Dreweatts 1759 | The Collection of The Hon. Patrick and Lady Amabel Lindsay

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FREDERICK ETCHELLS (BRITISH 1886-1973) CELLULAR COMPOSITION

121

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1,800 GBP

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1,800 GBP

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2,000 - 3,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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λ FREDERICK ETCHELLS (BRITISH 1886-1973) MECHANICAL COMPOSITION

122

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1,800 GBP

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1,800 GBP

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2,000 - 3,000 GBP

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Auction date(s): Jun 02

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A REGENCY ORMOLU MOUNTED TURQUOISE GLAZED BOWL, THE PORCELAIN KANGXI

123

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600 GBP

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1,000 - 1,500 GBP

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Auction date(s): Jun 02

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124

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1

90 GBP

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90 GBP

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150 - 250 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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Y A GEORGE IV ROSEWOOD, BROWN OAK AND EBONY INLAID LIBRARY TABLE CIRCA 1825, POSSIBLY BY GILLOWS

125

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2,600 GBP

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3,000 - 5,000 GBP

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Auction date(s): Jun 02

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A CHINESE BLUE AND WHITE GU VASE, 19TH CENTURY

126

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350 GBP

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600 - 1,000 GBP

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Auction date(s): Jun 02

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AN UPHOLSTERED BRASS CLUB FENDER, EARLY 20TH CENTURY

127

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600 GBP

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600 GBP

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1,000 - 2,000 GBP

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Auction date(s): Jun 02

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A PAIR OF FLORAL LOOSE COVERED EASY ARMCHAIRS, MID 20TH CENTURY

128

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350 GBP

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350 GBP

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600 - 1,000 GBP

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Auction date(s): Jun 02

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TWO FRAMED CHINESE MILITARY AND CIVIL RANK BADGES, 19TH CENTURY

129

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180 GBP

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300 - 500 GBP

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Auction date(s): Jun 02

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A MAHOGANY AND POLYCHROME DECORATED TRIPOD TABLE OF GEORGE III SYTLE

130

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240 GBP

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400 - 600 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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THREE BRASS CLIP-ON DESK LIGHTS, TWO EARLY 20TH CENTURY

131

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100 GBP

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100 GBP

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150 - 250 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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THOMAS BEACH (BRITISH 1738-1806) PORTRAIT OF PETER BECKFORD (1740-1811)

132

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3,000 - 5,000 GBP

THOMAS BEACH (BRITISH 1738-1806) PORTRAIT OF PETER BECKFORD (1740-1811), BUST-LENGTH, IN A GREEN COAT Oil on canvas, oval Signed, inscribed and dated 1772 (lower left) 62.5 x 49cm (24½ x 19¼in.) The contemporary inscription identifies the sitter as Peter Beckford Esquire of Stapleton, Son in law to the 1st Lord Rivers and nephew to Thomas Howard, Earl of Effingham. Peter Beckford was the son of Julines Beckford, of Stapleton. Dorset, and grandson of Peter Beckford (c.1643-1710), governor and commander-in-chief of Jamaica and therefore nephew to William Beckford (1709-1770) one of the best known political figures in Georgian era London. Peter married the Hon. Louisa Pitt (1754-1791) daughter of George Pitt, 1st Baron Rivers (1721-1803) of Stratfield Saye.on 22 March 1773 and by a special patent, granted in 1802, his son William Horace succeeded to the barony, and became the 3rd Lord Rivers. Peter Beckford sat in parliament, as representative of Morpeth, in 1768. In 1787, just before the outbreak of the French revolution, he travelled in Italy, and wrote an entertaining account of his journey, which was published some years later under the title of Familiar Letters from Italy to a Friend in England, 1805. Here he described visits to Voltaire, Rousseau, and other celebrities. In Turin, he writes, he had met Sterne in 1765, and had 'passed hours with that eccentric genius that might have been more profitably employed, but never more agreeably.' He died on 18 Feb. 1811, and was buried in Stapleton church. A portrait of Richard Howard, 4th Earl of Effingham (1748-1816) also by Thomas Beach, similarly inscribed but undated was advertised in Apollo , February 1970, p. lxiv. Condition Report: The canvas has been relined, examination under ultra violet light reveals a thick opaque green varnish. There is visible some infilling to the concentric craquelure in the sitter's face. There is also some strengthening to the sitter's jacket and a repaired uneven tear is visible to the left of the sitter's face running from the know of his necktie to above his right eye and a possible repaired tear across his forehead. Condition Report Disclaimer

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A STAFFORDSHIRE POTTERY SARDINE DISH AND COVER, LATE 19TH CENTURY

133

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60 GBP

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100 - 200 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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ATTRIBUTED TO JOSEPH WERNER (SWISS 1637- 1710) PORTRAIT OF A LADY TRADITIONALLY IDENTIFIED AS MADAME

134

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13,000 GBP

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15,000 - 25,000 GBP

ATTRIBUTED TO JOSEPH WERNER (SWISS 1637- 1710) PORTRAIT OF A LADY TRADITIONALLY IDENTIFIED AS MADAME DE MONTESPAN (1640-1707) IN HUNTING COSTUME IN HUNTING COSTUME IN THE GARDENS OF THE PALACE OF VERSAILLES Oil on canvas 91 x 97.5cm (35¾ x 38¼in.) Possibly in the original rococo frame Provenance: The Late Mrs Robert Tritton; Christie's, London, 8 July 1983, lot 84 as by P. Mignard Françoise Athénaïs de Rochechouart de Mortemart, Marquise of Montespan was the most celebrated mistress of King Louis XIV of France. She was a woman of outstanding beauty and much feared by her fellow courtiers on account of the famous 'Mortemart' wit for which her family was renowned, and held great sway over the royal court. She first met the King in the early 1660s, but it seems that it was not until around 1666-1667 that Louis XIV fell under her spell. In 1674, she definitively ousted Mademoiselle de la Vallière to become the king's official mistress. Louis set her up in an apartment adjoining his own, complete with private entrance. They had seven children together, entrusting their education to the widow of poet Paul Scarron, the future Madame de Maintenon and her successor as the king's mistress. Six of these children were legitimated by the king from 1673 onwards. She played a prominent role in life at the palace. and was a passionate lover of the arts, she enjoyed the king's protection until she was superseded by Maintenon in around 1680. The Marquise, caught up in the vast Affair of the Poisons, a national scandal with prominent courtiers implicated in a number of poisonings committed between 1679 and 1682 and neglected by the king, finally retired from the court in 1691 and moved to the convent of Saint-Joseph in Paris. She died in 1707. Werner was born in Berne, Switzerland and trained first in Basel and then under Matthaus Merian in Frankfurt, circa 1654 he went to Rome where he established himself as a fashionable painter of miniature portraits and allegorical works. Werner was summoned to Paris by Louis XIV where he painted portraits of both the monarch himself and of various notables in his entourage and often depicted his sitters as gods or goddesses, such as Louis XIV as Apollo in his Chariot (Musée du Château, Versailles (inv. no. 6927, 1); he also worked on the decorations of the Palace of Versailles. In 1667, he left France but continued to move in exalted circles. In Augsburg he worked for the Bavarian Elector in Vienna, painting a portrait of Leopold I, and was then invited to Berlin by the Prussian King Frederik. He earned a reputation as a miniatures painter at the court of the Saxon King in Dresden. In Berlin, he was appointed Director of the newly established Prussian Academy of Arts. Condition Report: The canvas has been relined, there is a repaired vertical tear in the lower right corner, approximately 8 inches and a repaired diagonal tear to the right of the sitter's head. Examination under ultra violet light reveals an uneven green varnish, particularly in the background which makes the work somewhat difficult to read. There is some strengthening to the sky and in the foliage and to the areas of the darker pigments in the background. There is retouching to the sitter's neck below the necklace and to the sitter's right cheek. Condition Report Disclaimer

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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ATTRIBUTED TO JOSEPH WERNER (SWISS 1637- 1710) PORTRAIT OF A GENTLEMAN

135

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13,000 GBP

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15,000 - 25,000 GBP

ATTRIBUTED TO JOSEPH WERNER (SWISS 1637- 1710) PORTRAIT OF A GENTLEMAN TRADITIONALLY IDENTIFIED AS LOUIS DE ROHAN, DUKE OF ROHAN (1635-1674) AS MASTER OF THE HORSE IN HUNTING COSTUME IN THE GARDENS OF THE PALACE OF VERSAILLES Oil on canvas 91 x 94cm (35¾ x 37in.) Possibly in the original rococo frame Provenance: The Late Mrs Robert Tritton; Christie's, London, 8 July 1983, lot 85 as by P. Mignard Werner was born in Berne, Switzerland and trained first in Basel and then under Matthaus Merian in Frankfurt, circa 1654 he went to Rome where he established himself as a fashionable painter of miniature portraits and allegorical works. Werner was summoned to Paris by Louis XIV where he painted portraits of both the monarch himself and of various notables in his entourage and often depicted his sitters as gods or goddesses, such as Louis XIV as Apollo in his Chariot (Musée du Château, Versailles (inv. no. 6927, 1); he also worked on the decorations of the Palace of Versailles. In 1667, he left France but continued to move in exalted circles. In Augsburg he worked for the Bavarian Elector in Vienna, painting a portrait of Leopold I, and was then invited to Berlin by the Prussian King Frederik. He earned a reputation as a miniatures painter at the court of the Saxon King in Dresden. In Berlin, he was appointed Director of the newly established Prussian Academy of Arts. The identification of the sitter as Duke of Rohan, combined with the possible date of when Werner was working at Versailles suggests that the sitter is most likely to be Louis de Rohan (1635-1674), known as the Chevalier de Rohan, who was a prominent French nobleman, courtier, and military officer who served as the Grand Huntsman of France (Grand Veneur de France) under King Louis XIV. He was beheaded in the Bastille after being convicted of high treason for his involvement in the Conspiracy of Latréaumon, 1674. Condition Report: The canvas has been relined, though visible are stretcher marks and retouching along the upper, left and right hand sides. Examination under ultra violet light reveals an uneven green varnish which makes the work some what difficult to read. There is strengthening to the darker more worn pigments, particularly in the column, floor, balustrade, foliage and to the sky and some retouching to the sitter's belt and scattered spots to his face. Condition Report Disclaimer

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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WILLIAM BLAKE (BRITISH 1757-1827) EUROPE A PROPHECY: TITLE PAGE (RECTO);

136

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35,000 GBP

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40,000 - 60,000 GBP

WILLIAM BLAKE (BRITISH 1757-1827) EUROPE A PROPHECY: TITLE PAGE (RECTO); JERUSALEM: PLATE 24 TRIAL PROOF (VERSO) Relief etching printed in blue grey, finished in pencil, pen and black ink and watercolour with inscriptions (lower left and lower right, on the mount) 23.8 x 17.3cm (9¼ x 6¾in.) Provenance: John Linnell (1792-1882) His sale; Christie's, London, 15 March 1918, lot 176 (22 gns to Tregaskis) Mrs (Lady) D.Y. Cameron by 1921, Bequeathed by her husband, Sir D.Y. Cameron (1865-1945) to David Lindsay, 28th Earl of Crawford, 11th Earl of Balcarres (1900-1975), Balcarres House, Fife And thence by descent Exhibited: London, Burlington Fine Arts Club, Blake Centenary Exhibition , 1927, no. 82. Japan, Tokyo, Institute of Art Research, English Water-Colour Paintings , October 1929, illustrated in catalogue pls. 22a and b Edinburgh, National Library of Scotland, William Blake Loan Exhibition , 1969, in no. 44 London, Tate Gallery, William Blake , 1978, no. 69, illustrated. Oxford, Ashmolean Museum, William Blake: Apprentice and Master , 4 December 2014-1 March 2015, no. 134 Literature: W. M. Rossetti, 'Annotated Catalogue of Blake's Pictures and Drawings,' in A. Gilchrist, Life of William Blake , London 1863, II, p. 202, no. 14; also enlarged edition, London, 1880, vol. II, p. 208, no. G. Keynes, A Bibliography of William Blake , New York, 1921, p. 141, illustrated pl. 17 G. Keynes and E. Wolf 2nd, William Blake's Illuminated Books, A Census, New York, 1953,, p. 77 D.V. Erdman, The Illuminated Blake , New York, 1974, illustrated p. 397 G.E. Bentley Jr, Blake Books , Oxford, 1977, pp. 149, 162 D. Bindman, Blake as an Artist , London, 1977, p. 80, illustrated pl. 65 M.D. Paley William Blake , Oxford, 1978, p. 31 M. Butlin, The Paintings and Drawings of William Blake , New Haven and London, 1981, p. 149, no. 272 William Blake developed a unique printing technique of 'Illuminated printing' as he called it, which allowed him to combine words and pictures on the page. By writing and drawing on copper plates with acid-repelling ink, Blake created a relief image. The plate was then dipped in acid to create what was essentially the opposite of a traditional engraving. The technique allowed the verses to appear to be handwritten, in a style that seemed more like it had been drawn and painted than printed. In 1790, Blake moved to Lambeth, where he produced a trilogy of illuminated books called the Continental Prophecies that addressed the revolutionary spirit of his age as embodied by the American and French revolutions. Europe, published in 1794, was the second of these books along with America and The Song of Los . Rather than examining the New World, this Continental Prophecy looked eastward to cultures subjected to the strictures of authority as embodied by the legalistic and despotic figure of Urizen, who, despite his godlike appearance, represents tyranny. The frontispiece of Europe is one of Blake's best-known images, also known as The Ancient of Days, it depicts Urizen dividing the Depths with a compass. The present sheet, dated by Butlin, loc.cit. to circa 1815-1820 is the title page of Europe and is printed in blue-grey, with watercolour colouring the serpent and the foreground and round the initial letter 'E' of 'Europe'. The outlines, much of the word 'Europe' and the first three letters of 'PROPHECY' have been gone over in black ink. The remainder of the title has gone as the words are devoured in flame. In this reworking of the printed edition, Blake has added a figure, absent from the engraving, struggling with the serpent, by partly utilising the strokes at the end of 'PROPHECY' for the face which was completed in pencil and pen.[1] On the reverse of the present work is a trial proof of plate 24 from Jerusalem printed in brown and black and coloured in watercolour, Butlin, loc.cit. suggests that both sides of the paper were first used for trial proofs from their respective books, before being reworked by hand. The rampant serpent, which dominates the title page, serves to announce the advent of Orc, who embodies a spirit of revolution, upon Europe. Bindman, loc.cit., notes that in the present work, a youthful figure, identified tentatively as Los, appears to be trying to hold the serpent down as it rises up. Los in his earthly and fallen state is the embodiment of human creativity and inspiration. Bindman continues that, the motif as printed with the rampant snake alone ... opens the book with a confrontation between the opposing forces of Urizen and Orc, the Old Order is threatened by the New . The present work expounds Blake's thinking of the precarious co-existence of Urizen and Orc. Paley notes that this reworking of the title page shows Blake's 'increasing disquietude about the principle of revolutionary energy, represented by Orc, all suggesting the loss of the human aspect of revolution to the will-to-power and at the end of the poem Los 'called all his sons to the strife of blood .' The present work was not intended as a trial revision for a new printing, but as a graphic comment, a private statement by Blake on the failure of the phrophecy of an English revolution, see Erdman, loc.cit . The present drawing was formerly in the collection of the artist Sir D.Y. Cameron, R.A. (1865-1945) and was also in the collection of John Linnell (1792-1882), an important patron to Blake in the last years of his life, commissioning a set of engravings illustrating the Book of Job , and buying Blake's watercolours executed for Milton's Paradise Regained . Linnell also introduced him to Samuel Palmer (1805-1881) and a new generation of English artists, who became devotees of Blake known as 'The Ancients'. The present work has not been seen on the auction market since Linnell's sale in 1918. [1] For other reworked title pages of Europe , see Butlin, op.cit ., nos. 273, 274, 274A Condition Report: Condition Report Disclaimer

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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EDWARD CALVERT (BRITISH 1799-1883) THE PLOUGHMAN

137

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1

190 GBP

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190 GBP

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300 - 500 GBP

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Auction date(s): Jun 02

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GIACINTO GIMIGNANI (ITALIAN 1606-1681)JAEL SLAYING SISERA

138

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300 GBP

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500 - 800 GBP

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Auction date(s): Jun 02

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ATTRIBUTED TO AGOSTINO CARRACCI (ITALIAN 1557-1602) WOODED LANDSCAPE WITH CLASSICAL RUINS

139

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600 GBP

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1,000 - 1,500 GBP

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Auction date(s): Jun 02

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MARTIN SCHONGAUER (GERMAN 1450-1491) THE RESURRECTION

140

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1,300 GBP

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1,500 - 2,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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CARLO MARATTI (ITALIAN 1625-1713) STUDIES FOR AN ALLEGORICAL FIGURE OF AFRICA (RECTO AND VERSO)

141

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2,600 GBP

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3,000 - 5,000 GBP

CARLO MARATTI (ITALIAN 1625-1713) STUDIES FOR AN ALLEGORICAL FIGURE OF AFRICA (RECTO AND VERSO) Red chalk, traces of white chalk on blue laid paper, watermark 39.6 x 29.6cm (15½ x 11½in.) Provenance: Bishop Percy David Lindsay, 28th Earl of Crawford and 11 th Earl of Balcarres (1900-1975), Balcarres House, Fife And thence by descent Exhibited: Edinburgh, National Gallery of Scotland, Italian 17th century drawings from British private collections , 1972, no. 74, p. 84, illustrated Literature: J. Bean and F. Stampfle, Drawings from New York collections II: The 17th century in Italy , New York, 1967, p. 74 under no. 112 J. Montagu, 'Bellori, Maratti and the Palazzo Altieri', Journal of the Warburg and Courtauld Institutes, XLI, 1978, pp. 336-7, pl. 54, fig. d, and addendum E. Feinblatt, 'A drawing by Carlo Maratta', Los Angeles County Museum of Art Bulletin , XXV, 1979, pp. 16-17, fig. 17 (verso) B. Davis, Master Drawings in the Los Angeles County Museum of Art , Los Angeles, 1997, p. 66, under no. 26. On both the recto and verso of the present drawing are sketches relating to the allegorical figure of Africa for one of the spandrels in the Sala della Clemenza, the verso being a slightly more developed study for the figure with some symbolic attributes and indications of the architectural setting. The ceiling fresco in the Hall of Clemency in the Alteri Palace, Pope Clement X's family home was one of Maratti's most important projects. Commissioned in the early 1670s, Maratti painted the central section of the vault with an Allegory of Clemency surrounded by Happiness. Maratti planned to fill the spandrels and lunettes with several allegorical personifications of Christian virtues, as well as with representations of the Four Part of the World- Europe, Africa, Asia and America. The project was never finished though a substantial body of preparatory drawings exist many in public collections worldwide including The Metropolitan Museum of Art, New York, The Ashmolean Museum, Oxford, Museo de Bella Artes, Santiago de Chile, The Rijksmuseum, Amsterdam and a more finished study of Africa, also in red chalk, is in The Los Angeles County Museum of Art, see B. Davis, op.cit, 1997, no. 26. Condition Report: tip of the lower corners made up, hinged into the mount along the left hand edge Condition Report Disclaimer

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Auction date(s): Jun 02

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A NASTA'LIQ PANEL PERSIA, 16TH-17TH CENTURY

142

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1

550 GBP

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550 GBP

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700 - 1,000 GBP

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Auction date(s): Jun 02

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A MAGHRIBI DOUBLE-SIDED LEAF, ANDALUSIAN, 12TH - 13TH CENTURY

143

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1

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4,500 GBP

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5,000 - 8,000 GBP

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Auction date(s): Jun 02

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144

Quantity

1

180 GBP

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180 GBP

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300 - 500 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CHINESE BLUE AND WHITE VASE, 17TH CENTURY

145

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1

350 GBP

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350 GBP

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600 - 1,000 GBP

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Auction date(s): Jun 02

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A VICTORIAN BLACK, POLYCHROME AND GILT DECORATED PAPIER MACHE TRAY, 19TH CENTURY

146

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60 GBP

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60 GBP

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100 - 200 GBP

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Auction date(s): Jun 02

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A REGENCY FIDDLEBACK MAHOGANY SOFA TABLE, EARLY 19TH CENTURY

147

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600 GBP

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1,000 - 2,000 GBP

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Auction date(s): Jun 02

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λ ALISON STEWART (SCOTTISH, ACTIVE 1993-), TWO STANDING FIGURES, LATE 20TH/EARLY 21ST CENTURY

148

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120 GBP

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200 - 300 GBP

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Auction date(s): Jun 02

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A GILT METAL MOUNTED ORANGE/RED MARBLE TABLE LIGHT, SECOND HALF 20TH CENTURY

149

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180 GBP

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300 - 500 GBP

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Auction date(s): Jun 02

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A BRASS BOUND AND INLAID TEAK BOX, PROBABLY INDIAN

150

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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λ EDMUND DULAC (FRENCH/BRITISH 1882-1953) PAPER DESIGN IN BLUE AND BLACK

151

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λ EDMUND DULAC (FRENCH/BRITISH 1882-1953) PAPER DESIGN IN ORANGE AND BLACK

152

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Auction date(s): Jun 02

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JONATHAN DELAFIELD COOK (BRITISH B. 1966) EUCALYPTUS LEAVES

153

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Auction date(s): Jun 02

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ITALIAN SCHOOL, POSSIBLE BOLOGNESE (LATE 13TH CENTURY) ILLUMINATED MANUSCRIPT

154

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Auction date(s): Jun 02

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A GILTWOOD ALTAR CANDLESTICK, ITALIAN, 18TH/19TH CENTURY

155

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Auction date(s): Jun 02

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A SPECIMEN WOOD MARQUETRY, PARQUETRY AND OAK LOW TABLE, PROBABLY SOUTH GERMAN OR TYROLEAN

156

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Auction date(s): Jun 02

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AN EDWARDIAN HOWARD & SONS 'BRIDGEWATER' EASY ARMCHAIR, EARLY 20TH CENTURY

157

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600 GBP

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Auction date(s): Jun 02

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A CHINESE BLUE AND WHITE PUNCH BOWL, 19TH CENTURY

158

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Auction date(s): Jun 02

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Y A MID VICTORIAN AMBOYNA AND EBONY COLLECTOR'S CABINET, THIRD QUARTER 19TH CENTURY

159

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180 GBP

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Auction date(s): Jun 02

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Y A COLLECTION OF TREEN TURNED BY THE HON. PATRICK LINDSAY, CIRCA 1980

160

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Auction date(s): Jun 02

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A FAIENCE BLUE AND WHITE VASE AND COVER, FRENCH OR NORTH ITALIAN

161

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Auction date(s): Jun 02

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A NEOCLASSICAL BRASS MOUNTED AND INLAID SATINWOOD AND CALAMANDER CABINET, DUTCH

162

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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163

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480 GBP

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480 GBP

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800 - 1,200 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A MAHOGANY AND TEAK OR CHINESE HARDWOOD REVOLVING DESK CHAIR POSSIBLY CHINESE EXPORT

164

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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Y A REGENCY MAHOGANY KNEEHOLE PEDESTAL DESK, ATTRIBUTED TO GILLOWS

165

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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ITALIAN SCHOOL, 16TH CENTURY VIEW OF THE CHURCH OF SAN MICHELE IN BOSCO

166

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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ALFRED DE DREUX (1810-1860) TWO LADIES ON HORSEBACK WITH DOGS IN A WOOD

167

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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HENRY MOORE, R.A. (BRITISH 1831-1895) SKETCH OF A MAN ON A GREY HORSE

168

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190 GBP

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190 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CARVED ALABASTER SECTION WITH MARTIAL DECORATION, ITALIAN

169

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A LOTUS CARVED MAHOGANY PEDESTAL BOWL, 20TH CENTURY, IN THE GEORGE III MANNER

170

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60 GBP

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60 GBP

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100 - 200 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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AN USHAK CARPET, WEST ANATOLIA, CIRCA 1900

171

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3,500 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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INDIAN SCHOOL (20TH CENTURY) AFTER 19TH CENTURY BOTANICAL PRINTS

172

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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EDMUND MORRISON WIMPERIS (BRITISH 1835-1900) AN EXTENSIVE LANDSCAPE AT DUSK WITH CATTLE WATERING

173

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90 GBP

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90 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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Ɵ A COLLECTION OF ART BOOKS RELATING TO VARIOUS ARTISTS

174

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A GEORGE III MAHOGANY BREAKFRONT BOOKCASE, CIRCA 1760

175

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5,000 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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Y A PALAIS ROYALE SATINWOOD AND ROSEWOOD FITTED BOX, FRENCH

176

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160 GBP

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160 GBP

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A LOUIS XVI STAINED BEECH BERGÈRE, CIRCA 1780

177

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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A CHINESE BLUE AND WHITE PLANTER AND MATCHING TRAY, 19TH CENTURY

178

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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λ HENRY LAMB R.A. (BRITISH 1883-1960) HEAD STUDY, PORTRAIT OF ELIZABETH JAMESON

179

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λ HENRY LAMB R.A. (BRITISH 1883-1960) HEAD STUDY FOR THE PORTRAIT OF ELIZABETH JAMESON Pencil Signed and dated 1908 (lower right) 24.5 x 20cm (9½ x 7¾in.) Provenance: Private Collection, Richard Carline (1896-1980), London Sale, Christie's, London, 9 June 1978, lot 226 Exhibited: London, The Leicester Galleries, Memorial Exhibition of Paintings and Drawings by Henry Lamb , December 1961, no. 81 Born in Adelaide, Australia but brought up in Manchester, Lamb initially studied medicine, but gave up his studies in 1906, to enrol at the Chelsea Art School, where he was taught by William Orpen and Augustus John. The latter had a profound influence on Lamb's early work. As William Gant noted, As a draughtsman he is comparable with Augustus John in vying with him in the sensitive rendering of a head or a figure in studies of exquisite quality . (William Gant , Catalogue of a Memorial Exhibition of Paintings and Drawings by Henry Lamb , Leicester Galleries, 1961, p.7). However, this sometimes led to criticism of Lamb being seen as an imitator and whilst he would forever owe a debt to John for his transformation ... to the bold and self-assured painter he had become, ... to fight against the criticism of imitation he would be forced to forge a new direction . (Harry Moore-Gwyn , Henry Lamb out of the Shadows , 2018, p. 14). In 1907, Lamb joined a group of artists including John, in Paris, and attended L'Ecole de la Palette, in Montparnasse. While in Paris, Lamb met the young Russian artist Boris Anrep, who became a lifelong friend, as well as the music student Helen Maitland. Lamb remained in France on and off until 1911, before returning to Britain. This was an exciting period for the young artist, as he began to forge a reputation as an artist of considerable talent and developed friendships with the other leading lights of the time, including Augustus John, Vanessa Bell, Lytton Strachey and other members of the Bloomsbury Group. He became a founding member of the short-lived but highly influential Campden Town Group and after serving as a medic in the Royal Army Medical Corps during World War I, he made his name as a one of Britain's leading 20th-century portraitists. He was elected ARA in 1940 and R.A in 1949 and became a Trustee of the National Portrait Gallery and the Tate. The present drawing demonstrates Lamb's extraordinary facility to capture the spirit, as well as the appearance of his sitter, with her direct, confident gaze, tilted head and long elegant neck. It relates to one of the artist's early, key portrait commissions of Mrs Elizabeth 'Betty' Jameson, wife of Edinburgh solicitor John 'Harry' Jameson, painted whilst Lamb was staying with the Jamesons, in November 1908. The commission was probably the result of Lamb's time in Paris, as Helen Maitland was a distant cousin of the sitter. The sitter was pregnant when the portrait was being painted and Lamb undertook numerous studies in pencil and watercolour, including this work, in order to capture her as fully as possible, before her pregnancy showed. The resulting full-length portrait depicts his 'Scotch Lady' as Lamb affectionately referred to the sitter, as typically wasp-waited and elegantly Edwardian. Apparently, the young artist was a firm favourite of the Jamesons, as Keith Clements noted younger generations ...remember how well and warmly Henry Lamb was always spoken of by his sitter, even in old age - she lived to be ninety-four. ( Keith Clements, Henry Lamb: The Artist and his Friends , Redcliffe Press Ltd, Bristol 1985, p.76.). The regard that the sitter held the artist in can be seen in the warm expression captured in the present drawing. Condition Report: Condition Report Disclaimer

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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λ AUGUSTUS JOHN O.M., R.A. (BRITISH 1878-1961) THE BATHERS

180

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Auction date(s): Jun 02

Lot location: Newbury, Berkshire

Auction currency	GBP
Buyer's premium	27 % (exc. Sales tax)
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