Portrait of Hermione

Details

Gerald Leslie Brockhurst (1890-1978)
Portrait of Hermione
signed 'BROCKHURST' (lower right)
oil on panel
18 x 13 ½ in. (45.7 x 34.3 cm.), with a letter from the artist to the owner plus other correspondence
(2)

Provenance

with Scott & Fowles, New York.
Dr and Mrs William Gordon Lyle.
Private collection, U.S.A., 2003.

Literature

R. Ray, The Eternal Masquerade: Prints and Paintings by Gerald Leslie Brockhurst (1890-1978) from the Jacob Burns Foundation, exhibition catalogue, Georgia, 2006, fig. 17.

Exhibited

U.S.A., Athens, Georgia Museum of Art, on loan (2007-2014).

Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Sale room notice

Please note that the painting will be offered with a letter from the artist to Dr William Gordon Lyle, along with a number of other documents relating to the painting.
Please note the following additional exhibition information for this lot:
Maryland, Baltimore Museum of Art, Development of Portraiture: Drawings, Etchings and Paintings by Gerald L. Brockhurst, November - December 1939, lent by Dr and Mrs William Gordon Lyle.
Pennsylvania, Pittsburgh, Carnegie Institute, Exhibition of Paintings by Gerald L. Brockhurst, February 1940, no. 31, lent by Dr and Mrs William Gordon Lyle.

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Lot Essay

In September 1914 Brockhurst and his new wife, Anaïs Folin, embarked on a tour throughout France and Italy. This trip provided the artist with his first direct contact with the work of the Italian masters, particularly those of the quattrocento. The influence of those works is evident in this painting, a highly striking portrait of Anaïs, which was subsequently given a fanciful title.

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