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Lot 167
William John Bertram Newcombe (Canadian 1907-1969)Untitled Watercolour and pastel Signed and dated 62 (lower right)36.5 x 56.5cm (14¼ x 22 in.)Condition Report: Under glass, unexamined out of glazed frame. A number of a very fine surface scratches to the lower left corner. Condition Report Disclaimer
Lot 3130
Toni del Renzio (1915-2007) Italian/Russian Surrealist landscape Signed and dated (19)98, pastel, together with a head study by the same hand, a signed 90th birthday invitation from the artist, a further figurative print and a signed piece of text about the Surrealist group, 31cm by 50cm and 49.5cm by 30.5cm (5) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 3076
Harry Epworth Allen RBA, PS (1894-1958) Male life study holding a rope Signed, pastel, together with a companion ''Male Study'', 49cm by 36cm & 45cm by 28cm respectively (2) Literature: ''Harry Epworth Allen (1894-1958) Catalogue of his Works'', Basford John, Derwent-Wye Fine Art Limited, Private Collection I, p.155, no.219 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 3063
Harry Epworth Allen RBA, PS (1894-1958) ''Seascape'' Signed, pastel, together with a further nocturne landscape, 25cm by 34cm & 17.5cm by 25.5cm respectively (2) Literature: ''Harry Epworth Allen (1894-1958) Catalogue of his Works'', Basford John, Derwent-Wye Fine Art Limited, Private Collection I, p.154, no.148 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 3062
Harry Epworth Allen RBA, PS (1894-1958) ''Harbour Scene'' Signed, pastel, 29.5cm by 34.5cm Literature: ''Harry Epworth Allen (1894-1958) Catalogue of his Works'', Basford John, Derwent-Wye Fine Art Limited, Private Collection I, p.158, no. 484 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration
Lot 326
*SIMON BUSSY (1870-1954) 'Kairouan' view of a domed building, possibly a mosque, signed and titled lower right, pastel, 17.5cm x 14cmProvenance: Private Collection, DorsetKairouan is a city in northern Tunisia’s inland desert. It became a powerful trading hub and centre of Islamic scholarship in the 9th century, when Aghlabid emirs ruled Kairouan and built many of its monuments. The Great Mosque, on the edge of the medina, with its antique columns and imposing minaret, dates from this period and is a major pilgrimage site.
Lot 325
*SIMON BUSSY (1870-1954) 'Highland Landscape' signed lower right, pastel on paper, 30cm x 22cm Exhibited: 'Works by Simon Bussy', Leicester Galleries, 1939, number 9.Provenance: Formerly in the collection of a 'Miss Strachey', presumably the Artist's wife Dorothy Bussy, the sister of Lytton Strachey, the prominent writer and critic, and founding member of The Bloomsbury Group. With Abbott & Holder, LondonPrivate Collection, Dorset
Lot 459
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 168
Charles Fairfax Murray (1849-1919) 'Garland Makers' a preliminary sketch of the central panel of the triptych now owned by The National Trust, pencil and orange pastel paper, 36.5cm x 54cm, framed and glazedProvenance: Charles Fairfax Murray was a friend of the vendors family and there were a number of portraits by the artist in the propertyCondition: foxing all over the picture, tear to the top right corner, the paper is creases mainly vertically to the centre
Lot 274
Mary Browning (English, late 20th century), portrait of two whippets racing, signed and dated ''86', pastel, oval, 26.5cm x 33cm, frame 46cm x 38.5cm, with a large photographic print of whippets in various stances, 72cm x 70.5cm, and another, 18cm x 24.5cm (3)Condition report: Lot 274 is a pastel work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition and surface appears stable including the colours. There is some minor cockling to the paper. Frame has general wear and tear.The two prints appear okay, some scuffs to the sheet of the black and white example, frames have wear and tear including chips, scratches, dents
Lot 234
British School (20th Century) Richmond Castle, signed indistinctly and dated 1918, oil on canvas, measurements 29 x 40 cm, together with a landscape showing a cottage and hills in the distance, signed bottom right Gaye, measurements 31 x 51 cm, a 20th century Continental Street scene, oil on canvas, measurements 62 x 92 cm and nude pastel study of a woman in front of a window, signed indistinctly bottom right and dated '96, measurements 50 x 36 cm (4)
Lot 195
Collection of prints, pictures and photographs, to include M Howard, Still life of flowers, oil on board, signed and dated 1989, 60 x 50cm, botanical print, 44 x 38cm, a hand-coloured engraved map of Yorkshire by J Cary, 22 x 26.5cm, a vintage photograph of a high street, 43.5 x 54cm, pastel of a rural street, signed John Lewis and dated 1935, 26 x 22cm, a map of Sussex, print of a bridge at Rydal, print of Henry VIII, coloured engraving of children playing boules, engraving of buildings of Horse Guards, London, hand-coloured engraving of mountainous landscape, print of girl with goats and ducks, a vintage photograph of a gentleman and a vintage photograph of a school football team (14)
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