Glyn Warren Philpot R.A. (British, 1884-1937) Former Tenants signed with initials 'GP' (lower left) oil on canvas 49.8 x 61.9 cm. (19 5/8 x 24 3/8 in.) Painted in 1932
Property from the Collection of Seymour Stein Glyn Philpot, R.A. British 1884 - 1937 The Bather initialed lower right: GP oil on canvas canvas: 61 by 40 in.; 154.9 by 101.6 cm framed: 64 ¼ by 42 ¾ in.; 163.2 by 108.6 cm
Property from the Collection of Seymour Stein Glyn Philpot, R.A. British 1884 - 1937 Composition study for "The Coast of Britain" oil on canvas canvas: 30 ¼ by 66 ¼ in.; 76.8 by 168.3 cm framed: 34 by 70 ¼ in.; 86.4 by 178.4 cm
Glyn Philpot, R.A. 1884 - 1937 Portrait of Philip Mond signed Glyn Philpot and dated 1918 (lower left) oil on canvas unframed: 79.5 by 63.5cm.; 31¼ by 25in. framed: 105.5 by 89.5cm.; 41½ by 35¼in. Executed in 1918.
Glyn Philpot, R.A. 1884 - 1937 Portrait of a Man with Hibiscus Flower (Félix) signed with initials (lower right) oil on canvas laid on panel unframed: 44.5 by 34cm.; 17½ by 13½in. framed: 66.5 by 56.5cm.; 26 by 22¼in. Executed in 1932.
Glyn Warren Philpot The Golden Apple oil on canvas 45.5 h x 35 w in (116 x 89 cm) Signed to lower right 'GP'. Provenance: Collection of Seymour Stein | Thence by descent This work will ship from Lambertville, New Jersey.
GLYN PHILPOT (BRITISH 1884-1937)THE HON. RUTH CABLE, LADY BENTHALLOil on canvas Signed with initials (lower left)90 x 75.5cm (35¼ x 29½ in.)Painted circa 1935. Provenance:Commissioned by Lady Benthall, Lindridge, Bishopsteighton, DevonPrivate Collection, thence by descentSale, Christie's, London, 20 June 1996, lot 80Private collection, acquired from the aboveTo read the catalogue note by Aileen Ribeiro please follow this link. Glyn Philpot's career, in accord with demand for his portraits, continued 'on the crest of a wave' through the 1920s. (1) Elected the youngest member of the Royal Academy, Philpot achieved unanimous critical acclaim for his solo exhibition at the Grosvenor Galleries in 1923 and a host of Official honours followed, including a commissioned portrait of Prime Minster Stanley Baldwin in 1926, and his appointment as a Tate Gallery Trustee in 1927. In a dramatic turn of events, Philpot's paintings at the Royal Academy of 1932 caused public dismay, as R H Wilenski recounted to the artist in The Studio, 'I understand from the papers that you have gone modern.'(2) This radical stylistic development in palette and technique, which Wilenski described as 'a kind of rejection of the concern with practical ends for concern with the instincts and the spirit', was most likely influenced by Philpot's serving with Matisse on the Jury of the Carnegie International Exhibition of 1930, which awarded the Gold Medal to Picasso. Philpot also exhibited alongside some of the most avant-garde artists of the early twentieth century at the Venice Biennale that summer, which included retrospectives of Modigliani and Van Dongen as well as works by Dix, Grosz, Beckmann, Kandinsky and Klee. Restless and in need of a change of scene, Philpot took a studio in Paris and spent almost a year experimenting with a new manner; he also visited Berlin. Expected to expound on his courageous change of direction, Philpot wrote in Apollo in 1933: 'This change had arisen from the conviction that new modes of expression are continually necessary if the artist is to add to the sum of beauty in the world, and not merely echo, or to express admiration for, some beauty already crystallised in a recognised form...In my own case the change has been towards a simplification of technique, a sacrifice of expected qualities of surface in order to obtain more rapidity and flexibility of handling and a greater force of accent. With this has gone a simplification of form, dispensing with exactitudes of drawing to obtain greater emotional weight in line. Add to this a disregard for logical chiaroscuro, when this was found to hamper the sharper detachment of one plane from another, and this is all. All these are technical changes, and all have been adopted instinctively in the search for new forms of beauty. In the aim of the artist there has been no change.' (3) The price of Philpot's artistic integrity and creative freedom was considerable. Portrait commissions became scarce and his large Landsdowne House studio was exchanged for Marlborough Gate House, Lancaster Gate, his country house, Baynards Manor, and its contents were sold, as well as the Paris studio. From 1933 however, Philpot re-established himself with loyal and more progressive patrons as a society portrait painter in a modern idiom. The family of Lady Benthall represented both, having commissioned portraits in the artist's early and late manner. (4) Ruth McCarthy Cable (1898-1949), was the younger daughter of Sir Ernest (later Lord) Cable and Lilian Sarah, the daughter of Weston Joseph Sparkes of Dawlish, and wife of Edward Charles Benthall, whom she married in 1918. Their son, Michael Benthall CBE (1919-1974), became a celebrated theatrical producer and director.(5) Lady Benthall spent the majority of her life in Calcutta where her father was born and her husband, knighted in 1933, continued Cable's industrial concerns as a partner in Bird & Co. The infrequency of her residence in England led Robin Gibson to suggest that the dated portrait of Ruth at Benthall Hall, Shropshire (6) was 'probably painted on a fleeting visit home before Lady Benthall finally returned to England in 1937.'(7) Philpot's sister, Daisy, noted that the portrait, painted against the background of a Spanish screen, was started at Lord Cable's Devonshire home, Lindridge, before being completed at Philpot's Lancaster Gate studio.(8) Red chalk studies exploring Lady Benthall's profile at the Courtauld Institute of Art relate to both seated portraits and confirm Philpot's statement that his aim remained the same, as did his sensitive draughtsmanship, attention to detail and refined psychological expression. The present painting, a more confident and glamourous society portrait, maintains, as Gibson suggests, the same '...beauty of line, colour and texture which characterise the best of his early work.' (9) Compared to paintings which displayed the female body in barely-there evening dress, here we see a more sophisticated and complex image, in which the subtle modernist touches regarding dress and appearance are cleverly incorporated into a flattering likeness, an obvious aspect of the traditional portrait format. Slightly distraite (she doesn't engage the spectator's eye), Lady Benthall is dressed in a red silk evening dress over which is worn a wrap-over velvet jacket, the texture and colours beautifully rendered; the artist may have added the complementary turquoise silk ribbon bow in her hair. (10) Siegfried Sassoon remarked that Philpot 'delighted...in the richness and elegance of things contrived by human handiwork...shown in his painting of silks, velvets and brocades...a sensuous joy in surface qualities and harmonious arrangements of colour.' (11) Benthall's jacket has the wide, puffed shoulder-line (possibly inspired by the 1890s leg-of-mutton sleeves), which had been popularized by the designer Elsa Schiaparelli in 1933, and was to dominate women's fashions up to and during the Second World War. A similar style (separates were very fashionable in the 1930s) but with a long roll collar, can also be seen in the silvery grey satin jacket worn by Mrs Gerard Simpson, in Philpot's last portrait Benthall's jewellery is very up-to-date for a formal event such as a cocktail party; in fact she wears a large turquoise cocktail ring on her right hand, matching the bracelet on her arm. In the 1930s it was fashionable to wear paired jewels, such as two brooches; two matching bracelets were often worn, like the two flexible ruby and platinum bracelets we see here. On her right wrist is a slim diamond bracelet from which hangs a matching cross, possibly from Cartier; Edward VII bought one for Wallis Simpson in March 1936. (12) With thanks to Aileen Ribeiro. Robin Gibson, Glyn Philpot 1884-1937: Edwardian Aesthete to Thirties Modernist, exh. cat., National Portrait Gallery, London, 1985, p.23. 'Glyn Philpot RA on his new manner a conversation with R. H. Wilenski', The Studio, vol.104, 1932, p.282.Glyn Philpot RA, 'The making of a picture, Apollo, vol. 17, February-June 1933, p.287. Philpot was first commissioned to paint the sitter's father, Sir Ernest (later Lord) Cable (location unknown) and husband, Edward Charles Benthall (Benthall Hall, NT), both in 1925. In 1951, Benthall was asked by Laurence Olivier to direct him and his wife, Vivien Leigh, in Antony and Cleopatra and Shaw's Caesar and Cleopatra in London. Two years later he was appointed artistic director of the Old Vic and embarked on an ambitious 'five-year plan' to stage all thirty-six plays in the Shakespeare first folio, launching the careers of several young performers, notably Richard Burton and Judi Dench. See Michael Patterson, 'Benthall, Michael Pickersgill (1919-1974)', Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2008. Bequeathed to the National Trust by Michael Benthall in 1974, on loan to Benthall Hall prior to that in the 1960s. Benthall Hall was gifted to the National Trust in 1958 by Mrs J Floyer Benthall and Sir Edward Benthall of Lindridge, Devon. The Times, 30th October 1958, p.12. Robin Gibson, op.cit., p.87. Tate Gallery Archives (uncatalogued collections) [TGA9714]. Lindridge, a country house near Bishopsteignton, Devon (sadly destroyed in 1963; the gardens have been restored and are Grade II listed), which Lord Cable rented and improved prior to its purchase in 1920, was inherited by Lady Benthall upon his death in 1927. Christopher Hussey, 'Country Homes, Gardens Old & New: Lindridge, Devon. The Seat of Sir Edward and the Hon. Lady Benthall', Country Life, 8th October 1938, vol.84, no.2177, pp.356-360 and 15th October 1938, vol.84, no.2178, pp.378-382.Robin Gibson, op. cit., p.35. Two studies for the portrait head ( Courtauld Gallery) lack such a bow but include plain pearl earrings, which the sitter might have been wearing but which the artist omitted. Quoted in Robin Gibson, Glyn Philpot 1884-1937. Edwardian Aesthete to Thirties Modernist, London, 1984, p.17. Suzy Menkes, The Windsor Style, London, 1987, p.184; thanks to Diana Scarisbrick for bringing this to my attention.
GLYN PHILPOT (BRITISH 1884-1937)STUDY OF PLANTSpencil and blue washinscribed For Syrie/from/Glyn Philpot (lower right) 24.5 x 21cm (9½ x 8¼ in.)Provenance:Syrie Maugham, a gift from the artist.
GLYN PHILPOT (BRITISH 1884-1937)PORTRAIT OF VINCENT PARAVICINI, BUST-LENGTHOil on canvas Signed with initials (lower right)70 x 55cm (27½ x 21½ in.)Provenance: The sitter and thence by descentSyrie Maugham's friendship with Philpot was a sincere and precious one and she supported and admired the spontaneity, softness and colour harmonies of his work. She owned several important paintings by the artist including Gardens in Nice (Floodlight) which hung in her house at The Pavilion, Waddesdon. In March 1935 Syrie held an exhibition of Philpot's work at her gallery in Bruton Street, this was one of his most successful exhibitions ever. Philpot's delicate washes complemented her modish interiors and 27 watercolours sold, many to new buyers of Philpot's work, clients of Syrie. Philpot had painted a portrait of Syrie's daughter Liza in 1934, this was originally three-quarter-length, but was cut down to a head study later. Subsequently Philpot had given Liza and Vincent a blank canvas as a wedding present and painted the present work as a pendant to his portrait of Liza. Vincent Paravicini was born in London on 11 February 1914, the son of Switzerland's ambassador to London. In July 1937 he married Liza, the only daughter of Syrie and (William) Somerset Maugham (see lot 17) by whom he had two children, Camilla and Nicolas. The Society wedding was much feted - the bride's elegant gown was designed by Schiaparelli, the flowers by Constance Spry and the wedding cake by Oilver Messel - as they were all friends of Syrie Maugham. Paravicini was considered one of the best-looking men in London; the bride's father, Somerset Maugham, pronounced him 'a most beautiful young man'. When the war began in 1939, he became a British subject, though he retained his Swiss nationality, and enlisted in the County of London Yeomanry (the Sharpshooters), serving in the Western Desert with the 8th Army. At the end of 1942 Vincent was posted from Egypt to Australia to help train the Australian Army in the tactical employment of tanks and armoured vehicles. On his return to Europe in 1945 he became second-in-command at the Allied Liaison Branch, 21 Army Group. Later that same year he commanded the British military mission to the French forces of occupation and was given the rank of Lieutenant Colonel. He was awarded the Territorial Decoration (T.D.).On his return from the war, however the marriage failed and the couple divorced in 1948. Paravicini married secondly, Jacqueline Christine Swinnerton Dyer in May 1949 by whom he had two further children. He lived at Nutley Manor, Hampshire and died on 28 September 1989 aged 75.
Property from the Collection of Seymour Stein Glyn Warren Philpot British 1884 - 1937 Figures in a Landscape oil on canvas canvas: 33 ⅞ by 44 ⅛ in.; 86 by 112.1 cm
GLYN PHILPOT (BRITISH 1884 -1937)MAN IN BLACK Oil on canvas 66.5 x 56cm (26 x 22 in.)Provenance:A gift from the artist to Leighton House Museum, Royal Borough of Kensington and Chelsea in 1926Exhibited:London, The Baillie Gallery, Glyn Philpot, 30 April - 21 May 1910, no. 24 Glyn Warren Philpot was born in 1884 and began his formal art education at the Lambeth School of Art at the age of 15. A turning point in his early artistic development came during his travels in Spain, where he encountered the work of Francisco Goya. Goya's powerful use of chiaroscuro and emotional intensity left a lasting impact on Philpot's evolving style.Upon returning to Britain, Philpot embarked on an ambitious series of paintings inspired by his experiences in Spain including Manuelito (the circus boy), which he exhibited at the Modern Society of Portrait Painters in 1910. The piece caused a sensation, catapulting the 26-year-old artist into the spotlight as a sought-after society portraitist. Over the next two decades, Philpot received prestigious commissions, painting notable figures such as Siegfried Sassoon.It was around this same period that Philpot painted Man in Black. Though he was gaining recognition as a fashionable portraitist, his focus on male sitters remained a consistent theme throughout his career. Over the next twenty years, he created numerous three-quarter length male portraits, characterised by plain backgrounds and the sitter's neutral or dark attire, and include some of Philpot's best-known portraits, such as his depiction of Oswald Mosley. What sets Man in Black apart is that the sitter remains unidentified, deliberately so, as Philpot himself titled the painting Man in Black in a letter accompanying his donation of the work to the Museum. He later reused the title for his 1913 portrait of his patron Robert Allerton, now held at the Tate. Both paintings feature a striking contrast between the luminous rendering of the sitter's face and the stark, subdued background.After serving in World War I, Philpot settled in an apartment on Lansdowne Road in Kensington, where he lived with his protégé and partner, Vivian Forbes. In 1926 the artist donated Man in Black to Leighton House Museum.In 1948, Miss Daisy Philpot, the artist's sister, informed the museum that she believed the sitter might have been a man named Leslie, in response to a request from the Barber Institute of Arts to borrow Philpot's portrait of Leslie. This may suggest a connection to Philpot's close circle of male models, which included Leslie 'Anzy' Wylde, an ex-army officer supported by arts patron Frank Schuster. Through Schuster, Wylde became acquainted with key cultural figures such as Siegfried Sassoon, Edward Elgar, Robert Nichols, and Philpot himself.
Glyn Philpot (British 1884-1937) Echo & Narcissus numbered 6/8 (on right leg of Narcissus) patinated bronze on a black marble base 56.5 cm high (including base) Provenance: Anon. sale, Bonhams, 30 Nov 2004, lot 84. Private Collection. Literature: Robin Gibson, Glyn Philpot 1884-1937 'Edwardian Aesthete to Thirties Modernist' - National Portrait Gallery, London, 1984, (p.122) (different cast). This work was cast posthumously by the artist's niece.
Glyn Warren Philpot R.A. (British, 1884-1937) Echo and Narcissus bronzed plaster on a wooden base 50.5 cm. (19 7/8 in.) high (excluding the wooden base) Conceived in 1931
Glyn Philpot, R.A. 1884 - 1937 Square In Ostend (Evening) oil on canvas unframed: 63.5 by 76.5cm.; 25 by 30in. framed: 88.5 by 100.5cm.; 34¾ by 39¾in. Executed in 1936-7.
Glyn Philpot, R.A. 1884 - 1937 Dahlias signed with initials (lower right) oil on canvas unframed: 61 by 51cm.; 24 by 20in. framed: 81.5 by 72cm.; 32 by 28¼in. Executed circa 1935.
After Glyn Philpot RA (1884-1937) an exhibition poster for Glyn Philpot Memorial Exhibition at Tate Gallery, London, 1938 101 x 62.5cm Provenance: Glyn Philpot gifted by him to his niece, Gabrielle Cross
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 sisterThence 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).
ATTRIBUTED TO GLYN WARREN PHILPOT (1884-1937) PORTRAIT STUDY OF AN INDIAN MAN Signed with initials Oil on board Provenance: With Biddle & Webb, 6th August 2010, lot 339 (25cm x 20.5cm)
GLYN PHILPOT (BRITISH 1884-1937)GERALD HEARD (1889-1971), HEAD STUDY Oil on canvas-board 46.5 x 31.5cm (18¼ x 12¼ in.)Provenance:The Rowley Gallery Ltd., LondonEliot HodgkinPrivate Collection, London, where purchased by Count Manfredi della GherardescaExhibited:London, Charles Cholmondeley, Romantic & Symbolist Painting & Drawing, 1987, cat. no. 1Gerald Heard was a friend of Aldous Huxley, W. H. Auden and of Christopher Isherwood who dedicated his novel 'A Meeting by the River' to Heard. He was a follower of the Vedanta movement and wrote a book 'Pain, Sex and Time'.
Attributed to Glyn Philpot (1884 - 1937) Circa 1920, probably New York Portrait of a black gentleman Gouache on fibrous paper/canvas N.B. Comparable picture illustrated above. Dimensions: (Paper) 10 in. (H) x 9 in. (W) (Frame) 19.75 in. (H) x 18.5 in. (W)
GLYN WARREN PHILPOT (BRITISH 1884-1937) JAROil on canvas Signed with initials (lower right)61 x 51cm (24 x 20 in.)Provenance: Gabrielle Cross, the artist's niece The Leicester Galleries, London Sotheby's, London, 3 March 1999, lot 88, where purchased by Robert KimeExhibited: London, Leicester Galleries, An Exhibition of Recent Paintings by Glyn Philpot, February 1934, no. 48Brighton, Brighton Museum & Art Gallery, Glyn Philpot, R.A., 1884-1937, April-May 1953, no. 21 London, Leighton House, and toured by the Art Exhibitions Bureau, Paintings, Drawings and Sculpture by Glyn Warren Philpot R.A., 1884-1937, 1959 Worthing, Worthing Art Gallery, Glyn Philpot, An Exhibition of Paintings and Drawings, 1962, no. 40 Having painted primarily commissioned portraits and classical scenes, still life was a new genre within Philpot's oeuvre. His previous exhibition in 1932 featuring just one still life. The choice of subject matter was essentially a move towards paintings that would be 'sellable' and hence his close involvement with various prominent 1930s interior decorators such as Syrie Maugham.Given the subject, it seems likely that this was painted during, or following, his trip to Morocco with Oliver Messel in September to October 1933, where he was joined by Vivian Forbes. Philpot sometimes created watercolours in situ and then subsequently painted an oil, although there is no evidence of a corresponding study. A fair proportion of Philipot's still lives were painted in the studio at Baynards Manor in Sussex. We are grateful to Simon Martin, Director of Pallant House Gallery, Chichester, for his kind assistance in cataloguing this work.
Glyn Philpot RA, British 1884-1937 - Study of Two Hands; pencil on paper, 16.9 x 9.9 cm (unframed/mounted) Provenance: Gabrielle Cross, the artist's niece; The Fine Art Society, London (according to the label attached to the reverse of the mount); private collection Exhibited: The Fine Art Society, London, Glyn Philpot, 1999, no.20 (according to the label attached to the reverse of the mount)
Glyn Warren Philpot R.A. (British, 1884-1937) Le Trayas signed with initials 'G.P.' (lower left) watercolour, pencil and gouache on paper 37 x 30cm (14 9/16 x 11 13/16in).
GLYN PHILPOT (BRITISH 1884-1937)CORNER OF A COURTYARD, NORTH AFRICAWatercolour, pencil and gouache on paper28 x 34.5cm (11 x 13½ in.)Provenance:(Possibly) Gabrielle Cross, the artist's neicePrivate Collection, Dr. Kenneth Garlick (1916-2009), former curator of of the Ashmolean Museum, OxfordThence by descent to the present ownerExhibited: London, Syrie Maugham Gallery, Glyn Philpot Exhibition, March 1935, probably no. 2 The current work most likely dates to circa September 1934, when Philpot spent a month in Morocco with Vivian Forbes and Tony Harris. The title inscribed on a label to the reverse of the work is in the hand of the artist's niece, Gabrielle Cross. However, if, as seems likely, the work is catalogue number 2 from Syrie Maugham's 1935 exhibition, this locates the work to the town of Moulay Idriss, in the north of Morocco. We are grateful to Simon Martin, Director of Pallant House Gallery, Chichester, for his kind assistance in cataloguing this work.
Glyn Warren Philpot R.A. (British, 1884-1937) Three Muses signed with initials 'GP' (lower right) oil on canvas 76.2 x 50.8 cm. (30 x 20 in.) Painted in 1937
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot.
Property of a Nobleman Glyn Philpot (1884 - 1937) A view of Ãle Saint-Honorat Watercolour, pen and ink on paper Provenance: Jason and Rhodes, 4 New Burlington Place. Christieâs South Kensington, Charles Cholmondeley (purchased by the present owner) (Paper)37 cm. (H) x 30 cm (W) (Frame) 58 cm. (H) x 49.5 cm (W)
GLYN WARREN PHILPOT, R.A., R.O.I. (BRITISH, 1884-1937) Reginald Baliol Brett, 2nd Viscount Esher, in the robes of the Order of the... oil on canvas 60 x 40 in. (152 x 101.5 cm.)
Titled "Saint in Ecstasy". Numbered 3/8 on base, with green patina. Provenance: Previously offered at auction by Sotheby's New York; 26 May, 1994; Lot 149. Dimensions: H 25.5" x W 13" x D 7" Condition: Natural green patina, a few small spots of oxidation, some surface dirt.
Glyn Warren Philpot R.A. (British, 1884-1937) The Sisters of the Artist signed and dated 'Glyn Philpot 1922' (lower left) oil on canvas 142.3 x 111 cm. (56 x 43 3/4 in.)
Glyn Warren Philpot R.A. (1884-1937) Head of Henry Thomas, facing left charcoal on card 12 1/2 x 10 1/8 in. (31.8 x 25.8 cm.) For further information on this lot please visit the Bonhams website
Glyn Warren Philpot R.A. (1884-1937) Naked Model (Henry Thomas) pencil and watercolour 12 5/16 x 6 1/8 in. (31.2 x 15.5 cm.) For further information on this lot please visit the Bonhams website
Glyn Philpot RA, British 1884–1937 Nude Back View (with 'Hands Study' on the reverse); pencil on paper, inscribed on the reverse 'A II', 24.5 x 18.2 cm Provenance: Gabrielle Cross, the artist's niece; with The Fine Art Society, London (according to the label attached to the reverse of the frame); private collection, purchased from the above Exhibited: The Fine Art Society, London, Glyn Philpot, May 1999 (label verso) Please refer to department for condition report
Glyn Philpot RA, British 1884–1937 Study for 'Henry Thomas Sitting Back View', 1937; black chalk on paper, 29 x 23.5 cm Provenance: Gabrielle Cross, the artist's niece; The Fine Art Society, London, no.16013 (according to the label attached to the reverse of the frame); private collection, purchased from the above Exhibited: Brighton Art Gallery, Brighton, 'Glyn Philpot R.A., 1884-1937', 3 April 3 May 1953, no.62; Leighton House, London, 'Drawings, Paintings and Sculpture by Glyn Warren Philpot R.A. 1884-1937', 7 28 February 1959, no.8, followed by tour with Art Exhibitions Bureau, 1959-60 (label verso); National Portrait Gallery, London, 'Glyn Philpot 1884-1937; Edwardian Aesthete to Thirties Modernist', 9 November 1984 10 February 1985, no.114 (label verso) Literature: A.C. Sewter, 'Glyn Philpot 1884-1937' (foreword by T Bodkin), 1951, illus. pl.109; R. Gibson, exhibition catalogue, 'Glyn Philpot 1884-1937: Edwardian Aesthete to Thirties Modernist', London, National Portrait Gallery, 1984, illus. p.115 Note: this work is one of three known studies for the painting 'Henry Thomas Sitting Back View, 1937’, and this work has been described by Robin Gibson in his catalogue for Philpot’s exhibition at the National Portrait Gallery in 1984 as ‘perhaps the most brilliant of the three, sinuous and rhythmic, demonstrating once again [his] ability to find great beauty in the human back’. The other studies are now in the British Museum and V&A collection. The painting was has been described ‘perhaps the best of a Philpot’s pure figure paintings.’ Jamaican born Henry Thomas was the artist’s servant and companion, and a favourite model, appearing in numerous works, including ‘Portrait of Henry Thomas, 1934-35’ (Pallant House Gallery) and ‘Melancholy Man, 1936’ (Royal Pavilion & Museums Trust, Brighton & Hove). These works are often considered the most innovative and experimental of Philpot’s career. The original title for the work was Study for 'Negro Sitting Back View'. Please refer to department for condition report
Lot 284 Glyn Philpot British (1884-1937) Study for The Resting Acrobats (c. 1924) oil on paper mounted to board 32 1/4 x 22 1/2 inches unframed Additional Information: inscribed indistinctly to verso Provenance: Property from the Collection of Seymour Stein Sotheby's, London, 06 December 2000, lot 107
Lot 236 Glyn Philpot British (1884-1937) Working Drawing for 'The Creation of Man' oil on canvas board 16 1/8 x 16 1/8 inches frame dimensions: 19 x 19 x 1 inches, wood frame with glazing Additional Information: paper label inscribed to frame verso: 'Working Drawing for 'The Creation of Man' Vice-Regal Lodge, New Dehli / Glyn Philpot' and with Art Exhibition Bureau, London label Provenance: Property from the Collection of Seymour Stein Sotheby's, London, 03 March 1999, lot 89,Art Exhibition Bureau, London label affixed to frame verso
Lot 232 Glyn Philpot British (1884-1937) Portrait of Pietro Busetti oil on canvas 26 x 19 3/4 inches frame dimensions: 34 1/4 x 28 x 2 1/4 inches, wood frame Additional Information: inscribed to verso: 'Mr. Hartley...' Provenance: Property from the Collection of Seymour Stein Sotheby's, UK, 28 February 1995, lot 188
Glyn Philpot RA (1884-1937) Glyn Philpot RA (1884-1937) Study of the Artist's sister, Gertrude; Study of the Artist's sister, Daisy two, pencil 18.7 x 12.5cm each, framed as one Provenance: Gabrielle Cross, the artist's niece; with the Fine Art Society, London. Preparatory sketches for the oil painting 'The Sisters of the Artist', 1922, Bonhams, '20th Century British Art', 26 June 2007, lot 16. Glyn Philpot was a British painter and sculptor, best known for his portraits of contemporary figures such as Siegfried Sassoon. This drawing is a preparatory study for one of the few portraits Philpot painted of his family members; the final painting was exhibited at the Academy of 1922 to wide acclaim. It is an intimate sketch of his two older and much-loved sisters, Gertrude and Daisy. Daisy often posed for her brother, but this is the first portrait featuring Gertrude. Philpots light pencil line, executed in swift movements, captures his sisters with great sensitivity. It creates a feeling of familial intimacy aided by their unforced expressions and composure, neither looking deliberately towards the painter nor away from him.
NO RESERVE Philpot (Glyn Warren) Study of Two Hands, pencil on ruled paper, image approx. 100 x 170 mm (4 x 6 3/4 in), hinged into mount, some creases and cockling to sheet, unframed Provenance: Miss Gabrielle Cross, the artist's niece The Fine Art Society, London From the collection of the late Mr. Laurence Lee Exhibited: The Fine Art Society, Glyn Philpot, 1999, no. 20 This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Glyn Warren Philpot R.A. (British, 1884-1937) Double sided Portrait Study of Henry Thomas signed with initials 'G.P.' (lower right); inscribed and dated 'Henry/1935' (on the reverse) charcoal on paper 27 x 27cm (10 5/8 x 10 5/8in). unframed Executed c. 1935 For further information on this lot please visit the Bonhams website
