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Lot 1094
Ron Gribbons (20th/21st century) ''Bait Time'' Signed, inscribed ''Chopwell Colliery, Co Durham'' and dated 1942, pen, ink and watercolour, together with a pastel ''Industrial Landscape'' by Hector McDonald Sutton (1903-1992), 28cm by 38cm and 32.5cm by 52.5cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 32
δ Grant (Duncan) Martini and Oranges, inks, pastel and chalks, touches of white heightening, on thin wove paper without watermark, signed with initials and inscribed 'Tangiers' lower right, 280 x 200 mm (11 x 7 7/8 in), under glass, toning and discolouration to pigments, minor surface dirt, framed, [circa 1936]Provenance:From the collection of the late Mr. Laurence Lee ⁂ Duncan Grant travelled to Tangier several times throughout his life, and the present undated sheet would appear to be part of a group of studies executed in the 1930s. Another drawing from this stay in Tangier, Bowl of Vegetables and Fruits, is executed in the same style and bears the date 1936 (see Toovey's, Fine Art, 5th September 2018, lot 75). Several other studies by Grant from Tangier can be found in the collection held in Charleston Farmhouse, the home and studio of Duncan Grant and Vanessa Bell.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 91
THOMAS FRYE (1710-1762) Portrait of an Elderly Gentleman in Brown Velvet Jacket Oil on canvas, 75 x 62cm Signed, dated 1745 and inscribed 'Aged 88' Provenance: With Gimbel Brothers, New York; Sale, Sotheby's New York, 17th January 1991, Lot no. 124, where purchased. Born in Edenderry, Co. Offaly into an Anglo-Irish family, he went as a young man to London where he commenced painting portraits in oils, pastel, charcoal and in miniature. Frye’s big break came with the commission from the Hall of the Saddlers, Cheapside in London to paint a full-length portrait of Frederick, Prince of Wales. This important work brought the young artist a great deal of attention and was the catalyst for a successful practice as a portrait painter. He developed a close and life-long friendship with Sir Joshua Reynolds. Described by Walter Strickland as a clever and versatile artist, in 1744 he became interested in a project for making porcelain and with Edward Heyleyn developed the Bow factory. Frye became manager and for a period of fifteen years devoted virtually all his time and energy to the creation of porcelain of distinction. However, he was forced in 1759 to withdraw from the management of the business due to ill-health and resumed his portraiture practice. Frye’s artistic legacy also includes the development of the mezzotint into an artform in itself - a printmaking process which enabled half-tones to be produced without using line or dot-based techniques, achieving tonality with a high level of quality and richness which was particularly useful in the production of portraits. In the 18th century the mezzotint was viewed largely as a reproductive process slavishly copying the fashionable portraits of the day. However, Frye was using mezzotint as a form of artistic expression in itself, his head series of portraits were conceived as mezzotints, executed as mezzotints, as original works of art and so from an 18th century point of view his approach was completely unique.
Lot 384
PORTRAITMALERFrankreich, 19.Jh. Portrait der Marie-Antoinette. Pastell im ovalen Rahmen mit Schleifenbekrönung. Gesamtmaß mit Rahmen: 60x34cm PORTRAIT PAINTER France, 19th century Portrait of Marie-Antoinette. Pastel in oval framewith bow finial. Total dimensions with frame: 60 x 34 cm. Keywords: paintings, images, art, artworks, pictures, Gemalde, French, Francais, ribbon
Lot 1396
French School, 19th c - Portraits of two Ladies, head and shoulders, in a blue bonnet with plume or lace bonnet with blue ribbon, pastel, 21 x 15.5cm and 20 x 15cm, in contemporary gilt cavetto frames with old identifying inscriptions on the backboard (2) Good preservation, long undisturbed in the present, possibly original or at least early, frames
Lot 1082
Oval mounted pastel river landscape by R. de Valens, signed, 12.5ins x 15.5ins, an oak framed pastel still life of a statue, signed Kebbell, 14ins x 12ins, watercolour, garden scene, unframed, 14ins x 9ins and a watercolour, floral still life, indistinctly signed, gilt framed, 14ins x 11ins
Lot 556
Mid-late 12th century AD. A substantial discoid mount with shallow convex cross-section; the upper face decorated with quatrefoil motifs in champlevé enamelling comprising a central design with four arms arranged around a central circle, in white, pastel blue and red enamelling, with a smaller quatrefoil motif populating each quarter in yellow, green and red enamelling; set against a cobalt blue enamelled field; the motif could represent flowers or the Christian cross, in which case the central circle and red dot to each of the four central lobes possibly alludes to the five wounds of Christ; four circular rivet holes for attachment. See the Musée Dobrés, item 896.1.22, for a comparable mount; see the Musée de Cluny, item Cl.23296, Cl.23822, and Cl.14697, for similar. 13.5 grams, 35mm (1 1/4"). Found with use of a metal detector Eastry, near Dover, Kent, UK, in 2020; accompanied by a copy of the Portable Antiquities Scheme report no.KENT-F25AEC, which dates the artefact to c.1150-c.1200 AD. Produced in Limoges, France. Likely a mount for a religious book or other religious furniture item such as a reliquary casket. [No Reserve] Fine condition.
Lot 105
Original vintage advertising poster for a drawing and watercolour exhibition: XIIIe Salon du Dessin et de la Peinture a l’Eau at the Musee d’Art Modern de le Ville de Paris. The featured image by Cluseau is an abstract yellow, blue, grey and red design. The Salon du Dessin et de la Peinture a l’Eau was founded in 1949 and held annual exhibitions in Paris, featuring works in a variety of paper-based medium including pencil, charcoal, pastel, ink, watercolour and gouache. Good condition, creasing, tears. Country of issue: France, designer: Cluseau, size (cm): 64x49, year of printing: 1961
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