closed tear or snag to centre left of the sheet (generally without loss), sheet size 369 x 165 mm (14.5 x 6.5 ins), laid down on old laid paper backing sheet, (possible late 17th century or early 18th century), and with ruled border in pale red and brown ink and wash, edge-mounted on early to mid-20th century cream board, with stamped attribution in black ink to lower edge JACOPO CARRUCCI (Pontormo)Qty: (1)NOTESProvenance: Nathaniel Hone (1718-1784), painter (Lugt 2793); Sir Joshua Reynolds (1723-1792), painter (Lugt 2364). The early inscription to this drawing, probably dating from either the late 17th or early 18th century, may be by the Milanese priest at San Filippo Neri in Rome, Padre Sebastiano Resta (1635-1714), collector and historian of old master drawings, a large part of whose collection was acquired by Lord John Somers (1651-1716) between 1710 and 1714, and subsequently sold at auction in London in 1717, following his death. See Genevieve Warwick, The Formation and Early Provenance of Padre Sebastiano Resta's Drawing Collection, Master Drawings, volume 34, no. 3 (Autumn 1996), pages 239-278.
Lot 337
* Duflos (Claude Augustin, 1700-1786). Triomphe de Priape, & Leda (from Nouveaux morceaux pour des paravants, by Francois Boucher), circa 1737, two etchings with engraving on cream laid paper, each trimmed to plate mark, traces of old mounting to sheet edges verso, sheet size 518 x 258 mm (20.4 x 10.2 ins), and similar, together with other various Old Master prints: Pieter van Lisebetten (circa 1630-1678), Saint Mary of Egypt in the Desert, after Palma Giovane, 1673, Willem van der Leeuw (circa 1603-circa 1665), Tobit with his Wife, after Rembrandt, Giovanni Battista Mola (circa 1588-1661), Judith with the head of Holofernes, Pietro Parboni, Veduta dell’Arco di Tito, after Simone Pomardi (with wide margins), an engraved view of the amphitheatre at Nimes after Guerin, and an 18th or 19th century etched copy after Durer’s Virgin and Child with the Pear of 1511Qty: (8)NOTESDuflos: Designs for folding screens in the rococo manner by Boucher, which do not appear to have put into manufacture.
Lot 350
* Swanevelt (Herman van, 1603 ca.-1655). Vinia Mamfrona for della porta pinciana, 1653, etching on laid paper, from the series 'Diverses veuës dedans et dehors de Rome desinee par Herman van Swanevelt. Dediee aux Vertueux, 1653', a very good impression of the first state of three, trimmed to platemark, sheet size 113 x 183 mm (4.5 x 7.25 ins), window-mounted, together with: Hopfer (Hieronymus, circa 1500-1563). Design for Two Goblets, circa 1530-40, etching and engraving on off-white paper, after Albrecht Altdorfer, the second state, reissued by the German printer David Funck, circa 1700, trimmed to plate margin, sheet size 87 x 136 mm (3.4 x 5.35 ins), hinge-mounted in 20th-century cream card window mount, with printed label of Christopher Mendez, London, plus other various Old Master prints: Jan van de Velde II (1593-1641), Landscape with a Round Tower, circa 1616, etching on laid paper, Hans Baldung Grien after Albrecht Durer, St. Martin, circa 1505, woodcut on laid paper with watermark of a shield, Durer monogram to upper right, with margins, Wenceslaus Hollar (1607-1677), St. Paul's from the south showing the spire (Ecclesiae Paulinae Prospectus...), 1657, published in Dugdale's History of St. Paul's Cathedral, 1658, trimmed to plate margins, Richard Gaywood (active 1644-1677), Tomb of Sir Francis Vere in Westminster Abbey, 1657, trimmed just outside the plate margin, with some marks to sheet edgesQty: (6)NOTESSwanevelt: Dutuit 54, i/iii. Hopfer: Hollstein 77, ii. Durer: Bartsch 18, Hollstein 124.
![* Smith (John 'Warwick', 1749-1831). View on the Island of Caprea [Capri], looking to the Eastern Promontory, and into the Ba](https://cdn.globalauctionplatform.com/4146f66d-2f98-4dd2-af07-ace100a4025d/0231d311-c8dc-41cc-8526-ace200c4c2f8/468x382.jpg)
Lot 499
* Smith (John 'Warwick', 1749-1831). View on the Island of Caprea [Capri], looking to the Eastern Promontory, and into the Bay of Salerno, circa 1786-95, watercolour and pencil on laid paper, faint spotting above skyline, pencilled title and signature 'J. Smith' verso, mounted, framed and glazed, grey wash border to mount, 25.4 x 35.4 cmQty: (1)NOTESProvenance: 1) Henry Scipio Reitlinger (1882-1950), his ink-stamp ('Scipio') to verso. 'Mining engineer, turned art historian. A major collector of Old Master drawings, Oriental porcelain and Renaissance ceramics. The Henry Reitlinger Trust operated the Reitlinger Bequest Museum in Maidenhead between 1951 and 1987; it then closed and transferred items to the Fitzwilliam Museum in 1991. Reitlinger's personal collections were auctioned at Sotheby's after his death. Part 1 with drawings sold Sotheby's, 9.xii.1953, and was followed by six sales in 1954' (British Museum biography, online, accessed 11/01/2021). 2) Bonhams, 18th & 19th Century British Watercolors and Drawings, 11 March 2008, lot 66.
Lot 223
An unusual lot of Doctor Who Memorabilia comprising of six pages of original BBC Doctor Who shooting / scene notes and 3 Sony UMatic KCA60 video cassettes. It can be seen from the BBC labels and stickers attached to the videos that they contain various unedited scenes from the actual filming of Doctor Who. One video is labelled "Direct from Studio" dated 6th November 1980 and one is labelled "Inserts from Gallery" dated 21st November 1980. In addition to the Doctor (in this case Tom Baker), a look through the six pages of shooting / scenes notes (dated 6th November 1980) shows characters such as Melkur, Tremas, Adric, Fosters and Old Master. From this it is possible to identify the videos as containing various scenes from the filming of the episode The Keeper of Traken which was the sixth serial of the 18th Season of Doctor Who, which was first broadcast in four weekly parts on BBC 1 from 31 January to 21 February 1981. An unusual and genuine lot of Doctor Who Memorabilia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 288
Dutch Old Master School (late 17th/18th century)Solomon and Hiram Exchange Gifts, 1 Kings IX:10-28preparatory drawing, pen, ink and wash on paper, 26cm x 25cmProvenance: with The Folio Society: Collectors' Corner, W1, Stock No. D3593, £25, when erroneously titled 'Pilate washing his hands', label to verso.
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