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Lot 74
Stratford-upon-Avon Interest. Mixed collection of books comprising: Shakespeare's Avon from Source to Severn, by Charles Showell, Birmingham: Cornish Brothers, 1901, limited edition signed by the author and numbered 51, quarto, half-vellum lettered in gilt, top edge gilt, remainder untrimmed, contents good & bright with pale stain to edge of some pages (not affecting text), some pale spotting/staining to binding; Stratford-upon-Avon from "The Sketch Book" of Washington Irving, edited by Savage & Brassington, Stratford-upon-Avon: Edward Fox, 1900, octavo, quarter-cloth with paper title label, bookseller's ticket (Edward Fox), top edge gilt, remainder untrimmed, contents good, clean, bright, some pale spots/marks to endpapers; Seeing Stratford, by J. B. Priestley, illustrated by Arthur Keene, Shipston-on-Stour: The Celandine Press, 1982, limited edition numbered 39 of 200, signed by the author & artist, octavo, quarter-cloth, very well-preserved & bright; Portrait of a Stratford Year, by Roger Pringle, Shipston-on-Stour: The Celandine Press, 1985, limited edition numbered 156 of 350, inscribed & signed by the author, quarter-cloth, very well-preserved & bright; Reliques of Stratford-on-Avon: A Souvenir of Shakespeare's Home, compiled by A. E. Way, illustrated with lithographs by Thomas R. Way, London: John Lane, 1902, full cloth lettered in gilt, good & bright; The Tourist's Souvenir of The Neighbourhood of Stratford on Avon, Comprising New & Beautiful Views of this Interesting Locality, London: Rock Brothers, n.d., consisting of 12 steel-engraved plates housed loosely within publisher's embossed paper envelope, some pale spotting and wear to covers, all books housed in protective cellophane jackets. Together with two vintage road maps (8)
Lot 75
Pamphlets. Nine pamphlets & publications bound in one volume, comprising: A Glance at the Early History of Kent, by J. H. Allchin, 1903; The Fairy Excursion, by James Shaw, Maidstone: Printed for the Author by J. Burgiss-Brown, n.d.; Charles Dickens: Some Notes on His Life & Writings, London: Chapman & Hall, n.d.; Thomas Carlyle: A Brief Account of His Life and Writings, London: Chapman & Hall, 1902; John Leech: A Biographical Sketch, London: George Redway, 1883; The Counties Magazine, Vol. VI, London: F. E. Robinson, date obscured by ownership label; The Low Side Windows of Sussex Churches, by Philip Mainwaring Johnston, inscribed & signed by the author, 1898, and another the same, inscribed, 1899; Ford and its Church, by Philip Mainwaring Johnston, inscribed & signed. Contents generally good & bright with some spotting in places, bound in blue cloth lettered in gilt
Lot 239
JEAN-LOUIS FORAIN (French, 1852-1931) pencil drawing - entitled verso 'Sketch for Courtroom Scene', with pencil annotation to back 'Ex Stanhope Shelton Estate (1984)', unsigned, 18 x 33cmsProvenance: label verso 'sketch for courtroom scene. Ex Stanhope Shelton Coll. Sotheby's sale 1989. Portobello Road.'Comments: framed and glazed, some foxing
Lot 191
Palladio (Andrea) I Quattro Libri dell'Architettura, 4 parts in 1, fourth edition, each part with ornate woodcut architectural title, woodcut initials and illustrations throughout, the majority full-page or near full-page, with final blanks at end of Books II & IV, Lord Holland's copy with his ink inscription "Lord Holland Venice 1814" to front free endpaper and Holland House bookplate and shelf-mark, also book-label of Joyce Cary, light water-staining to first and last few leaves, stain to D3, some light marginal soiling but overall a good copy, later vellum-backed boards, red morocco label, with ink inscription "Holland House 1815 E.V.Holland" and sketch to upper cover, rubbed and soiled, light staining to upper cover, [Fowler 215; Millard Italian 67], folio, Venice, Bartolomeo Carampello, 1616.⁂ "Andrea Palladio, author of the most studied of the architectural treatises of the Renaissance, the third great work of the sixteenth century (after Sebastiano Serlio and Giacomo Barozzi da Vignola), was the most distinguished practicing architect of the second half of the sixteenth century. The most effective representative of the new principles of architecture in northern Italy, his architectural practice and his architectural theory are equally balanced in his work, offering a coherent expression in its corpus of ideas and buildings. Superior to Vignola's in richness and importance, Palladio's treatise was the most popular publication by any architect." (Millard).Henry Vassall-Fox, 3rd Baron Holland (1773-1840), Whig politician who served under Lord Grey and Melbourne. He married Elizabeth Vassall in 1797 and it was presumably Elizabeth who inscribed the upper cover. Joyce Cary (1888-1957), Anglo-Irish novelist, author of The Horse's Mouth of 1944 and others.
Lot 242
Serlio (Sebastiano) Extraordinario Libro di Architettura, woodcut device to title and woodcut initials, 50 engraved plates, with late 16th/early 17th century ink manuscript note to foot of title (and alteration to date) and to all plates, also ink ornamental sketch to verso of final plate and list of Spanish names to rear free endpaper, damp-staining to title, text and first & last few plates, mostly to upper outer corner, some soiling, light marginal water-staining towards end, modern limp vellum, [EDIT 16 CNCE 36440; Not in Berlin Kat., Fowler or Millard Italian], folio (c.355 x 240mm.), Venice, Giouambattista, Marchio Sessa, 1566.⁂ Very rare edition of what came to be known as Serlio's Sixth Book, not cited by Fowler in his list of printings and with only 4 copies located by Magali Vène in her Bibliographia Serliana, Paris, 2007 (3 in Paris and one in Madrid). We can trace no copy at auction."This book on gates and doors was published in 1551 in Lyon with a dedication to Henry II, probably with the hope of Serlio that he could interest the new king in becoming his patron. It provides models that combine a manneristic expression and a coarsening of Michelangelo's designs by introducing Northern strap work and the influence of the Fontainebleau school. The designs had a great influence in northern Europe, especially France, and were a source of many later books on the application of the ornament of the orders to doors and gates. The Extraordinario Libro, which was never intended to be a part of the architectural treatise, replaced Serlio's unpublished Book 6 (on habitations) in standard editions of his work, beginning with 1563. Only after 1600 was the Extraordinario Libro titled as the sixth book." (Millard French 153).
Lot 604
Albert Wainwright (1898-1943) - A study depicting two male youths in kilts, one seated the other resting on a ledge, with abstract floral decoration, to the reverse 'All the boys in khaki get the nice girls', a sketch depicting a reclining youth in scout uniform, pen, ink and wash, unframed, 22.5cm x 16cm.
Lot 611
Albert Wainwright (1898-1943) - A sketch depicting various studies including a female figure in fashionable dress, a reclining nude figure and a further sketch of a female figure wearing jewellery, to the reverse further figurative studies including a Scotsman, figures on a ship, figures in costume etc, unframed, pen, ink and wash, 22cm x 17.5cm.
Lot 624
Albert Wainwright (1898-1943) - Merrydown, a study depicting an interior scene, to the reverse an unfinished architectural sketch pen, ink and watercolour, unsigned, 16cm x 12cm, together with a further still life study of a fruit bowl and jug on a table, unframed, unsigned, 22cm x 17cm. (2)
Lot 629
Albert Wainwright (1898-1943) - A sketch depicting multiple studies for set designs for the stage production of The Vikings, to the reverse figural sketches relating to The Vikings stage production, together with a further sketch page depicting costume designs for cast members of The Vikings, further similar sketches verso, unframed, pen, ink and wash, 23cm x 17.5cm. (2)
Lot 630
Albert Wainwright (1898-1943) - A sketch depicting multiple costume designs for the stage production The Virgin Martyr, to the reverse further studies of costume designs, together with another sketch page depicting multiple costume designs for the same stage production, unframed, pen, ink and wash, 23cm x 18cm. (2)
Lot 631
Albert Wainwright (1898-1943) - A sketch depicting various studies of costume designs for the stage production of Hansel and Gretel, to the reverse multiple other costume designs, together with another study of further costume designs including the Gingerbread Children, to the reverse figurative studies, also another sketch page depicting set designs for Hansel and Gretel to the reverse further costume designs, unframed, pen, ink and wash, unsigned, 23cm x 17.5cm. (3)
Lot 637
Albert Wainwright (1898-1943) - Chopin Ballade III, a sketch depicting a gentleman riding a horse, to the reverse further sketches of figures riding a horse, together with another sketch page illustrating a similar study of a gentleman riding a horse, to the reverse further images of figures, horses and castles, unframed, pen, ink and wash, 17.5cm x 23cm. (2)
Lot 640
Albert Wainwright (1898-1943) - A sketch depicting a nude male youth walking in a wooded landscape beside a further nude male figure in a fishing boat picked out in colour wash, to the reverse a study of a kneeling male figure looking up to a standing female nude, unframed, pen, ink and wash, 23cm x 18cm.
Lot 109
John Cleese signed 7x5 black and white photograph. John Marwood Cleese ( born 27 October 1939) is an English actor, comedian, screenwriter, and producer. Emerging from the Cambridge Footlights in the 1960s, he first achieved success at the Edinburgh Festival Fringe and as a scriptwriter and performer on The Frost Report. In the late 1960s, he co-founded Monty Python, the comedy troupe responsible for the sketch show Monty Python's Flying Circus. Along with his Python co-stars Terry Gilliam, Eric Idle, Terry Jones, Michael Palin and Graham Chapman, Cleese starred in Monty Python films, which include Monty Python and the Holy Grail (1975), Life of Brian (1979) and The Meaning of Life (1983). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 164
Rory Bremner signed 6x4 black and white photograph. Roderick Keith Ogilvy Rory Bremner, FKC (born 6 April 1961) is a Scottish impressionist and comedian, noted for his work in political satire and impressions of British public figures. He is also known for his work on Mock the Week as a panellist (for Series 1 and 2), Rory Bremner...Who Else? and sketch comedy series Bremner, Bird and Fortune. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 4
Aimi MacDonald signed 10x8 colour photograph. Aimi MacDonald (born 27 February 1942) is a Scottish actress and dancer. She is best known for her role as "The Lovely" Aimi MacDonald in the television sketch comedy show, At Last the 1948 Show (Rediffusion, 1967). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 64
JOSÉ MARÍA SERT (Barcelona, 1874 - 1945)."Calvari". Sketch for the epistle aisle in Vic Cathedral, 1925-1927.Mixed media on canvas.Attached Intitut Amatller d'art hispànic.Measurements: 120 x 120 cm; 140 X 140 cm (frame).-Bibliography:-Catàleg de l'exposició José María Sert; 1874-1945. (palacio de Velázquez; Parque del Retiro, Madrid, 27 Oct, 1987 - 3 Jan. 1988) Ministry of Culture Directorate General of Fine Arts and Archives, National Exhibition Centre.-Eduard JUNYENT; La decoració pictórica de la Catedral de Vich. Editorial Seráfica; Vic, 1936.-Alberto del CASTILLO; José María Sert, His life and work, Editorial Argos, Barcelona, 1947 (pp. 149 and 152, lams. 93 and 94).Although this work was commissioned in 1900, Sert did not present the first sketches until six years later, busy with the numerous orders he received from the aristocrats of the time. The First World War interrupted the work and once it was resumed, Sert felt he had to modify the approach, eliminating colour and therefore rethinking the perspectives in order to obtain depth. It was completed in 1929, but only seven years later it was destroyed. Shocked, Sert accepted the restoration of the cathedral, basing it this time on a set of bas-reliefs which he did not complete until the year of his death.José María Sert was one of the most sought-after and controversial painters of his time and one of the best Spanish muralists. Heir to the Catalan Renaixença and trained as a modernist, he developed a pictorial style outside the stylistic trends of his time. These characteristics make him a renovator of mural painting and a prolific artist who painted more than seven thousand square metres of cathedrals, palaces, great halls, private residences and town halls in various cities, but without doubt the work that was most present throughout his life was the decoration of Vic Cathedral.Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc, and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented at the Salon d'Automne in Paris the mural decoration of the ballroom of the Marquis of Alella (Barcelona) and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by great imagination in the service of a rhetorical language influenced by Orientalism.
Lot 91
EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873)."Sketch of the New Testament".Pencil and gouache drawing on paper.Signed in the lower right corner.Size: 32 x 44 cm; 49 x 62 cm (frame).Born in the bosom of a humble family, Eduardo Rosales was formed in the nazarenism that at that time dominated the Academy of Fine Arts of Madrid, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, from his earliest works we can recognise a personal style that tended towards a monumental, historicist but at the same time synthetic style, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official national and international exhibitions of history painting. Thus, at the National Exhibition of 1864 he won the first medal for "Doña Isabel la Católica dictando su testamento" ("Doña Isabel la Católica dictating her will"), one of the most important paintings of the genre in Spain, a canvas which was also awarded a prize at the Universal Exhibition in Paris in 1867, where he was awarded the Legion of Honour. He won the same award again in 1871 for "Muerte de Lucrecia" ("Death of Lucrecia"), a bold work of disconnected brushstrokes and vibrant execution. Rosales is widely represented in the Museo del Prado, as well as in other important art galleries and in important private collections.
Lot 97
AGUSTÍN ALMAR (Valencia, second half of the 19th century)."Valencian Personage", 1891.Oil on panel.Signed and dated 91 on the lower left side.Painted sketch on the back.Measurements: 25 x 17 cm; 42 x 34 (frame).Painter of popular types and costumbrista themes, Agustín Almar also tackled other themes such as landscape or portrait. Active in Valencia during the second half of the 19th century, he trained at the San Carlos Academy of Fine Arts in that city. He is currently represented in the Museo de Bellas Artes in Valencia, among other public and private collections.
Lot 112
Robert Colquhoun (British, 1914-1962)Sacha resting (self portrait) ink sketch21 x 30.7 cm. (8 1/4 x 12 1/16 in.)Footnotes:ProvenanceWith Cyril Gerber Fine Art, GlasgowThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 16
Charles Rennie Mackintosh (Scottish, 1868-1928)Pedestal, Siena Cathedral signed with initials, dated and inscribed 'SKETCH OF PEDESTAL/SIENA CATHEDRAL/C.R.M./MAY 1891.' (lower centre and lower right)pencil32 x 24.2 cm. (12 5/8 x 9 1/2 in.)Footnotes:ExhibitedToronto, Art Gallery of Ontario, Charles Rennie Mackintosh, 1868-1928: A memorial exhibition, 18 November - 31 December 1978, cat.no.27This is sketch of the pedestal at the entrance of The Chapel of Saint John the Baptist in The Cathedral of Siena.When Mackintosh was just 22 years old, he achieved his first major professional success when he won a Travelling Studentship that had been set up by the Trustees of the Alexander Thomson Memorial for prospective British architects, aged between 18 and 25, of 'approved moral character'. Mackintosh spent three months travelling through Italy. He was in Siena from the 10th to the 19th May 1891 and spent most of is time sketching in and around the Cathedral. His contact with Italian art and architecture provided both aesthetic and critical stimulation at a formative period in his career. He brought back a portfolio of drawings and watercolours which developed his reputation as an artist.In October 1891, a selection of these Italian watercolours were displayed in the Glasgow School of Art Club Annual Exhibition. James Guthrie was reputedly so impressed with the work, he exclaimed to Fra Newbery, Director of the School, 'but hang it Newbery, the man ought to be an artist'. (Cited to R. Eddington Smith, Secretary of the Glasgow School of Art Club in a letter to The Glasgow Evening Times, 17 February 1933, p.6).For further information on this lot please visit Bonhams.com
Lot 76
George Leslie Hunter (British, 1877-1931)Tulips inscribed by Arthur Leyden 'By Leslie Hunter/about 1910' (verso)oil on canvas38.2 x 30.8 cm. (15 1/16 x 12 1/8 in.)Footnotes:ProvenanceArthur Leyden and thence by descentArthur's purchase of Tulips helped keep Hunter going as he was barely making ends meet. It would be three years before the commercial success of his first exhibition at art dealer, Alexander Reid's prestigious Glasgow gallery, La Société des Beaux-Arts in 1913.According to his friend, New York artist Tom Hunt, Hunter was in complete sympathy with all that was new after his first visit to Paris in 1903 (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, pp.61-62). French modernist, Édouard Manet (1832-1883) was an early hero. Manet broke ranks from the traditional practice where layers of dark varnish were applied to the canvas to model form. On Hunter's return to Scotland in 1906, he was utilising what he understood from Manet's technique to help progress his own. In Tulips, the flowing opaque brushstrokes on a light ground applied in one go, model the form of the vase and flowers. Hunter was not concerned with the strength or effect of light on still life, a characteristic he upheld throughout his life and one which differentiates him, even from his fellow Colourists.In Tulips he focused on the simple shape and direct presence of the vase and flowers. By using sketch-like passages with occasional black outlines similar to those he observed in Manet's later still life, he animates the flowers, captures their natural state and ultimately produces a still life elevated beyond the ordinary.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 86
George Leslie Hunter (British, 1877-1931)Still life with Candlestick, circa 1928-9 signed 'G.L. Hunter' (upper right)oil on board62 x 45.2 cm. (24 7/16 x 17 13/16 in.)preliminary sketch versoFootnotes:Hunter specifically signed this painting verso with the addition of 'G' to his name, because to Arthur and his family, he was George.ProvenanceArthur Leyden and thence by descentLiterature & MediaBill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, Illustrated Plate 133, p.155Palin on the Colourists, Directed by Eleanor Yule, First aired on BBC 2, 2000; BBC DVD, 2008 BBC Worldwide Ltd. In 1928, Hunter writes from St Paul de Vence to Arthur, hoping to see him while he is in Europe and of plans to visit him in New York:'My dear Arthur,I got a letter from Jeanie today saying you were in Campbeltown. She enclosed your letter and I noticed you were going to Paris and expected to find me there. I am not there at present but at this very charming hotel on hill town some miles from Nice. I'm in love with this country and wish you all could come down here....If it is not too far and you have time, take a run down for a week or two......I hope Marcelle and yourself are enjoying your trip. Am sorry I am not here to meet you and will regret if I don't see you both before you go back....But I'm hoping to go over to New York in the late autumn...I would like very much to have a good long talk about things since I saw you last. Peggy [sic] must be a big girl and forgotten entirely Uncle George.....Well here's wishing you the best of luck Arthur and kind regards to yourself, Marcelle and your mother and if you can manage down here I will be more than delighted.Yours ever, George'In Michael Palin's interview from 2000, Arthur's daughter Peggie says of Still Life with Candlestick: 'It was painted in our apartment in New York and you can see the basket, the silver basket...that he just took things right and left, what he wanted to paint.'Peggie kept the candlestick, wax fruit and silver basket and they were displayed near the painting, until eventually the basket became the only survivor. In 1929 the catalogue introduction to Hunter's New York exhibition at Ferargil Galleries was written by Hunter's friend from San Francisco days, international journalist, Will Irwin (1873-1948). His warm reminiscences of running into Hunter across the years reinforce the deeply interesting and free spirit that Hunter was to his friends and family. Hunter's assured modern handling of colour and texture animates Still Life with Candlestick above the ordinary and it is a fitting tribute to Hunter's six-month sojourn with Arthur, Marcelle and Peggie Leyden in their New York home.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 88
George Leslie Hunter (British, 1877-1931)Girl in Striped Dress, study ink, coloured pencil and pastel26.7 x 33 cm. (10 1/2 x 13 in.)Footnotes:Drawn in circa 1927, this sketch is likely to be the study for Girl in Stripped Dress.Jane Isabella Livingstone Graham Cowan, née McCaig (1895-1976), was from the same family that built McCaig's Tower in Oban. Hunter met her in Lower Largo, Fife, where she was on holiday with her husband. Family legend tells of the couple spotting 'a slightly odd man' across the dining room, looking at Jane through a frame made with his forefinger and thumb. When they spoke to Hunter, he asked them if Jane would sit for him. It is believed that this was drawn in Hunter's studio in Dumbarton Road, Glasgow.ProvenanceThe sitter, thence by decent.For further information on this lot please visit Bonhams.com
Lot 108
λ ELWIN HAWTHORNE (BRITISH 1905-1954)BRIGHTON, PALACE PIER Pencil and coloured pencilTitled and annotated (along lower edge)20.5 x 28cm (8 x 11 in.)UnframedDrawn in 1936, the present work is a sketch for an oil painting of the same year.Provenance:Estate of the ArtistThence by descent to the present owner
Lot 116
λ ELWIN HAWTHORNE (BRITISH 1905-1954)GUARDIAN ANGELS, MILE END ROAD, E3 Blue inkTitled (lower left)16.5 x 20.5cm (6¼ x 8 in.)UnframedDrawn in 1931, the present work is a preparatory sketch for a linocut of the same subject.Provenance:Estate of the ArtistThence by descent to the present owner
Lot 133
PHILIP ALEXIUS DE LÁSZLÓ (HUNGARIAN 1869-1937)EGYPT, A GIRL CARRYING A POT ON HER HEAD, AT KARNAK NEAR LUXOROil on canvasSigned and dated Karnak 1929 III (lower right); further signed and dated Karnak 1929 III (verso) 81 x 60cm (31¾ x 23½ in.)Provenance:In the possession of the artist on his deathThence by descentPrivate Collection, Tim Rootes and Obby Waller, Barton Hill House, GloucestershireLiterature:Studio Inventory, p. 9 (50)Owen Rutter, Portrait of a Painter, London, 1939, p. 371This portrait is included in the Philip de László Catalogue Raisonné [no. 4938], currently presented in progress online: www.delaszlocatalogueraisonne.com De László travelled to Cairo in January 1929 to paint King Fouad I of Egypt and his son Prince Farouk. When the commission was completed, the artist journeyed with his wife and son, Paul, up the Nile visiting Karnak, Luxor and Edfu and Aswan. Unusually, the present work was completed in his studio upon his return to London using a sketch made in-situ.Condition Report: The canvas has not been relined. Light surface dirt throughout. Clusters of small pinholes to the corners and further pinholes to the centre of the left and right edge. Evidence of retouching running down the upper left edge to the centre of the left edge, visible in natural light. Inspection under UV reveals a green varnish and scattered retouching to the sky. Most prominent is the retouching associated with that mentioned above. Condition Report Disclaimer
Lot 136
λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) A DOUBLE SIDED SKETCH, STUDY FOR LORD IVOR CHURCHILL R. A. 1923; ON THE REVERSE A STUDY FOR PICTURE OF LORD IVOR CHURCHILL & THE 9TH DUKE OF MARLBOROUGHOil on panel Signed (lower left), inscribed and dated 1923 (upper left); the reverse signed and inscribed (upper right)29.5 x 40.5cm (11½ x 15¾ in.) Provenance:Acquired directly from the artist Sir Jack Jarvis, Private Collection Thence by descent to his daughter, Vivian, Private Collection Thence by descent, Private Collection, UKThence by descent to the present ownerThe present lot is a double-sided study by Sir Alfred Munnings for one of his most important commissions. It began one day whilst sat next to Charles Spencer-Churchill, 9th Duke of Marlborough in The Other Club, a political dining society that was founded in 1911. Churchill expressed his admiration for traditional composition in painting and how he much desired to commission a hunting picture of himself together with his son Lord Ivor Churchill on horseback and more specifically a grey horse as suggested by Lord Ivor. It was decided, and so both Charles Spencer-Churchill and Lord Ivor Churchill made way to Glebe Place in London to sit for Munnings in his studio. 'A signpost to Melton was the thing, we must have a signpost in it ! Changing horses, four greys, with the second horseman in full rig; what a subject ! Mind you put me on the best horse' the Duke exclaimed. The commission is described at length in the second volume of Munnings' memoirs. The work was exhibited at the Royal Academy in 1924 in a review recorded in the Connoisseur it was commented 'More plaudits for the equestrian portrait of the Duke of Marlborough and Lord Ivor Spencer Churchill, but also for the muscular energy and movement of 'The Grey Horse'. The finished piece has remained in the Blenheim Palace collection ever since. This rare panel depicts three studies of Lord Ivor Churchill in his sumptuous hunting pinks and top hat. Munnings' swift, loose marks plan out the composition, experimenting with different positions of Churchill's head and hands upon the reigns. Sir Alfred Munnings has used very light, fast white strokes under the sitter to represent the horse. On the reverse of the panel the artist makes plans for the final composition which features Lord Ivor Churchill on grey horse in the far right corner, Charles Spencer-Churchill in the centre and two further greys with their handler to the left. The panel's chamfered edge suggests that Munnings was most likely using one of his slotted study boxes to work on the panel either in situ at Blenheim or back in his studio where both Lord Churchill and Charles Spencer-Churchill sat for Munnings. A number of other studies for this commission are known to have been carried out by Sir Alfred Munnings, four of which came up for auction in 2006 at Christie's New York. However, it is believed that this double sided sketch, which has not been on the market before now, was purchased direct from Munnings by Sir Jack Jarvis, who was knighted for services to racing and was one of the country's leading trainers. The work was then passed through descent to the present owner. We are grateful to the Curatorial staff at The Munnings Art Museum for their assistance in preparing this catalogue entry.
Lot 31
WALTER RICHARD SICKERT (BRITISH 1860-1942) LA RUE PECQUET WITH A VIEW OF LA PORTE STE. CATHERINE, ST. JACQUESOil on board13 x 17cm (5 x 6½ in.)Painted circa 1899-1900. Provenance:Redfern Gallery, London (as 'Sketch for St. Jacques')Private collection, G. Bryson (purchased from the above in June 1943)Sale, Sotheby's, London, 6 February 1985, lot 303Sandra Lummis Fine Art, London Literature:Wendy Baron, Sickert Paintings and Drawings, New Haven and London, 2006, p. 245, no. 135.6Condition Report: Two very small dents to the middle of the upper edge. Inspection under UV reveals a green varnish but no obvious evidence of restoration or repair. Overall in good original condition. Condition Report Disclaimer
Lot 303
A group of three 9th century/early 20th century watercolours to include Alfred Young Nutt 1847-1974 Windsor Castle, watercolour from the artist sketch book inscribed in pencil to lower right, 8.5 x 12cm, Robert Winchester Fraser 1847-1907, Near Inglesham, watercolour, signed and titled to lower right, 7 x 36cm and Laugham Castle, Carmarthen Sher, unsigned 19th century watercolour, 8 x 26cm, all mounted in glazed frames Location: RWF
Lot 204
* Romney (George, 1734-1802). Young Woman Seated, pencil sketch on laid paper, with partial Strasburg Lily watermark to lower right corner, some marks and light discolouration, sheet size 275 x 190 mm (10 3/4 x 7 1/2 ins), inscribed in pencil (probably early 20th century) to lower margin verso 'Lady Hamilton by George Romney', and with small brown ink numeral 550 (crossed out and with 271 added in pencil above), glued along top margin only to later Whatman's Water Colour Sketching Board, early to mid 20th-century mount with ink and gilt-ruled border, with neat manuscript caption to lower edge 'Sketch by G. Romney. Lady Hamilton. Study for his portrait of her as Saint Cecilia', early 20th-century oak frame, glazed (46.5 x 38.5 cm)QTY: (1)NOTE:Provenance: Private Collection, Nottinghamshire, UK.This informal sketch, very likely done from life, has been authenticated by Alex Kidson, author of the catalogue raisonné of the works of George Romney, by email communication to the former owner in 2018, when the work was submitted through the Romney Society's 'Do I own a Romney?' online form.Kidson's reply includes the comments: 'In my opinion, this is an authentic Romney drawing. It only faintly resembles a composition of 'Lady Hamilton as Saint Cecilia', in which the arms meet only at the tips of the fingers and the gaze is more upwards than sideways. The subject would appear to be a homely middle-aged woman and not a girl of twenty as Lady Hamilton was when she modelled for the Saint Cecilia... it is a nice drawing...'. (a copy of the email is attached to the back of the frame).
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