‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) THE DEATH OF SIR PHILIP SIDNEY Oil on panel 36 x 25cm (14 x 9¾ in.)Provenance: Commissioned from the artist by Samuel Dobrée (1759-1827), 1818 Thence by descent to his son Bonamy Dobrée (1794-1863), by 1842 Thence by descent to his son Bonamy Dobrée (1818-1907) Thence by descent to his son Bonamy Dobrée, Jr. (1863-1891) Thence by descent to his son Professor Bonamy Dobrée (1891-1974) By whom sold, London, Sotheby's, 19 June 1957, lot 37 There acquired by Harvey Smythe, London By whom subsequently returned to Sotheby's and to Professor Bonamy Dobrée Thence by descent to Georgina Dobrée (1930-2008), London By whom anonymously sold, London, Sotheby's, London, 14 November 1990, lot 62 There acquired by Richard L. FeigenLiterature: S. Dobrée, The Book of Death, London 1819, n.p A. Cunningham, The Life of Sir David Wilkie, London, 1843, vol. II, pp.7-8, 11-13 D. Wilkie, The Wilkie Gallery, a selection of the best pictures of the late Sir David Wilkie, London and New York, 1848, n.p. engraving reproduced W. Bayne, Sir David Wilkie R.A., London, 1903, p.79 H.A.D. Miles et.al, Sir David Wilkie of Scotland (1785 - 1841), exhibition catalogue, Raleigh, 1987, p.85 H.A.D. Miles, Sir David Wilkie 1785-1841, exhibition catalogue, London, 1994, pp. 63-65. cat. no.16Exhibited: London, British Institution, 1842, no. 22 (lent by Bonamy Dobrée) Manchester, Art Treasures Exhibition, 1857, no. 267 (lent by Bonamy Dobrée) London, Grosvenor Gallery, 1888, no. 66 (lent by Bonamy Dobrée, Jr.) London, Richard L. Feigen & Co., Sir David Wilkie 1785-1841, 13 October - 25 November 1994, no. 16Engraved: Abraham, Raimbach, 1819 William Greatbach, circa 1848-50This painting was commissioned by Samuel Dobrée, a distinguished bibliophile and collector of modern masters, who had purchased Wilkie's Letter of Introduction, exhibited at the Royal Academy in 1814. In January 1818 Dobrée asked Wilkie for illustrations for his Book of Death, an anthology of the deaths of more than 200 notable persons drawn from Chamber's Encyclopaedia. As the work was of an historical genre Wilkie suggested Thomas Stothard (1755-1834) as a more appropriate artist, but as this was not forthcoming finally Wilkie agreed to help him.The result was the present painting and The Death of the Chevalier Bayard, though only the present work was used as the basis for an engraving by Raimbach, published in 1819.The present work shows the influence of Titian upon Wilkie at this date in both composition and particularly in colour palette. In 1817 and 1818, Wilkie was copying works by Titian in private collections or on loan to National Gallery and National Galley of Scotland.Sir Philip Sidney, poet and diplomat was appointed Governor of Flushing by Queen Elizabeth in 1585, he was shot during the attack on a Spanish convoy, had managed to ride back to camp, but died from his wounds three weeks later. Wilkie in his depiction of the scene technically shows the moment after he has been shot. Dobrée's source for the death was Chalmers's revised edition of The General Biographical Dictionary, XXVII, 1816, p. 510, 'As Sir Philip was returning from the field of battle, pale, languid, and thirsty, with excess of bleeding, he asked for water to quench his thirst - the water was brought, and no sooner reached his lips than he resigned it to a dying soldier, whose ghastly countenance attracted his notice, speaking these words: " This man's necessity is greater than mine."' The noble moral of Sidney's worthiness, even in death, often quoted.A related drawing was offered Christie's, Scotland, 30 October 2003, lot 8. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
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Guido Reni (Attributed to) Italian (1575-1642) “Saint Sebastian,” O.O.C., approx. 64cms x 76cms (25” x 30”). (1) An intriguing work of art with a good provenance, this painting bears two inscriptions on the reverse, ‘Guido Reni 1618’ and, on the stretcher, in equally old lettering, ‘ Presented to the Ladies of the Ursuline Convent. Thos Deane 1825’. The stretcher also has an original label from Clarkes frame makers, of Grand Parade in Cork. Reading these, it is reasonable to assume that in 1825 the architect Thomas Deane presented this work to the nuns of the Ursuline Convent in Blackrock in Cork, holding it to be an original work by Guido Reni. Two centuries later, while art historians are more sceptical of such claims, there is no denying that even if it is a copy, this painting of the martyrdom of Saint Sebastian preserves much of the vigour and quality characteristic of Reni’s work. Depicting the upper part of the saint’s head and upper body, is probably a fragment of a larger canvas. The surface has suffered damage, possibly in a fire. It is clear that the dark scumbled background is a later addition, an overpainting, beneath which may lie original details. Even more than Raphael and Titian, Guido Reni’s work would have been familiar to nearly everyone in Ireland in 1825. While he often painted Classical subjects such as Venus and Cupid, Hercules, Polyphemus and Bacchus, it was mostly his images of biblical subjects, saints and martyrs, that were copied and widely reproduced. Paintings such as Ecce Homo and The Immaculate Conception, were standard images in books, while copies or engravings could be found in churches, convents and schools. When he had developed a successful composition, Reni often painted several versions, as with The Martyrdom of Saint Sebastian, where autograph or studio versions can be found in museums from Auckland in New Zealand to Genoa, and the Prado in Madrid. His paintings are well-conceived and beautifully realized. He excelled at painting male and female saints, often following the same formula, with eyes looking upwards, and hands either outstretched in a gesture of surrender, or pressed against the chest. Dr. Peter Murray 2025
Thomas Ryan PRHA (1929-2021) “Imeacht na nIarlai, 1608,” (The Departure of O’Neill out of Ireland,) 1958 watercolour on paper, Signed l.r. ‘Thomas Ryan’ and inscribed l.l. ‘Lrucacht na nIarlaí, approx. 30cms x 40cms (12” x 16”). (1) A detailed study for Tom Ryan’s large oil painting, The Departure of O’Neill out of Ireland, this sparkling watercolour is inscribed ‘Lrucacht na nIarlaí’ (‘The Earls Misery’). A spirited work of art, it depicts a momentous event in Irish history, when, in 1607, a group of Irish aristocrats , led by Rory O’Donnell, 1st Earl of Tyrconnell, and Hugh O’Neill, Earl of Tyrone, boarded ship at Rathmullan, bound for the Continent. Their flight into exile symbolized the end of Gaelic Ireland, and the triumph of the Tudor conquest. Conceived in the grand style, with lances, suits of armour and banners, Ryan’s painting recalls the work of Velasquez and Titian. In the foreground, people lament the departure of the Earls, while a monk raises his hand in blessing. Having grown up in Limerick, the city where Sean Keating had first studied art, Thomas Ryan began his training under the local teacher Richard Butcher. He then enrolled in the National College of Art in Dublin, where his teachers included Keating and Maurice MacGonigal. Elected President of the Royal Hibernian Academy, in the 1980’s he was instrumental in the building of the RHA Gallagher Gallery on Ely Place. His early paintings from the 1950’s are strong Realist canvases, depicting scenes such as his mother standing at the kitchen sink, or a jazz trumpeter. Always an ambitious artist, aged 28, Ryan painted The Departure of O’Neill out of Ireland. Another canvas by him depicted the interior of the GPO during the Easter Rising. Always a sensitive painter, in later years, while he received many commissions for portraits of members of the clergy, judiciary and leading business figures, it was his still-lifes of flowers, atmospheric studies of interiors such as Marshes Library, and watercolours such as this, that form perhaps his most telling legacy in Irish art. This watercolour sketch for The Flight of O’Neill Out of Ireland shows the artist’s development of the complex composition. The finished painting was completed the year after the 350th anniversary of the Flight of the Earls, and displayed in the State Apartments, Dublin Castle. Dr. Peter Murray 2025
FOLLOWER OF SEBASTIANO RICCI (ITALIAN 1659 - 1734) THE THREE AGES OF MAN Oil on canvas 49 x 56cm (19¼ x 22 in.) Provenance: Private Collection, USA Private Collection, UK, acquired in March 1995 Simon C. Dickinson Ltd., London, where acquired by the present ownerLiterature: J. Daniels, Sebastiano Ricci, London, 1976, p. 82, no. 277 J. Daniels, L'Opera Completa di Sebastiano Ricci, Milan, 1976, p. 131, no. 465 A. Scarpa, Sebastiano Ricci, Milan, 2006, p. 649, no. 627 (illus., as 'Francesco Fontebasso (?)')Writing in 1976, Jeffery Daniels attributed this work to Sebastiano Ricci in full, suggesting a late dating (c. 1720s) and pointing to an execution 'not so much in the style of Veronese on this occasion, as of Lorenzo Lotto, Giorgione or Titian, especially the young man wearing a feathered cap'. More recently, in 2006, Annalisa Scarpa suggested a tentative alternative attribution to Francesco Fontebasso on the basis of photographs.During the Renaissance the allegorical theme of the three ages of man became increasingly popular within cultured and sophisticated élites, most notably in Venice. With the same subject being depicted by artists such as Giorgione and Titian. It has been assumed that it is the same man depicted across the different stages of his life: childhood, maturity, and old age. This iconographical subject clearly aims to educate its viewer, inspiring philosophical musings on the passing of time. Condition Report: The canvas has been relined. UV light reveals scattered retouching to the lower left corner, most notably to eh red sleeve of the man to the left. Further, yet lighter, restoration is present on the beard of the same man, and a few retouches are present in the lower right corner. Finally, there are a few damages to the borders, mostly caused by the abrasion of a previous frame. Condition Report Disclaimer
Karl Hartung 1908 Hamburg - 1967 Berlin Liegende. 1950/52. Bronze mit dunkelgrauer Patina. Auf der Standfläche mit dem Nachlassstempel. Eines von 6+1 Exemplaren, von denen bisher erst drei ausgeführt wurden. 27 x 64,5 x 8,5 cm (10,6 x 25,3 x 3,3 in). Autorisierter Guss aus dem Nachlass des Künstlers: gegossen Ende der 80er Jahre in Italien, Pietrasanta, unter der Aufsicht von Karl Hartungs Tochter Hanne Hartung. [CH] Vom 28. Juni bis zum 15. Oktober 2025 wird Karl Hartungs Werk mit einer von Dr. Joachim Jäger kuratierten Einzelausstellung im Skulpturenpark und Ausstellungsgebäuden der Ludes Stiftung in Potsdam gewürdigt. • Ausdruck der Moderne: konsequente Abstrahierung, radikale Reduktion und kantige, kubistische Formen. • Spannungsvolle künstlerische Position zwischen Figuration und Abstraktion. • Tizian, de Goya, Ingres, Manet: Hartung übersetzt die kunsthistorisch tradierte Motivik des liegenden weiblichen Aktes in seine eigene, abstrahierte skulpturale Sprache. • Lebendige, haptisch besonders reizvolle Oberflächenbeschaffenheit. • Erstmals wird ein Exemplar dieser 'Liegenden' auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • In den Nachkriegsjahren erlebt Hartung eine besonders fruchtbare Schaffensphase sowie seinen künstlerischen Durchbruch. • Bronzen des Künstlers aus der Zeit um 1950 befinden sich u. a. in den Sammlungen der Hamburger Kunsthalle und des Folkwang Museums, Essen. Wir danken dem Nachlass Karl Hartung für die freundliche wissenschaftliche Beratung. PROVENIENZ: Nachlass des Künstlers. LITERATUR: Markus Krause, Karl Hartung 1908-1967. Metamorphosen von Mensch und Natur. Monographie und Werkverzeichnis, München 1998, WVZ-Nr. 451 (m. SW-Abb., S. 231). Aufrufzeit: 07.06.2025 - ca. 17.08 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONKarl Hartung 1908 Hamburg - 1967 Berlin Liegende. 1950/52. Bronze with dark green patina. With estate stamp on the stand. From an edition of 6+1 copies, of which only three have been executed to date. 27 x 64.5 x 8.5 cm (10.6 x 25.3 x 3.3 in). Authorized cast from the artist's estate: cast in the late 1980s in Pietrasanta, Italy, under the supervision of Karl Hartung's daughter Hanne Hartung. [CH] From June 28 to October 15, 2025, Karl Hartung's work will be honored with a solo exhibition curated by Dr. Joachim Jäger at the sculpture park and exhibition buildings of the Ludes Foundation in Potsdam. • Expression of modernity: consistent abstraction, radical reduction, and angular, cubist forms. • Fascinating artistic position between figuration and abstraction. • Titian, Goya, Ingres, Manet: Hartung translates the art-historical motif of the reclining female nude into his own abstract sculptural language. • Lively, particularly appealing tactile surface texture. • This is the first time a copy of this “Liegende” is offered on the international auction market (source: artprice.com). • Hartung experienced a particularly fruitful creative phase and his artistic breakthrough in the post-war years. • Bronzes by the artist from around 1950 can be found in, among others, the collections of the Hamburger Kunsthalle and the Folkwang Museum in Essen. We are grateful to the Karl Hartung Estate for the kind expert advice. PROVENANCE: From the artist's estate. LITERATURE: Markus Krause, Karl Hartung 1908-1967. Metamorphosen von Mensch und Natur. Monograph and catalogue raisonné, Munich 1998, cat. no. 451 (illustrated in black and white on p. 231). Called up: June 7, 2025 - ca. 17.08 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Fünf Teile eines Services mit Dresdner GemäldekopienPorzellan, kobaltblauer Unterglasurfond, farbiger Aufglasurdekor, Vergoldung und Reliefgold. Bestehend aus Kaffeekanne (Deckel verloren), Teekanne und Zuckerdose mit Deckeln, Tasse mit UT. Alle Teile dekoriert mit Ovalreserven um äußerst fein gemalte Kopien berühmter Gemälde von Tizian, Raffael, Anthonys van Dyck und Francesco Albani. Unterseitig jeweils schwarz beschriftet. Unter der Kaffeekanne bspw.: "d'après l'original de Titian dans la Gallerie de Son Altesse Electorale de Saxe." Blaumarke Schwerter mit Stern, Dreherzeichen 47 (Kaffeekanne), 24, 3 und B (UT), unterglasurblaues Malerzeichen 4. Metallmanschette über Abbruch an der Tülle der Teekanne, Retuschen und Restaurierungen. Kaffeekanne H 15,1, Zuckerdose mit Deckel H 10,7 cm.Meissen, um 1775/80.Nicht alle auf dem Service reproduzierten Gemälde befinden sich heute noch in der Gemäldegalerie Alte Meister der Staatlichen Kunstsammlung Dresden, die die kurfürstlich sächsische Sammlung beinhaltet. Eine, vielleicht die berühmteste Vorlage, Raffaels "Sixtinische Madonna" von 1512/13 (Inv. Nr. Gal.-Nr. 93) mit den oft kopierten raffaelitischen Engeln am unteren Bildrand, gehört immer noch, seit 1745, zum Bestand. Tizians "Venus, von Amor bekränzt, zu ihren Füßen einen Lautenspieler", 1731 durch Baron Raymond de Leplat für Kurfürst Friedrich August I. erworben, gilt seit 1945 als vermisst (Inv. Nr. Gal.-Nr. 177). Das Gemälde "Danae und der goldene Regen" wurde 1723 durch Kurfürst Friedrich August I. von Sachsen als ein Gemälde von Anthonis van Dyck erworben. Erst später erfolgte die Zuschreibung an den Zeitgenossen Gillis Backereel. Heute gilt das Bild als vernichtet, verbrannt im Zweiten Weltkrieg. Die Darstellung von "Amor und Venus mit der Fackel" geht auf ein Ölgemälde auf Kupferplatte namens "Amorettentanz" von Francesco Albani zurück, entstanden 1640 (Inv. Nr. Gal.-Nr. 337). Es kann als einziges Gemälde neben Raffaels Madonna in der Dresdner Galerie heute noch bewundert werden.ProvenienzSammlung Dr. Annedore Müller-Hofstede.
Golden Cockerel Press.- Browne (William) Circe and Ulysses, number 82 of 100 specially bound copies with 4 additional engravings, from an edition limited to 300, original pictorial green morocco, gilt, spine a little faded, 1954 § Lucas (F.L, translator) The Homeric Hymn to Aphrodite, number 379 of 750 copies, some spotting, original pictorial morocco backed boards, gilt, preserved in modern cloth drop-back box, 1948 § Xenophon The Ephesian Story, translated by Paul Turner, number 53 of 75 specially bound copies with an additional set of plates (one unused), from an edition limited to 300, illustrations by Eric Fraser, original pictorial green morocco, gilt, spine slightly faded, additional plates loose in cloth envelope, together in cloth slip-case, 1956 § Swinburne (Algernon Charles) Hymn to Proserpine, number 150 of 350 copies, wood-engraved illustrations by John Buckland-Wright, original cloth, spine faded, 1944 § Ovid. Metamorphoses, translated by Arthur Golding, edited by Marianne Forey, limited edition, tipped-in colour plates of Titian paintings, original brown morocco with design by Simon Brett of Daphne in gilt to upper cover, preserved in modern cloth drop-back box, Folio Society, 2008, the first two with wood-engraved plates and illustrations by Mark Severin, t.e.g., most uncut, all but the last Golden Cockerel Press; and 3 others, classical, v.s. (8)
Ovidius Naso (Publius).- Beaumont (Francis) Salmacis and Hermaphroditus, number 373 of 380 copies, colour wood-engraved illustrations by John Buckland Wright, some full-page, this one of 50 copies in original pictorial cream boards, gilt, spine ends very slightly browned, [Cock-a-Hoop 187; Reid A64], Golden Cockerel Press, 1951 § Ovidius Naso (Publius) The Heroycall Epistles, translated by George Turberville, number 3 of 350 copies, from an edition limited to 375, plates by Hester Sainsbury, modern scarlet morocco-backed pictorial boards, Cresset Press, 1928; The Amores, translated by E.Powys Mathers, number 51 of 350 copies, 5 copper-engravings by J.E.Laboureur printed in sepia, original half morocco, t.e.g., others uncut, boards rubbed & spotted, pen & in drawing of cockerel mounted on upper cover, Waltham St. Lawrence, Golden Cockerel Press, 1932; Metamorphoses, translated by Arthur Golding, edited by Marianne Forey, limited edition, tipped-in colour plates of Titian paintings, original brown morocco with design by Simon Brett of Daphne in gilt to upper cover, Folio Society, 2008, all preserved in modern cloth drop-back box or portfolio, v.s. (4)
Verdizotti (Giovanni Mario) Cento Favole Bellissime..., title with woodcut portrait medallion, 101 full-page woodcut illustrations (that on p.196 printed upside down), woodcut tail-pieces, old ink inscription of Matteus Oesterreich to verso of title (showing through) and with his small library stamp to recto and final leaf, browned, some head-lines and one or two woodcuts shaved at edges, woodcuts on K7 & 8 with top outer corner torn away with slight loss to image, engraved bookplate of P.F.Thorne and later book-label of Robert James Sells, contemporary panelled calf, rubbed, tightly rebacked, preserved in modern cloth drop-back box, 8vo, Venice, Gio. Pietro Brigonci, 1666.*** Printed using the woodblocks from the 1570 edition by Ziletti, some of which are wormed and worn. Some of the woodcuts are believed to be after drawings by Titian who was a friend of Verdizotti.
ATTRIBUTED TO WILLIAM ETTY, (BRITISH 1787-1849) BACCHUS Oil on canvas, unframed 76.5 x 56cm (30 x 22 in.) Provenance: Warren Williams After a detail of Titian's Bacchus and Ariadne in The National Gallery, London. The original entered the National Gallery collection in 1826, thenceforth being easily available to both the general public and copyists. Etty certainly knew and admired the work and his posthumous studio sale at Christie's, 6-14 May 1850, included as lot 631 a copy by him catalogued as 'Bacchus and Ariadne, after Titian', although it is not recorded whether this was of the whole canvas or just a detail. It sold for 11½ guineas to 'Creswick'. We are grateful to Richard Green for his assistance in cataloguing this entry.
A collection of art books and auction catalogues, to include Bonhams, Christie's, Sworders and Adam's fine art auctions, Taschen publications, 'Norman Rockwell', 'Tamara De Lempicka', 'Titian', 'George Romney', 'Reynolds', 'The Art of George Stubbs', Gainsborough, Klimt, 'Italian Painting', 'The Genius of British Painting', 'What Great Paintings Say', 'Symbolism' (3).Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
From Titian, The Madonna of the Rabbit, oil on canvas, early 20th century, unframed. Indicative shipping costs in Italy: 100€ and Europe: 200€. 101x80x2cm, XX century. Paintings, Oil on canvas, Good condition - used with small signs of aging & blemishes. Tags: Dal Tiziano, La Madonna del Coniglio. De Tiziano, La Virgen del Conejo. De Titien, La Madone au lapin. Von Tizian, Die Madonna mit dem Kaninchen.
* DRYSDALE SCOTT (SCOTTISH b. 1963), SHARONS & PEARS oil on canvas, signed and titled verso framed and under glass image size 44cm x 49cm, overall size 65cm x 69cm Note: Drysdale A H Scott is a figurative artist who lives and works in Bearsden, in the north of Glasgow. He graduated from Glasgow School of Art in 1987. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.
Lucas van Uden - Flemish Landscape / Description: Landscape with a man with a walking stick on a road in the lower right corner, a house and a large tree above, fields in the background. Signed in the top right corner of the print: "Franc. vanden Wyngaerde exc". Monogrammed in the lower left corner: "L.V.V.". This one from a series of six prints showing landscapes etched by Van Uden. Second state with the publishers address of Frans van Wyngaerde. Bartsch was very complimentary about this print, executed with great care and a delicate and a n inspired touch. ---- Lucas van Uden was a Flemish painter, draughtsman and etcher who became a master in 1626/27 and painted many landscapes for Rubens. He teached Immenraet and Bonnecroy both active in Rubens studio. His own etchings are usually very small; the large format etchings he made were mostly after Titian or Rubens. / Dimensions: 9.00 x 13.40 cm / Condition: Excellent impression with plate border and occasional trace of tread margin. A couple of very tine spots in center, overall very enjoyable. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (20.II) --- Bartsch / Le Peintre graveur (V.27.21) --- TIB / The Illustrated Bartsch (0602.021 S2) / Medium: Etching /Circa: 1630-1660
Lucas van Uden (1595-1672) - Landscape with lake and round tower / Description: Landscape with a lake or a river in the lower left corner, trees to the right, houses and a church enclosed by a wall in the background. Etching by Lucas van Uden (1595-1672), second state with publisher's address of Frans van den Wyngaerde (1614-1679). ---- Lucas van Uden was a Flemish painter, draughtsman and etcher who became a master in 1626/27 and painted many landscapes for Rubens. He teached Immenraet and Bonnecroy both active in Rubens studio. His own etchings are usually very small; the large format etchings he made were mostly after Titian or Rubens. / Dimensions: 9,20 x 13,10 cm / Condition: tekst / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (27.II) --- Bartsch / Le Peintre graveur (V.33.29) --- TIB / The Illustrated Bartsch (0602.029 S2) ---Weigel 1843 / Suppléments au Peintre-Graveur de Adam Bartsch (229.29) / Medium: Engraving /Circa: 9999
Aegidius Sadeler - Emperor Titus Vespasian - Before 1629 / Description: Titus Vespasian. From set of Roman Emperors and Empresses. 'One of the twelve Caesars after the paintings by executed by Titian for the Palazzo Ducale in Mantua. The original paintings sold to Charles I in 1627/28 and sent to Spain, where they were lost in the Alcázar fire of 1734. Signed 'Aegidius Sadeler S. C. M. Sculp. - Titianus inventor', 'Marcus Sadeler exc.' A second state on three with the publishers address of Marco Sadeler. / Dimensions: 34,80 x 24,00 cm / Condition: A very good impression on watermarked laid paper. Full plate border and small margins. In excellent condition. / Literature: Hollstein XXI.78.357 (II/III) / Medium: Etching with engraving /Circa: 1585-1629
Aegidius Sadeler - Roman Emperor Caligula - Before 1629 / Description: Caligula. From set of Roman Emperors and Empresses. 'One of the twelve Caesars after the paintings by Titian for the Palazzo Ducale in Mantua. The original paintings were sold to Charles I in 1627/28 and sent to Spain, where they were lost in the Alcázar fire in 1734. Signed 'Aegidius Sadeler S. C. M. Sculp. - Titianus inventor', 'Marcus Sadeler exc.' A second state on three with the publishers address of Marco Sadeler. / Dimensions: 35,00 x 24,20 cm / Condition: A very good impression on watermarked laid paper. Full plate border and small margins. In excellent condition. / Literature: Hollstein XXI.78.350 (II/III) / Medium: Etching with engraving /Circa: 1585-1629
Lucas van Uden - Lakeside with two boys / Description: Landscape with two boys holding long sticks in the lower right corner, trees to the right, a river or lake with swans to the left, some houses and other trees in the background to the left. Etching by Lucas van Uden (1595-1672), second state with publisher's address of Frans van den Wyngaerde (1614-1679). ---- Lucas van Uden was a Flemish painter, draughtsman and etcher who became a master in 1626/27 and painted many landscapes for Rubens. He teached Immenraet and Bonnecroy both active in Rubens studio. His own etchings are usually very small; the large format etchings he made were mostly after Titian or Rubens. / Dimensions: 8,60 x 13,20 cm / Condition: Excellent impression on laid paper with plate border and good margin. In excellent condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (26.II) --- Bartsch / Le Peintre graveur (V.32.28) --- TIB / The Illustrated Bartsch (0602.028) --- Weigel 1843 / Suppléments au Peintre-Graveur de Adam Bartsch (229.28) / Medium: Engraving /Circa: 1629-1670
* STEVEN HIGGINSON, ELAINE WITH BLACK BERET oil on canvas, titled label versounframed (as intended)overall size 31cm x 31cm Note: Scottish portrait painter Steven Higginson’s distinctive use of light and shadow and honest approach to realist art has won him international acclaim, an engaged global audience of over 50k social media followers, and hundreds of delighted clients. His paintings feature in private collections around the world, spanning America, Europe and beyond. Steven’s portraits were part of the BP Portrait Award in 2019 and 2020, during which his work was exhibited in the National Portrait Galleries in London and Edinburgh. Steven was also awarded The Aiden Threlfall Traveling Scholarship from the Goldsmith’s Company in London after graduating from Duncan of Jordanstone, Dundee, in 2004. He used the scholarship to travel Europe, studying the work of the Old Masters, which has remained a core influence in his work to this day.
VESALIUS, Andreas. Opera Omnia Anatomica & Chirurgica cura Hermanni Boerhaave.Leiden, Joannes Du Vivie - Joannes & Hermann Verbeek, 1725 2 folio volumes, 458 x 280 mm. Contemporary vellum binding over wooden boards, with blindtooled ornamentation, spines in 9 sections with gilt title on red morocco label. 42 unnumbered pages, including Half-page, engraved Frontispiece, Title-page and subscribers' leaf, 572, Portrait of Vesalius and 67 numbered plates outside the text; 8 unnumbered pages, 577-682, [2, Half-page with Falloppio's Half-title], 683-1156, [52 ‘Index’], Plates outside the text numbered 68-76, 76a, 76a, 76b, 76c, 77-79. Two Titlepages in red and black with engraved vignette, Initials and woodcut decorations, various woodcut illustrations in the text. Handwritten inscription on the half-title with dedication “Souvenir amical”. The repeated plate 76a contains the engravings that had to be cut to compose the movable parts to be applied in some plates. In total Frontispiece engraved by Jan Wandelaar, Portrait of Vesalius, 83 Plates outside the text, all engraved in copper. Some traces of wear, stains on pages 935-938, in overall good condition, copy with wide margins.A refined and important edition of the complete works of Vesalius, edited by Hermann Boerhaave and Bernhard Siegfried Albinus. The first volume opens with the biography of Vesalius, followed by the reprint of the 1555 edition of the Fabrica; the second volume contains the 1543 Epitome, with the famous full-page illustrations, the epistle on China, the Chirurgia magna, the Examen on Falloppio’s research, with the addition of a letter from Falloppio himself to Pietro Manna and Cuneus’ Examen on Galen’s anatomy. The editors have added explanations to the anatomical nomenclature, updated for 18th-century readers. The work is illustrated with a magnificent frontispiece depicting the dissection performed by Vesalius in the Anatomical Theatre of Padua, with the portrait of the famous anatomist taken from the painting by Titian and with 83 large plates engraved on copper by Jan Wandelaar, the illustrator of the Atlas of Anatomy by Albinus, which reproduce the woodcuts of the 16th century editions. Choulant: “The first edition of all the works of Vesalius”. Norman Library: “The only collected edition of Vesalius' works, issued by Boerhaave (...) and Albinus (...), with copperplate reproductions of the Vesalian woodblocks by Jan Wandelaar (...). The editors added explanations of Vesalius's sixteenth-century anatomical nomenclature for their eighteenth-century readers, and prefaced the first volume with a biography of Vesalius, which Lindeboom has tentatively attributed to Boerhaave (...).” Blake p. 473; Cushing VI.D 8; Lindeboom, Bibliographia Boerhaaviana, 554; Norman 2143; Waller 9917; Choulant, p. 183.
Minerals: A Freeform Lapis Lazuli Specimen, a large specimen of this sought after mineral, at the end of the middle-ages, Lapis lazuli began to be exported to Europe, where it was ground into powder and made into ultramarine: the finest and most expensive of all blue pigment. It was used by some of the most important artists of the Renaissance and Baroque period, Massaccio, Perugino, Titian, and Vermeer, and was often reserved for the clothing of the central figures of their paintings, especially the Virgin Mary, this example measures 18cm by 6cm by 48.5cm, (repaired)repaired crack through the centre of the body
FRANK AUERBACH (1931-2024)Head of David Landau oil on canvas61 x 61cm (24 x 24in).Painted in 2012-2013Footnotes:Provenance Marlborough Fine Art Ltd., London. Acquired from the above by the present owner.LiteratureW. Feaver, Frank Auerbach, New York, 2022, no. 1085 (illustrated p. 404).Painted between 2012-2013, a year before Frank Auerbach's major retrospective at the Tate Britain; Head of David Landau is an emphatic and empathetic painting, part of an extensive series of portraits the artist has made of the art patron, David Landau. The two first met in 1983 when Landau was looking for someone to paint a portrait of the historian Asa Briggs for Worcester College, Oxford; ultimately, Auerbach did not paint Briggs, but instead Landau, who has since sat for the artist more than fifty times. Auerbach's decision to paint Landau reflects not only their personal rapport but also Landau's importance within the broader cultural and art historical context. The intensity with which Auerbach rendered his sitters, suggests that he perceived their character and essence in a way that transcends mere physical likeness, emphasising the process of getting to know and understand the sitter deeply through the act of painting. Demonstrating Auerbach's nuanced understanding of tonality and light, swathes of rich greens, pinks and purple, conjure the unfaltering gaze of Landau. All manner of artistic gestures is revealed from the smooth flourishes of paint that make up the shoulders to rapid gestures around his neck. Auerbach combines these in the face, in which the simplest of strokes skillfully delineate the features of Landau. Although Auerbach's paintings often appear spontaneous and rapidly executed, they are in fact the result of a long and arduous process. He did not make preparatory sketches but began the painting immediately. His dynamic brushwork conveys the energy and intensity with which he works, and he would regularly scrape off his paint after a sitting, repeating this process over many months. Painting the entire canvas anew each session was vital to his work in which everything is interdependent and lives within the same flow. 'It is a bit disturbing' says Landau, 'you think this was a really beautiful picture and yet it wasn't good enough for him. Next time you arrive it will be a scraped down ghost' (quoted in J. O'Mahony, 'Surfaces and Depths', The Guardian, 15 September 2001, online). And yet Landau returned to sit for Auerbach every Friday for over thirty years, confessing 'Frank takes so much trouble to convey our lives and our existence it makes us feel we matter' (quoted in H. Rothschild, 'Frank Auerbach: An interview with one of our greatest living painters', The Telegraph, 30 September 2013, online). The intensity of these weekly meetings stretching over many years instilled in Auerbach an almost obsessive desire to produce the right image as well as an emotional bond that has allowed him to so brilliantly capture Landau, revealing his confidence and self-assured manner. For Auerbach, building an intimate relationship with his subjects over a long period of time was paramount and is why his works feature only a handful of the same sitters. 'I find myself simply more engaged when I know people. They get older and change; there is something touching about that, about recording something that's getting on', (quoted in H. Rothschild, 'Frank Auerbach', The Telegraph, 30 September 2013, online).Born in Berlin in 1931, Frank Auerbach arrived in England as a Jewish refugee in 1939. He attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and his works have become some of the most internationally collected.For sitters like Landau, these portraits are not only artistic renderings, but representations of their time spent together in the studio, making the finished work a product of shared dedication and mutual respect. Head of David Landau is imbued with a sensation of warmth, illustrative of the deep observation of a person and depicts a striking and intimate depiction that is gloriously brought to life on canvas.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
TWO BOXES AND LOOSE MIXED CERAMICS to include Carlton Ware 'shell shaped' cruet set and 'Rouge Royale' planter (crazed), a group of Royal Worcester 'Evesham'; items, a Denby handled vase, a quantity of Adams 'Titian Ware' items, a Shorter & Son fish-shaped plate, three bird-shaped pie vents, a Portmeirion 'Botanic Garden' caster, a group of Border Society and Aynsley animal sculptures, etc (2 boxes and loose) (s.d)
After Titian (1506-1576), La Bella de Tiziano, oil on canvas, 73cm x 98cm, unsigned, title plate titled "La Bella Di Tiziano" circa 1536 after Titian", (18th/19th century 'Grand Tour' copy), In gilt Florentine frame. Further details: some craquelure; overpainting; wear; frame with some loss to gilding, cracks and loss.
Gaspare Diomede Carlo Della Bruna (Italian, 1839-1915) after Titian (Italian, ca. 1488-1576). Oil on canvas painting after Titian's "La Bella" (ca. 1536-1538). Signed D. Della Bruna along the verso and with a wax seal.Unframed; height: 39 1/2 in x width: 29 1/2 in. Framed; height: 45 in x width: 35 1/4 in x depth: 2 in.Condition: The colors are somewhat faded. There is craquelure throughout and some areas where the painting is unstable and has flaked, particularly along the woman's hair, neck, and right shoulder. Signs of inpainting throughout the background that fluoresce under UV light. There are three regions of spiral craquelure along the upper third of the painting that correspond with soiling along the verso. There are stretcher bar marks along the perimeter of the painting and signs of wear along the extreme edges, where the painting is in contact with the frame. Housed within a wooden frame. Some wear to the frame. Dust gathered throughout the recessed areas, particularly along the verso.
RINALDO RINALDI (1793-1873), A GOOD PAIR OF WHITE MARBLE ALLEGORICAL FIGURES OF WOMEN ITALIAN, THIRD QUARTER 19TH CENTURY Emblematic of agriculture and sea-faring, each on a naturalistic base, signed Rinaldo Rinaldi F. Roma. 101cm and 99cm high Provenance: Sold Christie's London, 31st October 1996, Lot 420 (£16,100 incl. BP). Acquired From Anthony Outred Born in Padua in 1793, Rinaldo Rinaldi studied at the Academy of Arts in Venice under the direction of Pietrò Zandomeneghi (d.1866) and in 1812 went on to study under Canova, before becoming an academician of San Luca in 1830. A portraitist and monument sculptor, Rinaldi received many public commissions, including figures of Adonis and Titian for the vestibule of the Academy of Venice. He exhibited regularly in Rome and at the Turin exhibition of 1854. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with fairly dirty surface with some engrained surface dirt, scattered natural inclusions throughout to both- some darker- some small holes (agriculture face notably) and sections of veining (notably to left elbow agriculture) Agriculture- generally good- some mild nibbles and losses (peak of hat, grape section, tip of billhook, larger inclusion loss to shovel blade) old crack to right ankle but this may be from natural flaws Seafaring- under UV the whole showing signs of later applied wash- front of plinth and neck restored with thin crack still visible to neck and larger gap to base under natural light- wash possibly hiding further work including hands, nose rubbed and worn and with further small areas of contact loss Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AFTER TITIAN oil on canvas – portrait of Ranuccio Farnese in the robes of a Knight of Malta, signed L. Redburn, 64 x 59cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas – reproduction of ‘The Rape of Europa’, after Titian, signed, 182 x 243cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas – reproduction of ‘Religion Saved by Spain’ by Titian, signed, 184 x 245cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Perseus and Andromeda' after Titian, signed, 180 x 240cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Danae' after Titian, signed, 182 x 242cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
FRANCO TOSCANA oil on canvas - reproduction of 'Venus and Adonis' by Titian, signed, 182 x 243cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.
GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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* After Titian (Tiziano Vecellio, 1485/89-1576). Satyrs in a Landscape, after Titian, circa 1515-1560, etching on laid paper, with watermark, with publisher's name above the pond: 'Nicolai Onlegii formis', trimmed to plate margin, sheet size 255 x 415 mm, corner mounted to an 18th-century sheet of cream backing paper, with old numeral '72' inscribed in ink to verso, and price of '2s 6d', together withBoldrini (Nicolo, active 1540-1566). Three Monkeys imitating the Statue of Laocoön, after Titian, circa 1545, woodcut on laid paper, trimmed to image, with some tears and losses to edges of the sheet (upper and lower corners, to right margin, and several small holes or fissures across the image), sheet size 270 x 402 mmQTY: (2)NOTE:For the first work see M. Catelli Isola, Immagini da Tiziano, 51 (attributed to Marco Angelo del Moro); M. Agnesi Chiari, Incisioni da Tiziano, 28 (as Battista del Moro).Boldrini: Rosand and Muraro, Titian and The Venetian Woodcut (1976), 40.
* Testa (Giovanni Cesare, active 1630-1655). The Last Communion of Saint Jerome, after Domenichino, circa 1650-55, etching on laid paper, published by Francois Collignon, Rome, trimmed to platemark, sheet size 548 x 360 mm (21 1/2 x 14 1/8 ins), together with other various Italian and French Old Master prints, mostly 17th and 18th century, including several plates from Valentin Lefebvre (circa 1642-1682), Opera Selectiora after Titian and Veronese (1682), Francois Joullain (1697-1778), Apollon Ecorchant Marsyas, after Veronese, Salvator Rosa (Apollo and The Cumaean Cibyl, a copy in reverse), Panini, Nicolo della Casa, Detail from the Last Judgement, after Michelangelo (damaged), etc. QTY: (50)
TITIAN (SCHULE ODER NACHFOLGE)('Eigentlich: Titiano Vecellio')Um 1488 Pieve di Cadore - 1576 VenedigDAS CHRISTUSKIND AUF EINEM BETTE LIEGEND Öl auf Leinwand (altdoubl.). 57,5 x 76,5 cm (R. 70 x 88 cm). Verso: Auf der Leinwand alter Zolleinfuhrstempel. Part. min. altrest., leichte Altretuschen, part. min. besch. Rahmen. Das hier vorliegende Gemälde ist mit großer Wahrscheinlichkeit identisch mit dem bei Max Jordan erwähnten Gemälde 'Das Christkind auf einem Bette liegend' (Stich von Lindemann, 1746; Titianus inv.'). Vgl. hierzu: Jordan, Max: Tizian Leben und Werk. Erster Band, Leipzig, 1877, S. 794. Provenienz: Rheinische Privatsammlung.
Andre Durand (b.1947) Canadian "Androles and the Lion" Signed and dated 1980, oil on canvas, 73cm by 108cmCanadian-born Durand draws influence from the Old Masters such as Titian, Michelangelo, Velázquez and Rubens.Spending the majority of his time between London and Italy, Durand is most celebrated for his classical and allegorical portraits, including a series of works depicting Princess Diana. However, he has painted many official portraits including those of Pope John Paul II, the 14th Dalai Lama and the Irish novelist Elizabeth Bowen, which is housed in the National Portrait Gallery in London.
A BOXED MATTEL MIDGE DOLL, No.860, with freckles, straight leg titian flip version, with Midge label to left wrist, wearing yellow and orange two piece swimsuit, with white open toe heeled shoes, stand and Barbie, Ken & Midge booklet, appears complete and in very good condition, box marked 'Imported from Japan', complete with packing pieces and in good condition with minor damage and wear
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