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Click here to subscribeAnker Smith (1759-1819). Mother and Child, pastel, depicting a woman holding a baby in her left arm, the other arm lifting a blanket, her head bowed looking towards the child, previous restoration including full length tear repair, one closed tear to upper left approximately 8 x 4cm, sheet size 74.5 x 58.5cm (29 3/8 x 23ins) framed and glazed (83 x 71cm)Qty: (1)
Herald (James Watterson, 1859-1914). Landscape with trees, pastel, depicting tall trees against a blue sky, 52.9 x 36.6cm (20 3/4 x 14 3/8ins), mounted, framed and glazed (76 x 58cm)Qty: (1)Footnote: Typical of Scottish artist James Watterson Herald's highly individual style of painting, in which he used a wet technique in the case of watercolour, and a smudged technique in the case of pastel, to evoke an atmospheric scene. Herald was notoriously reclusive and self-contained as an artist. After living and working in London and Croydon for a decade the Forfar-born artist turned his back on the successful career he had established and returned to Scotland in 1901, settling in Arbroath. He continued to paint, but despite the best efforts of the artist's patron, John Taylor Ewen, he struggled to achieve further commercial success in his own lifetime. Ewen invited the leading figure from the Glasgow School, Edward Arthur Walton, to visit Herald’s Arbroath studio in 1904, and a report in the Dundee Evening Telegraph stated that the artist was "very highly complimented" by his fellow Scot. However, Herald, who more often than not shunned such contact, had no capacity for self-promotion, coupled with a complete lack of business acumen. As a result it was not until after his death that his paintings received the recognition they deserved, and were fully appreciated for their subtle beauty, soft palette and unique technique.
After John Raphael Smith (1752-1812). Lady Elizabeth Compton, [1780 or later], pastel and chalk, depicting a half-length portrait of a young woman, her head tilted to the left, wearing a dress with large ribbon at breast, full sleeves, thin cape and pearls in her full, powdered hair, laid onto board, 61 x 46cm (24 x 18 1/8ins), hand written note on verso 'Lady Elizabeth Compton the original pastel by J.R. Smith', framed and glazed (71 x 56cm) Qty: (1)Footnote: The present work appears to be an early copy in pastel after the mezzotint by John Raphael Smith published in 1780, itself based on the original portrait by William Matthew Peters. Lady Elizabeth Compton (1760-1835) married Lord Augustus Henry Cavendish, the 4th Duke of Devonshire (later the Earl of Burlington), in 1782. Through her marriage she was later known as Lady Elizabeth Cavendish, Countess of Burlington.
Liebermann (Max, 1847-1935). Portrait of Hertha Morgenstern, 1921, pastel and coloured chalks on thick card, half-length portrait of a dark-haired young lady, seated in a carved wooden chair, her hands clasped on her knee, wearing a dark dress, a diaphanous green stole, and bangles on her arms, some surface marks and spotting, signed in red lower left 'Mx Liebermann Berlin 1921', 97 x 72 cm (38 1/4 x 28 3/8 ins), mounted on a contemporary black painted wooden support to verso (101 x 76.5 cm)Qty: (1)Footnote: Provenance: Formerly in the collection of Max and Hertha Morgenstern; thence by descent to Charles and Pauline Morton of Rowde Court, near Devizes, Wiltshire.Hertha Israel (1900-1962) married Maximilian Morgenstern (1883-1946) in 1922, and this picture was painted just prior to their marriage, presumably as a formal engagement portrait. Wealthy owner of a textile mill, Max Morgenstern was a bibliophile and art collector particularly known for his patronage and mentorship of Alfred Kubin, whose works he began collecting in the early 1900s. He and his wife had two children, both sons - Charles Peter (Curt Peter) Morton and Robert William (Wolgang Robert) Morton. At the outbreak of WWII Max and Hertha were forced to flee their opulent home in Vienna, to England, where their sons were being educated. The couple took very little with them, and most of their possessions were seized by the Nazis.Max Liebermann lived and worked for a time in Munich, but in 1884 returned to Berlin where he remained for the rest of his life. Prior to the Second World War he was lauded by high society; noted particularly for his portraiture, it is not surprising that he was chosen to portray Hertha, a relation of the wealthy Rothschild family. However, as for his fellow-Jews the Morgensterns, the rise of Hitler sounded the death knell to life as he knew it. Liebermann withdrew from public life in 1933 and two years later, at the age of 87, he died.
George (Adrian, 1944-). Marble with Drapes, pastel and crayon, showing three pieces of fabric (green, red and blue) draping down against a grey background, signed and dated 1985 lower right, 74.5 x 52.8cm (29 3/8 x 20 3/4ins), mounted, framed and glazed (99.4 x 75cm) Francis Kyle Gallery label to verso Qty: (1)
Rothenstein (William, 1872-1945). Portrait of Hannah Whittal Smith, July 1893, pastel on brown paper, full length portait, half-profile to right, of a bonneted elderly lady seated in a wicker armchair reading a book, signed and dated to right-hand margin 'Will R 93' and captioned in the artist's hand to lower margin 'Will Rothenstein, Hannah Whittal Smith, Friday's Hill. July 1893', 47.3 x 35.2cm (18 1/2 x 13 7/8ins), mounted, framed and glazed (67.2 x 54.3cm) Qty: (1)Footnote: Provenance: Oliver and Ray Strachey; thence by family descent; private collection, UK; Bonhams, 'Fine Art & Antiques', 5 November 2014, lot 37.Evangelist and religious writer Hannah Tatum Whitall Smith (1832-1911) was born into an influential Quaker family in Philadelphia. She married Robert Pearsall Smith who was also descended from a long line of Quakers. After struggles with her beliefs and the exploration of various other Christian doctrines and denoninations, Hannah came to a deep faith following the loss of her 5 year old daughter. She and her husband became speakers in the Holiness movement in the United States and the Higher Life movement in the UK, and they travelled to various countries in Europe to hold meetings and preach. Hannah wrote a widely-read book on the subject of Christian mysticism and practical Holiness theology entitled The Christian’s Secret of a Happy Life, published in 1875. She was also active in the women's suffrage movement as well as the temperance movement. One of her daughters, Mary, married the art historian Bernard Berensen.Ray Strachey, born Rachel Pearsall Conn Costelloe (1887-1940), was the daughter of Mary Berenson by her first husband Frank Costelloe. She was a feminist politician, mathematician, engineer, artist and writer, and, like her grandmother Hannah, worked tirelessly for the suffrage cause, publishing a number of writings on the subject, including The Cause published in 1928. She married Oliver Strachey, brother of Lytton Strachey, in 1911.The National Portrait Gallery holds a bromide print after Rothenstein's portrait by an unknown photographer (NPG Ax160542). It was given to the NPG in 1999 by Barbara Strachey, daughter of Ray and Oliver, who also donated a platinum print of Hannah and Robert outside Friday's Hill House (NPG Ax160670), their home in Fernhurst near Hazlemere, where they entertained artists, writers, musicians and intellectuals, William Rothenstein amongst them.
FOLLOWER OF LOUISE-ÉLISABETH VIGÉE-LEBRUN (ALSO: LE BRUN) 16 April 1755 Paris - 30 March 1842 Ibid PAIR OF PORTRAITS: COUNTESS SOPHIE POTOCKA AND QUEEN MARIE ANTOINETTE OF FRANCE Pastel on strong paper. 27 x 22 cm (visible size), 37,5 x 28,5 (frame size). Each inscribed: 'Lebrun' and 'Bicart'. Surface slightly soiled. Framed behind glass. Provenance: Hessian private collection.LOUISE-ÉLISABETH VIGÉE-LEBRUN (AUCH: LE BRUN) (NACHFOLGE) 16. April 1755 Paris - 30. März 1842 Ebenda PAAR BILDNISSE: GRÄFIN SOPHIE POTOCKA UND QUEEN MARIE ANTOINETTE VON FRANKREICH Pastell auf festem Papier. 27 x 22 cm (Sichtmass), 37,5 x 28,5 (Rahmenmass). Jeweils bezeichnet: 'Lebrun' und 'Bicart'. Oberfläche leicht verschmutzt. Hinter Glas gerahmt. Provenienz: Hessische Privatsammlung.
ROBERTO MATTA (1911-2002)Corpus-Criticus (La Bonne Dance) signed with the artist's monogram and inscribed 'Corpus-Criticus' (lower right); inscribed and dated 'Corpus-Criticus (La Bonne Dance) 1971' (on the reverse)pastel and pencil on paper55.4 x 71.2cm (21 13/16 x 28 1/16in).Executed in 1971Footnotes:This work is registered in the Archives de l'Oeuvre de Matta, Tarquinia/ Paris, and will be accompanied by a photo-certificate of authenticity from Alisée Matta.ProvenanceJosef Herman Collection, London.Acquired from the above by the present owner in 2000.For further information on this lot please visit Bonhams.com
MAX ERNST (1891-1976)Il prédit des éclipses des galaxies signed 'Max Ernst' (lower right) and inscribed 'Eclipse' (lower left)collage, pastel and pencil on blue paper27 x 32.9cm (10 5/8 x 12 15/16in).Executed in 1968Footnotes:ProvenanceAlexander Iolas Gallery, New York.Anon. sale, Christie's, London, 10 December 1997, lot 386.Galleria Blu, Milan (by 2000).Anon. sale, Il Ponte, Milan, 16 December 2014, lot 274.Acquired at the above sale by the present owner.ExhibitedParis, Galerie Alexandre Iolas, Max Ernst, Journal d'un Astronaute millénaire, 11 March – 12 April 1969.Milan, Galleria Blu, Max Ernst un monde perdu, 4 April – 8 July 2000.LiteratureW. Spies, S. & G. Metken & J. Pech, Max Ernst Oeuvre-Katalog, Vol. VII, Werke 1964-1969, Cologne, 2007, no. 4395 (illustrated p. 277; incorrect dimensions).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
LESLIE HURRY (1909-1978)Woman in city signed and dated 'Leslie Hurry 1941' (lower right)gouache, pastel and pen and ink on paper48 x 61cm (18 7/8 x 24in).Executed in 1941Footnotes:ProvenancePrivate collection, US.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Henry Tonks (1862-1937) 'Broadstairs'pastel and watercolour on papersigned in pencil27 x 43.5cmCharcoal, pastel and watercolour on a dark grey toned paper, a number of small scattered dirt specks and a few fox marks but overall fair to good condition with good strength of colour, fine signature in the lower right corner, housed in a discoloured card mount and plain gilt frame, remnant of Imperial Gallery of Art label verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 27 x 43.5cmTonks (1862-1937), Henry
§ § Jeremy Moon (1934-1974) Collage of three drawingspastel on paperJuda Roman Gallery label verso55 x 38cm.Pastel and pencil on paper cut and laid as three collages on a plain paper ground. The ground paper now rather discoloured particularly around the margins. Slim glazed gold frame. Gallery label verso dated 1969.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 55 x 38cm.Moon (1934-1974), Jeremy
Oscar Rabin (Russian, 1928-2018) Study for Tense Momentpencil and Conte crayonsigned, 22.5 x 15.5cm. and an etching with aquatint of a fallen boxer 'Finish', signed in pencil, 14 x 19cm.Provenance; Dulwich Picture Gallery Exhibition Nov-Feb 1986; 'Introducing Sam Rabin', no.63 & 64Pastel possibly with some light discolouration of the ground paper. Otherwise good condition. Plain card mount and wood frame, typed title label verso.The print with discolouration to the margins including some foxing, otherwise good, under glass but lacking a frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. Rabin (Russian, 1928-2018), Oscar
A pair of Vienna style porcelain ecuelles, covers and stands, c.1900,each finely painted with figure scenes after Angelica Kaufmann, within multicoloured pastel and tooled gilt borders, underglaze blue shield marks,diameter 23.5cmOccasional minor wear to the gilding in tiny patches, one of the finials has been broken off and re-glued with some darker regilding around the area otherwise in good condition with no other damage or restoration detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. diameter 23.5cm
A COLLECTION OF FOURTEEN CAITHNESS AND OTHER PAPERWEIGHTS AND TWO CAITHNESS BUD VASES, height of both vases approx. 9cm, the ten Caithness paperweights comprise 'Pastel', 'Companions', 'Moon Crystal' x 2, 'Reflections '91, '92, '93', 'Jubilee Pebble', 'Pebble', 'Myriad', together with Mdina and Mats Jonasson examples (16) (Condition report: in good condition overall, three Caithness paperweights come with cards)
A BOX AND LOOSE CERAMICS, GLASS AND METALWARE, including a Royal Winton 'Tradition' spongeware twenty two piece dinner service, a Coaloport Collectables Birthstone Collection 'October- Opal' figure, a Royal Grafton Studio Craft fine bone china twenty one piece tea set, eight modern glass paperweights including a chipped Caithness 'Pastel' example, assorted drinking glasses, bowls and vases, etc, s.d. (Box and loose)
PICTURES AND PRINTS ETC, to include Lynda Kettle (British contemporary) 'The Drovers Trail Devon', a rural lane bordered by trees, signed bottom right, pastel on paper, approximate size 49cm x 49cm, a limited edition print 'The diocese of Coventry' by Christine Brown, Limited edition print 'Concorde - Queen of the skies' signed by the artist Anthony Hansard and Concorde pilot Jock Lowe, 18th Century map 'The road from London to Derby' by Emanuel Bowen 1736, three topographical prints of Matlock with receipt from Baynton-Williams of Belgravia dated 1973, Limited first day cover for the Birmingham Astronomical Society 2/100, three John Leech hunting prints etc (box and loose)
* MARION HARVEY (SCOTTISH 1886 - 1971),TERRIERpastel on paper, signedimage size 33cm x 24cm, overall size 52cm x 45cmMounted, framed and under glass.Label verso: Malcolm Innes Gallery, Edinburgh.Note: Marion Rodger Hamilton Harvey was a very accomplished animal painter born in Ayr in 1886. She lived and worked in Glasgow and specialised in dog and horse painting. Marion often worked in Kirkcudbright and enjoyed close friendships with Hornel, Taylor and King and the four became known as the “Close Coterie”. She exhibited frequently at the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts, the Society of Women Artists, the Royal Scottish Society of Watercolour Painters as well as the Walker Art Gallery in Liverpool. Her works are in many collections worldwide but most notably in the collections of HM The Queen and late Queen Mother. Her work occasionally surfaces at auction with the highest price recorded for a pastel by the artist of US$7000 (currently £5184).
* PAUL REID (SCOTTISH b. 1975),FIGURE STUDYpastel and pencil on paper, signedimage size 48cm x 25cm, overall size 70cm x 45cm Mounted, framed and under glass.Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery and his next solo show there will take place in 2022.
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![After John Raphael Smith (1752-1812). Lady Elizabeth Compton, [1780 or later], pastel and chalk, depicting a half-length port](https://cdn.globalauctionplatform.com/9a21f8f7-bb3e-4455-8db4-ae4400b9af6b/83a97082-00ab-4f3e-ab82-ae4600db77c1/468x382.jpg)
