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Lot 301
Cornelis Jonson van Ceulen (London 1593-1661 Utrecht)Portrait of a lady, half-length, in a pink dress with blue ribbons signed and dated 'C. J. fecit/ 1637' (lower left)oil on canvas76.5 x 64cm (30 1/8 x 25 3/16in).Footnotes:ProvenanceThe Collection of Sir Thomas Aston, 1922LiteratureA. J. Finberg, 'A Chronological List of Portraits by Cornelius Johnson, or Jonson', in The Walpole Society, 1921-1922, vol. 10, cat. no. 96, ill. pl. LXXBased in his studio in Blackfriars, Johnson painted the gentry, aristocrats, lawyers and merchants, including members of London's Netherlandish community, from whence his parents originated. The present portrait is typical in the way in which he meticulously recorded their fine dress and lace collars. In 1632 he was appointed 'picture-drawer' to Charles I, producing a few small-scale royal portraits, although the main royal commissions went to Sir Anthony van Dyck. While his reputation has been largely overshadowed by his more famous rival, Johnson's reputation was to some degree restored by the London National Portrait Gallery's 2015 celebration of his work, Cornelius Johnson:Charles I's Forgotten Painter. Johnson was the first British-born artist consistently to sign and date his paintings, although his signatures varied over the years. In late 1643, following the outbreak of civil war in Britain, and the collapse of court patronage, Johnson and his family moved back to the Netherlands.For further information on this lot please visit Bonhams.com
Lot 315
Firmin Massot (Geneva 1766-1849)Portrait of Elizabeth Broadhead, later Lady Dashwood, full-length, in a white dress and seated beside a stream signed, inscribed and dated 'FMassot. Genève./ 1818.' (on rock, lower right)oil on canvas78.3 x 64.2cm (30 13/16 x 25 1/4in).Footnotes:ProvenanceBy descent from the sitter's brother to Sir Theodore Brinckman, Bt. Sale, Sotheby's, London, 24 November 1999, lot 68 (sold £27,600)With Park Gallery, London, where purchased byPrivate Collection, UK, 1999, by whom offeredSale, Christie's, London, 3 December 2008, lot 194, where purchased by the present ownerLiteratureV. Louzier-Gentaz, 'The works of Firmin Massot (1766-1849) in British Collections', in The British Art Journal, Autumn 2006, vol. VII, pp. 94-95, ill. fig. 7Firmin Massot was one of the key figures of the Geneva School and a leading society portrait painter of his time. He was heavily influenced by the 'contemporary anglophilia' (Louzier-Gentaz, op.cit., p.92) that had developed in Geneva in the early 18th century, mainly due to political upheavals and religious sympathies, as well as scientific and commercial exchanges. Geneva was a necessary stop for many British grand tourists on their way to Italy, when travel allowed it.In the 1790s Massot was linked to two of his fellow students, Wolfgang Adam Topffer (1767-1847) and Jacques-Laurent Agasse (1767-1849). Following Agasse's visit to London in 1792, the three young artists began collaborating on large scale portraits with landscapes and animals together, a practice that Massot and Topffer continued after Agasse moved to England in 1800. Louzier-Gentaz has suggested that it is very probable that Topffer painted the landscape in the present work.The sitter, Elizabeth was the daughter of Theodore Henry Broadhead of Glynde, Surrey. She married Sir George Henry Dashwood, 5th Bt. of West Wycombe, in 1823. She died without issue and lived as a life tenant at West Wycombe. The portrait passed to her brother, Theodore Henry Lavington Broadhead, created a Baronet in 1831, who subsequently resumed the surname Brinckmann.On the present work Louzier- Gentaz remarks 'quite apart from the composition of the work, the date and signature in the lower right-hand corner distinguish this portrait from the others and render it historically important: Massot did not usually sign, except in rare cases, and especially when the work was painted for a foreign patron' (op. cit, p.94).For further information on this lot please visit Bonhams.com
Lot 335
Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com
Lot 358
John Hoppner R.A. (London 1758-1810)A nymph oil on canvas127.2 x 102.6cm (50 1/16 x 40 3/8in).Footnotes:John Wilson dates the present work to the late 1780s. Its large scale suggests that it was very likely intended for exhibition and it is possible that it is one of two works exhibited by Hoppner at the Royal Academy, London in that period, one under the title of A Nymph (1788, no. 394) and the second A Bacchante (1789 no. 213).For further information on this lot please visit Bonhams.com
Lot 109
Highly Important and Extremely Comprehensive D-Day Archive of Ephemera and Photographs to Lieutenant Stephen C. Malenoir -Vickers (MC, MID.), Lieut Malenoir-Vickers was an Engineer Officer responsible for clearing mines and paths across Juno Beach at Courcelles, with his Armoured bulldozers, and he landed on D-Day. The Collection includes Restricted "Defence Overprint" maps of the Beach area, his Diary for 1944, "War Diary" from June 44 to May 45, Personal Photograph Album with original D-Day photographs and others through France and Belgium etc. We consider it almost unique to find Maps, a Diary, Photographs, War Diary, documents and contemporary letter, all for the same Officer for one of the most important wartime events in the 20th Century, namely D-Day. The first of the Defence maps is of Creully 1:25,000 Top Secret and dated May 1944 and shows the Beaches at Ver-Sur-Mer (Juno Beach), the second is an exceptionally rare 1:12,500 scale map of Bernieres-Sur- Mer, dated May 1944, Top Secret, because of the scale, great detail of all the beach defences are included with a key on the reverse. Two other "Defence" maps of Le Havre 1:10,000 dated 5 September 1944, show all the Defensive positions and were produced to assist a major attack on the Port, they too are very rare. The "Diary 1944 February 1st 1944 - March 31st 1945" Has some detailed entries and for the 6th June "Arrive & anchor 2/3 miles off French coast.. Hundreds of craft to unload.... See paratroops land... Haphazard AA Fire.. One of our planes down...to bed 0110 hrs" etc. etc. Extensive entries continue through Normandy campaign and beyond. War diary gives daily strength, casualties, work undertaken and comments etc., 7pp., through to mid May 1945. The Photograph album shows training in UK, Beach landings in Normandy, Pont L'Eveque, Siene, German Wreckage and head and shoulders photograph of Lieut. Malenoir-Vickers etc. etc. c.70 photographs in all. Note other loose original photographs of Bridge Building etc . Of particular interest is a full page handwritten letter Dated June 17th 1944 to his parents describing D-Day, being served Waffles and Syrup by "Negroes" in the wardroom on an American ship and later "the first night I slept in a slit trench" etc. Other documents too. including Top Secret Bigot Intelligence Summary for Neptune area (copy no 15) and Top Secret "Distinctive markings for Aircraft" with drawings, dated 25th April, note book, badges etc,. In all an exciting find for which viewing is thoroughly recommended.
Lot 126
Railway Historic Maps, two extensive folding S.E.R. (South East Region) maps in leather covers, one covering the line Greenwich & Woolwich c.1 inch to 1 mile scale, no 22, the other North Kent Line Surrey Canal to Belvedere c.1 inch to 1 mile scale, no 13, both "Manager & Secretary's Office". c.1890. Some wear, contents excellent.
Lot 129
WWI Trench Linen Maps of Mesopotamia, Fat-hah, (GHQ) 3 inch to 1 mile with a large number of numbered Trenches shown both sides of the Tigris just below Fat-Hah, very detailed and in good condition. The second and third Trench maps show a similar area with a different scale of 1 inch to 1 mile, one dated 15-10-18 & the other 11-5-18. The fourth Trench map is of Tikrit (TC 199), 3 inches to 1 mile, very detailed showing trenches, artillery and MG's West of Tikrit on the Tigris, with pencil annotations. All very good condition (4)
Lot 330
An 18thC French pre-revolution pewter platter, of shaped oval design with scroll, scale and floral border, the centre with repousse designs of a coat of arms with fleur-de-lys crowned crest and a jardiniere with floral bouquet, against the scene of a village, 51cm x 33cm, two octafoil crowned touch marks to the underside.
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186094 item(s)/page