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Click here to subscribeJEAN COCTEAU (1889-1963) Erotique cachet de l'atelier crayon, pastel et gouache sur papier 35 x 27cm (13 3/4 x 10 5/8in).Exécuté en 1956/1958 with the atelier stamp pencil, pastel and gouache on paperFootnotes:Cette œuvre est accompagnée d'un certificat édité par Annie Guédras et est répertoriée sous le N° 5134C.For further information on this lot please visit Bonhams.com
JEAN COCTEAU (1889-1963)La Chapelle à Villefranche signé et dédicacé son amie Jeanlithographie rehausée aux pastels49 x 63cm (19 5/16 x 24 13/16in).Exécuté en 1956. Le tirage était en noir et blanc et c'est Jean Cocteau lui-même qui rehausée ce tirage aux pastelsFootnotes:signed and dedicated son amie Jeanlithograph heightened with pastel in coloursProvenanceGalerie Iris, Paris.Vente Impressionist and Modern Paintings, Drawings and Sculpture, Christie's New York, 18 fevrier 1988, lot 178.Acquis auprès de celle-ci par l'actuel propriétaire.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Kathleen Francis Barker (1901-1963) Two pastel portraits of Spaniels, Pastels Signed, one dated 1946 46 x 37cm (18 x 14½ in.) And a small study of an owl, indistinct signature to reverse "Peter C***mbers 1980" 23 by 20cm (3)" Condition Report: Dogs- each with old photostat label for Sara Davenport Paintings- colours a little ,muted but generally good, Owl- foxed Condition Report Disclaimer
A late 18th century hand tinted print depicting the English miniaturist and pastel painter Mary Benwell (1739-1800), inscribed "Maria Benwel Pittrice Inglese nel 1779", image 22 by 17cm, framed and glazed 36.5 by 29cm overall Condition Report: Trimmed, some paper discolouration and pigment fade- unexamined out of frame so may be additionally trimmed to upper margin Condition Report Disclaimer
After Jean-Baptiste-Siméon Chardin Boy with a Spinning-Top Pastel, sanguine, paper 58 x 71cm (22¾ x 27¾ in.) Floral incised gilt glazed frame. Condition Report: Paper undulations throughout- signs of edge damage to upper right- slight edge crease upper lefty, dirty- unexamined out of frame- some paper fragments behind the glass Condition Report Disclaimer
Emilie Mediz-Pelikan (Austrian 1861-1908) Lady in costume Pastel and pencil Dated April 1906 and indistinctly inscribed (lower right) 37 x 29cm (14½ x 11¼ in.) Provenance: The Estate of the late David Fyfe-Jamieson Emilie 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. Condition Report: some cockling and crease marks to paper- which looks to have discoloured- pigments faded Condition Report Disclaimer
English school, ca. 1820. Circle of SIR THOMAS LAWRENCE (Bristol, 1769 - London, 1830)."Portrait of a Child.Oil on canvas. RelinedMissing paint.Size: 90 x 70 cm; 106 x 85 cm (frame).This portrait, close to Sir Thomas Lawrence's circle, represents a young Englishman dressed in a black coat with high collars. The natural, youthful face is enlivened by a gentle smile and has been treated with great delicacy, with a brushstroke that blends in without leaving obvious traces. The figure is set against a neutral background, but on the left is a legend inscribed on a circular shield. Both the composition and the workmanship of this excellent portrait fit in with the characteristics of the best English portrait painting of the first quarter of the 19th century, and especially with the work of Sir Thomas Lawrence and his closest circle.Sir Thomas Lawrence was, after the death of Joshua Reynolds in 1792, Britain's foremost portraitist. His early training was in Bath, where he learned the technique of pastel from William Hoare and the correct handling of oils from Thomas Barker. In 1787 he moved to London, where he exhibited his first works at the Royal Academy. He began to triumph thanks to his female portraits, such as that of Elizabeth Farren, in which we can already discern certain traits of sensitivity that he would develop in his more mature production. In 1791 he was admitted to the Royal Academy and the following year, following the death of Joshua Reynolds, he became the king's painter. In 1815 he was knighted and that same year the royal family commissioned a series of portraits for the Waterloo Chamber at Windsor Castle. In 1820 he succeeded Benjamin West as president of the Royal Academy. Lawrence's portraits were based on Reynolds's "grand style", but the Bristol painter opened the way for a new concept of portraiture with regard to the model, his personal bearing and his emotional portrayal. He succeeded in recovering a highly personal vision of his sitters, which was already typical of Romantic and Victorian portraiture. His models are presented in relaxed, natural poses, the brushstrokes are delicate, imperceptible in the faces and lighter and more sketchy in the clothes and the landscape, which almost always plays an important role.
John WatsonThe Boat Housesigned, date 2008, watercolour, 26cm x 36cm; John Windsor, Tunnel of Trees, near Bolehill, signed, 2006, watercolour, 26cm x 34cm; Barrie Chamberlain, Time For Tea, signed, dated 95, pastel, 35cm x 30cm; Eileen Turner, Chloe, Tabby cat, watercolour, 26cm x 34cm; Elaine Ann BaynesHigh Tor, signed, watercolour, 29cm x 20cm; Peter Woolley, The Pennine Way, signed, watercolour, 7.5cm x 25cm; D Norris, Old Farmstead; Royce, Derwent Valley, pastel
A late 19th century French porcelain faience clock signed 'Gien C M', the architectural shaped case highlighted with pastel shades and signed to the rear, encasing the 10cm white enamelled dial applied with Roman and Arabic numerals and the two train movement striking on a saucer bell, indistinctly stamped 'Medaille', 40cm high, no pendulum Your attention is drawn to our important notice regarding the Trevanion sale of clocks, watches & timepieces found in our Terms & Conditions, please read this prior to bidding.
Jenny Berger (contemporary)Pastel study"Landapath", labelled verso and dated lower right 2014, 40cm x 30cm19th century schoolWatercolour "Beleek Bridge Island", unsigned, 23cm x 34cm 19th century school Watercolour"No Consequence", hunting scene, initialled 'HCRL' and dated 1863 lower right, 15cm x 22cm (3)
James Sharples (1751-1811) Pastel drawingHead and shoulders portrait of George Washington (1796-1801), in profile, 23cm x 18cm Provenance: this picture was formerly at Bowden Hall in Upton St Leonards, near Gloucester, and has remained in the family collection. It is believed that the portrait was once owned by 19th century British collector Jeffery Whitehead and was exhibited in London twice while in his possession - in 1889 in 'A Century of British Art (2nd series) from 1737 to 1837', London, Grosvenor Gallery, incorrectly attributed to John Russell. A fragment of this catalogue is attached verso. Then in 1891 it was exhibited in 'The Royal House of Guelph, London, the New Gallery', correctly attributed to James Sharples (known at the time as 'Sharpless'), there is a handwritten note on the reverse of the pastel dated 1889 confirming the correct attribution in this second exhibition - 'Portrait of George Washington. Sharpless was a crayon draughtsman who came to this country (America) in 1794 and made profile portraits in pastel of many provincial men. In 1796, being in Philadelphia, Washington sat to him, and Sharpless's portrait of Washington is the best known profile likeness of the subject. The artist made many copies of the original and sold them for $15 apiece. Century Magazine April 1889'. It is thought that the picture then sold in the Christie's auction of Jeffrey Whitehead's collection in London, 1915 (lot 57 for 15 guineas) and was bought by Schroeder, most likely a picture dealer. It then found its way to the family collection in the Cotswolds. From this same collection, and also with an American theme, earlier this year The Cotswold Auction Company sold the first African-American published book of poetry by a slave girl, Phyllis Wheatley, 1773, for £16,500. (see Books and Works on Paper Antiques Trade Gazette No.2504). Please see Neil Jeffares 'Dictionary of Pastellists' entry J.675.697.PLEASE NOTE - if you would like to bid online on this lot please contact the auctioneers beforehand for AML compliance in order to do so. Condition ReportGenerally in good condition, requiring very little or no conservation treatment. ● The pastel was in direct contact with the glass; some off-setting of pigment onto glass, however this slight tansfer has not detracted from the clarity of the drawing.● The pastel drawing was backed with cotton wool, which was stained and dirty.● The pastel paper displays some rough cut edges.● Very slightly worn corners, and a tiny edge tear in the middle of the right hand edge.● Two very small pin-prick holes – generally inperceptible.● Slight scuffing to pastel surface to the top right in the blue background.● Some fiberous fluff on the surface, detached from the cotton wool backing.● Small spot in the sitter’s hairline area – possibly flecks in the paper or slight oxidized lead white.● Other non-detracting small flecks, probably due to loose pigment transfer.● Loose fibres from the cotton wool backing are deposited on the verso. The cotton wool has formed a protective barrier, saving the portrait from becoming acidic due to direct contact with the wooden backing board.Remedial treatment carried out on 11 October: ● The portrait was carefully removed form the frame for assessment. ● Labels removed due to brittle & failing tape. ● Lables encapsulated in inert Mylar sleeves to protect them from physical damage. ● Archival double-sided tape has been added to the sleeves in order to attachment them to back of the frame as required. ● The old cotton wool backing was stained and dirty. It was removed & retained in a Mylar sleeve. ● Loose particles of dirt were removed from the surface of the portrait. ● The pastel portait was mounted onto backing card to provide a stable, protective barrier from the wooden backing board. Materials: 100% cotton acid-free museum mount board; Removeable archival mounting strips to hold the pastel to the backing, without adhesive on the verso of the drawing. N.B. these mounting strips are visible in the frame on 2 edge of the pastel. ● The inside of the frame was dusted to remove extensive loose dust. ● A thin fillet spacer mount was made to keep the drawing spaced away from the glass to avoid any further pigment transfer. Acid-free museum board was used. ● The inside of the glass has not been cleaned, so the minimal extent offset on the glass remains in evidence.
20th century schoolCharcoal and pastel studyTheatre costume designs for Elizabeth Spriggs and Alison Fiske in 'Much Ado About Nothing', Sheffield 1971, this was the Royal Shakespeare Company production, for which Elizabeth Spriggs was one of the main leads, signed by Elizabeth Spriggs and Alison Fiske, 41cm x 49cm
Carolyn White (1945-2013)/Spring Garden with Cirencester Church in the distance/signed/watercolour, 40cm x 57cm and/Street Scene, perhaps Turkey/signed/pastel, 49.5cm x 61cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Nicholas Hely-Hutchinson (born 1955)/Dorset Afternoon, February/gouache and pastel, 66cm x 94cm/Provenance: Portland Gallery CONDITION REPORT: This picture is in good condition.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Heloise Toop/Still Life/oil pastel, 46.5cm x 59cm/Exhibited: Mall Galleries 1974, label verso CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Sue Wales (born 1942)/Blue Cloth and Shadows/signed lower left/watercolour, 33cm x 47cm and/Winter Landscape/signed lower left/pastel, 28.5cm x 45cm/Provenance: Artist's studio sale 1990 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Donald Greene, (2), Leicestershire fox, in winter landscape, watercolour, signed and dated ’87, 34cm x 49cm, a pair; Paul Dawson, Magpie, watercolour, signed and dated ’85, 48cm x 33cm; Erica Esk, Roses, oil on canvas, signed, 28cm x 23cm; R Gerome, Railway bridge at Braunstone Gate, Leicester, oil on board, signed, dated 1992, 15cm x 75cm; Copson, Continental square, watercolour, 34cm x 24cm; English School, Girl with long hair, pastel, 17cm x 12cm; After Graham Clarke, Haddocks End, prints, 95/250, 30cm x 37cm.
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