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Lot 1569
Two Royal Doulton Brambly Hedge figures, comprising Lily Weaver Spinning and Tea at Hornbeam Tree, a Beswick Pig Promenade figure Christopher, and ten Royal Doulton Bunnykins figures, comprising Little Boy Blue, Juliet, Clarissa the Clown, Little John, Vicar, Wedding Day, Choir Singer, Little Jack Horner, Graduation Day and Ankhesenamun, boxed (one Bunnykins with fault).
Lot 167
Antonio Mancini (Albano Laziale 1852 - Rome 1930) UN JEUNE VIOLONISTESur sa toile d’origine92 X 73,5 CMLocalisée, signée et datée en haut à droite : PARIS / A. Mancini 78Accidents Formé à Naples auprès de Filippo Palizzi et Domenico Morelli, Antonio Mancini se lie d’amitié avec Vincenzo Gemito, relation essentielle dans la suite sa carrière. Il incarne rapidement le véritable renouvellement de la peinture Napolitaine sous influence de son naturalisme hérité du Seicento. Son œuvre se caractérise par des sujets tirés du monde des saltimbanques, des musiciens, comme notre tableau l’illustre, souvent peuplé d’enfants issus des rues Napolitaines mis en scène dans l’atelier. Il envoie à Paris un premier tableau au salon de 1872 puis y présente des oeuvres régulièrement jusqu’à l’Exposition Universelle de 1878. Après son retour à Naples où sa santé mentale se dégrade, il s’installe définitivement à Rome en 1883 et bénéficie du mécénat de figures importantes comme Hendrick Willem Mesdag ou Daniel Sargent Curtis, cousin du peintre John Singer Sargent qui déclara d’ailleurs au sujet de Mancini qu’il était le meilleur peintre du monde (cf. Portrait de Mancini par Sargent, toile, 67 x 50,5 cm, Rome, Galleria Nazionale d’Arte Moderna). Même s’il n’effectue que deux séjours à Paris, en 1875 puis entre mars 1877 et le printemps 1878, son oeuvre reste fortement marquée par sa visite de la capitale française. En effet, dès son arrivée à Paris en 1875, c’est par l’intermédiaire du comte Albert Cahen mécène et musicien belge très puissant et entiché de l’artiste, que Mancini rencontre le marchand Goupil. Ce dernier s’occupe de sa carrièreMême après son retour en Italie. Grâce à lui, Mancini rencontre un vif succès à Paris et fréquente Degas, Boldini ou Manet…Localisé à Paris et daté de 1878, peint sur une toile marqué du cachet du marchand parisien Rey, notre tableau se rattache aux tableaux de l’artiste présentés à l’Exposition Universelle, parmi lesquels Le saltimbanque (toile, 204 x 111 cm, Philadelphia, Philadelphia Museum of Art), Le pauvre écolier (toile, 130,5 x 97,5 cm conservé à Paris, musée d’Orsay), le Jeune Bacchus (toile, 58 x 40 cm, conservé au Museo Nazionale della Scienze e della Tecnica Leonardo Da Vinci, Milan). Autant par le modèle, le visage en partie dans l’ombre, que par le cadrage serré, frontal et intense, notre tableau est à rapprocher d’Un enfant avec des soldats de plomb (toile, 75 x 63 cm, Philadelphia, Philadelphia Museum of Art) datable des années 1876. La figure de notre tableau est le modèle préféré et jeune protégé de Mancini, Luigi (dit Luigiello) Gianchetti, orphelin des Abruzzes. Il l’accompagnera même lors de son séjour parisien d’où sa présence sur de nombreuses toiles de cette période : on le retrouve comme modèle dans des tableaux aujourd’hui célèbres, Le saltimbanque, Le pauvre écolier, ou Le jeune homme à la guitare (panneau, 82 x 65 cm, collection particulière). Mancini élève ici au rang de type universel cette figure, à la beauté insolente et frondeuse, issue de la misère napolitaine, réinvestie de ses souvenirs nostalgiques amour du cirque, de la musique ou jeux de l’enfance.
Lot 413
The Beatles. The front door from Paul McCartney’s childhood home at 20 Forthlin Road, Allerton, Liverpool, late 1950s/early 1960s, with numeral 20 at top, green painted with eight panes of glass (one broken), letterbox and lock fitting removed, inside painted white with lower bolt still present, some paint flaking and soiling, overall 80 x 32 ins (204 x 81cm). 20 Forthlin Road was constructed in 1949 and from 1955 until 1964 it was the family home of the young Paul McCartney (born 1952). The house was owned by the Local Authority and was rented to Paul’s parents Mary and Jim McCartney with whom Paul and his younger brother Michael lived. Sadly only a year after moving in to the house Paul’s mother died. Both parents actively encouraged Paul musically and he first played the trumpet, but following his mother’s death his father gave him a guitar. It was in this house that McCartney learned to play trumpet, piano, guitar and drums. By 1957 McCartney had joined The Quarrymen and begun composing with his new found collaborator John Lennon. Forthlin Road was one of the main places the group would practice and where McCartney and Lennon tried out their new songs. In 1958, McCartney invited George Harrison to join them for a while the drummer Pete Best became part of the group until Ringo Starr ousted him and The Beatles as the world knows them realised its final line up. Over 100 songs including Love Me Do, I Saw Her Standing There, When I’m Sixty-Four, etc., are believed to have been written in the house. When the McCartneys moved out of 20 Forthlin Road in 1964, Ashley and Sheila Jones moved in with their family. Mrs Jones served as an unofficial ambassador for the home tolerating frequent Beatles visitors over the years. In around 1978 Sheila Jones modernised the house and doors and window fittings and tiles, etc., were scrapped. Glen South, the current owner, was alerted to this by Keith Dowsing, a C&A work colleague of Sheila Jones. Through Mr Dowsing Glen South arranged to buy the door in order to auction it for an asthmatic charity for which he did concerts (Glen South, a singer/entertainer even appeared on the same bill as The Beatles at Northwich Memorial Hall on 1st December 1962 with his first group Gee South and the Bluekats). Subsequently it was Glen South himself who purchased the door at the charity auction and has retained ownership of it ever since. When the Jones family left the house it was bought by the National Trust in 1995, both because of its connection to Paul McCartney, but also as an example of post-war social housing. Ironically, the house was redecorated and furnished in the late 1950s style to represent the period in which Paul lived at the house, and the innumerable photographs taken by Beatles fans and tourists standing in front of this “doorway to the Merseybeat” is a replica of the original door now offered here! Photographs of the house exterior and interior, from the early Beatles period, are on display at the house and used in several publications including ‘Remember: The Recollections and Photographs of Michael McCartney’ (1992). A copy of this book, Sheila Jones’ original letter authenticating the door for auction, the letter validating the auction purchase by Glen South in 1995, plus a personal statement of this story by Glen South, are included with the lot. Paul McCartney’s bedroom door with the same provenance was sold by Sotheby’s London, 14 September 1995 (£2,875). (1).
Lot 480
Emma Brownlow (1832-1905) A DUTCH BOY AND GIRL IN A CHURCH INTERIOR signed and indistinctly dated 186(6?) oil on canvas 29.5 x 24cms; 11 1/2 x 9 1/2in. NB Brownlow was one of three daughters of John Brownlow, a long-time secretary of the Foundling Hospital, Bloomsbury, London, an institution for which in 1858 and subsequently 1867 she was commissioned to paint a series of four compositions illustrating life at the institution and which now hang in the Foundling Museum. She was known as Emma Brownlow King after her marriage to the singer Donald King in 1867.
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