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Lot 132
Ernest Gustave Girardot (fl.1860-1893): 'Aye Ready' - John Owston Coxswain of Scarborough Lifeboat - half length portrait, pastel signed and dated 1904, inscribed and titled on original label verso with artist's address 'Savage Club (London) W.C.', 59cm x 49cm Condition Report Click here for further images, condition, auction times & delivery costs
Lot 362
Mathilde Waterton (d.1878) Portrait of a Sheather, half length, possibly an allegory of the Harvest Pastel, together with a pair of further pastels, likely to be by the same hand, depicting a young child feeding a clutch of rabbits and another of a compatible subject matter, 56.5cm dia. and 31.5cm dia. respectively (3) (oval) Purchased by the vendor's family from the artist's studio in the 19th century
Lot 81
Signed with initials, oil on panel(27cm x 46cm (10.5in x 18in))Footnote: Exhibited: Aberdeen Art Gallery & Museums, 'Robert Brough' 1995, no.39 Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Lot 84
Signed with initials, pastel(38cm x 38cm (15in x 15in))Footnote: Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Lot 340
William Francis Vere Kebbell (1888-1963), Portrait of Joanna Denise Vere Kebbell, half length wearing a blue velvet dress seated before an open window, signed top right, pastel, 59 x 50cm Notes: William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery. The sitter in this work is Joanna Kebbell; the daughter of William Kebbell. She was an accomplished ballerina who trained with the Bolshoi. She also enjoyed a successful career as a dance teacher and choreographer.
Lot 341
William Francis Vere Kebbell (1888-1963), A collection of four pastel portraits, three of Joanna Denise Vere Kebbell, the fourth of an elderly gentleman, all various sizes (4) William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery.
Lot 343
William Francis Vere Kebbell (1888-1963), Still life of flowers, signed top right, oil on canvas, 77 x 63cm William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery.
Lot 344
William Francis Vere Kebbell (1888-1963), Still life of flowers in a glass vase, signed bottom right, pastel, 54 x 45cm, together with a further pastel still life by the same hand (2) William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery.
Lot 345
William Frederick Vere Kebbell (1888-1963), Still life with Jade Necklace, signed top left, Mall Galleries label verso, pastel, 52 x 45cm together with a further pastel still life by the same hand (2) William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery.
Lot 589
Attributed to Sir Thomas Lawrence (1769-1830) A portrait of Eleanor Carne (b.13th November 1769), daughter of Rev. John Carne, with inscription "This picture was taken by Sir Thos. Lawrence, President of the Royal Society (at Bath), when he was only 17 years old & Miss Carne was then 14 years - Miss Carne was married to Thomas Markham Esq., of Cheltenham, 29th Aug. 1790 - He died 19th Nov. 1824 aged 70 at Nash. She died at Nash 10th Oct. 1842 aged 73" verso, pastel, 30 x 25cms oval, in frame.
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51314 item(s)/page