396323 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
396323 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
396323 Los(e)/Seite
Los 312
A Collection of Assorted Silver and Enamel or Silver Medals, approximately 23, variously decorated, most with suspension loop and engraved with an inscription, total gross weight 7oz 7dwt; Together With a 9ct gold pin, applied with the coat-of-arms of the Army Ordnance Corps, 1dwt, 1.8gr and approximately 16 various bronze and other metal medals or badges (qty)
Los 294
Five Various George V Gold and Enamel Medals, Four by James Fenton, Birmingham, Two 1925, One 1926 and One 1926, 9ct, each circular and variously enameled, the backs engraved with inscriptions, three with suspension loops and one with a later pin; Together With a George V gold medal, by Vaughton and Sons, Birmingham, 1934, 9ct, stamped for the Newcastle & District Motor Club, the back engraved with an inscription, total gross weight 1oz 17dwt, 58gr (6)
Los 136A
A Pari of Chinese Cloisonne Vases, 20th century, of lobed baluster form, with blue ground panels decorated with cranes and in black ground borders with lotus scrolls, 39cm high on wood stands (2)No dints losses or cracks, some pin holes across the surface of the enamel from time of manufacture
Los 161
A Davenport Porcelain Dessert Service, decorated in the Derby Witches pattern 2614, retailers stamp for Pointons, comprising 12 fluted plates, 3 comports and a tazza, together with an Edwardian porcelain teaset and a quantity of Spode, printed in blue with the Italian landscapes pattern (one tray and two boxes)Tazza - with a faint hair crack to the foot, Overall very minimal crazing to the surface, with some notable wear to gilding and light enamel scratches Teaset and Spode not reported
Los 338
An Onyx, Enamel and Pearl Locket, the oval onyx locket with a pearl centrally in a yellow claw setting, suspended by a black enamel bale, with a locket compartment to the reverse, pendant measures 6.8cm by 3.8cm and A Muff Chain, length 150cm approximatelyLocket - 24.1 grams. Chain - one link stamped '585', 25.5 grams.
Los 346
A Small Quantity of Jewellery, including a paste and enamel brooch, measures 2.6cm by 1.5cm; a diamond trefoil motif brooch, length 4.9cm; a cultured pearl brooch, length 4.4cm; and an amethyst and split pearl brooch/pendant, measures 6.7cm by 2.5cm (a.f.)Enamel brooch - 5.6 grams. Diamond brooch - 6.5 grams. Cultured pearl brooch - 2.6 grams. Amethyst brooch/pendant - 5.0 grams.
Los 1809
TOMMY KELSO OF MANCHESTER CITY F.C., MANCHESTER CUP GOLD WINNERS' MEDAL, 1906/7 the obverse with central enamel crest bordered by inscription MANCHESTER CUP 1906-7 M&D.F.A., the reverse inscribed MANCHESTER CITY WINNERS T. KELSO, in nine carat goldNote: Thomas 'Tommy' Kelso (1882-1974) was a Scottish full back who plated for Manchester City between 1906 and 1912. He started his playing career with Third Lanark before signing for City. He went on to make 139 league appearances for the club, and even found the net on 3 occasions. He then returned to Scotland to play for Dundee, Rangers and finally Dumbarton. He won one cap vs Wales in a 0-0 draw at the 1914 Home Championships. 4.5cm high including suspension Qty: approx. 12.8g
Los 1780
JIM BAXTER OF RANGERS F.C., SCOTTISH LEAGUE CUP WINNERS GOLD MEDAL, 26TH OCTOBER 1963 the obverse with central shield shaped plaque with red enamel lion rampant motif, within blue enamel border inscribed Scottish Football League, the reverse inscribed LEAGUE CUP Season 1963-64 WinnerNote: Rangers defeated Greenock Morton 5-0 to lift the trophy. This medal was given to legendary figure 'Slim Jim' Baxter. This medal was purchased privately by the current owner. 4cm high including suspension Qty: approx. 9g
Los 1810
TOMMY KELSO OF MANCHESTER CITY F.C., 'RAWDON SUFFERERS' COLLIERY DISASTER BENEFIT MATCH GOLD MEDAL, 28TH APRIL 1908 the obverse with central shield over blue enamel, the reverse inscribed AN APPRECIATION OF PRACTICAL HELP TO RAWDON SUGGERERS 25/4/08 T. KELSO MANCHESTER CITY, in nine carat goldNote: Awarded to Thomas 'Tommy' Kelso as per the last lot. This benefit match was played between Aston Villa and Manchester City, ending in a 2-2 draw. 3.5cm high Qty: approx. 8.9g
Los 1831
J. HARVEY (TRAINER) OF HEART OF MIDLOTHIAN, SCOTTISH FOOTBALL LEAGUE WINNERS GOLD MEDAL 1957/58 the obverse with central shield shaped plaque with red enamelled lion rampant motif, surrounded by enamelled thistle motifs and blue enamel border inscribed Scottish Football League Championship, the reverse inscribed FIRST DIVISION H. of M. F.C. 1957-58 MR. J. HARVEY, in nine carat gold, on oak shield shaped plaque mounted with season statistics and playersthe medal 4cm high including suspension
Los 1710
F. & E. LEAGUE & CAMERON CUP GOLD MEDAL, J. McFARLANE, CIRCA 1930 believed for the Forth & Endrick League, the obverse with enamel lion rampant, the reverse inscribed, in nine carat gold, on chain stamped 375, along with another nine carat gold footballing medal, this with inscription versoJ.B.McF 1924, also a silver medal inscribed Gilchrist Meal Hoeing Champ 1947 Glasgow Ex-Ploughmen's Accos. William Robertsonthe two gold medals and chain approx. 13.2g gross
Los 25
Henry Bone R.A. (1755-1834)Sir Walter Raleigh, wearing black cut silk doublet with a high lace collar and cuffs, a gold braid belt and sword, his right hand resting on a globe. Enamel on copper, signed and dated on the obverse, HBone 1808, signed, dated and inscribed in full on the counter-enamel, Sir Walter Raleigh/ London Novr 1808/ Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after the/ Original by C Jansen [...]/ [...] Possession of [Rev] J. Sanford, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon & Turnbull, 14 January 2015, lot 23;The Twinight CollectionFootnotes:Sir Walter Raleigh was one of the most famous explorers of Elizabeth I's reign. His courage and good looks made him a favourite of the Queen's, and she rewarded him handsomely. Raleigh was also a scholar and a poet, but he is usually remembered for introducing the essential potato, and tobacco. However, his reckless nature eventually made him unpopular at court. He managed to displease both the Queen and her successor James I, and so found himself a prisoner of the Tower of London – no less than three times. As a gentleman, he was deprived of his liberty, but not his comforts: his family could visit, he grew exotic plants and started his book 'The Historie of the World'. However, on his release, Raleigh angered the King once again. He was charged with treason and executed outside the Palace of Westminster in 1618.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 16
Christian Friedrich Zincke (German, circa 1683-1767)Johannes Floyer, wearing black gown and white bands, full bottomed powdered wig. Enamel on copper, signed, inscribed and dated on the counter-enamel, Johannes Floyer/ de Lincolns Inn Ar/ CF (cipher) Zincke/1743, gold frame, the reverse engraved with a transcription of the inscription on the counter-enamel. Oval, 45mm (1 3/4in) highProvenance:Christies London, 3 June 2003, lot 24;The Twinight CollectionFootnotes:The sitter, John Floyer of Upwey, Dorset, and Lincoln's Inn, London, was the eldest son of William Floyer of Berne and his wife Amy, daughter of Sir William Pole of Shute. He married firstly (1714) Mary Ellis of Westminster, and secondly Anne Richards of West Knighton (1741).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 39
Henry Bone R.A. (1755-1834)Henry Cecil, Marquess of Exeter (1754-1804), reclining in a red velvet chair, his hair cut fashionably short, wearing black silk breeches and stockings, waistcoat and coat, holding a pair of scissors and balancing a book on its spine. Enamel on copper, signed, dated and inscribed on the counter-enamel, The Most Noble the Marquis of Exeter. London March 1803. Painted by Henry Bone A.RA Enamel Painter to H.R.H. the Prince of Wales after a picture by M.A.Shee R.A. painted in 1802, gilt-wood frame. Rectangular, 190mm (7 1/2in) highProvenance: Georgian Frivolities: The Mort and Moira Lesser Collection of English Enamels, Bonhams London, 19 October 2011, lot 166;The Twinight CollectionFootnotes:Henry Bone's preliminary drawing, squared for transfer and inscribed, Marquis of Exeter after Shee 1803 is in the Collection of the National Portrait Gallery, no. NPG D17281.The inscription on the back of the original frame, possibly written by Henry Bone, refers to the subject as 'The late Marquis of Exeter', suggesting the piece was not delivered until after the Earl's death. Lord Exeter died in May 1804, aged 50.Henry Cecil (1754-1804) was the only son of Thomas Chambers Cecil, second son of Brownlow, 8th Earl of Exeter. Henry succeeded his uncle as 9th Earl in 1793. He was elevated to the title of Marquess in 1801. He married firstly Emma, daughter of Thomas Vernon, whom he divorced in 1791, following her elopement with the Rev. William Sneyd. The previous year, as 'John Jones of Great Bolas', he had bigamously married Sarah, daughter of Thomas Higgins. This marriage was legalized four months after his divorce. Tennyson's Lord of Burleigh proffered a rather romantic interpretation of the Earl courtship with the 'Peasant Countess'. After her death in 1797, he married in 1800, Elizabeth, the Dowager Duchess of Hamilton.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 15
Christian Friedrich Zincke (German, circa 1683-1767)A young gentleman, facing left in olive-green silk cloak, open white shirt, wearing a red turban with gold tassel. Enamel on copper, inscribed, signed and dated on the counter-enamel, C: H: M: Commissum tege. CF. Zincke. pinxt 1732, modified gold frame, the reverse engraved with mirrored cipher CHM. Oval, 45mm (1 3/4in) highProvenance: Sotheby's London, 27 June 1977, lot 60 Christie's London, 3 June 2003, lot 27;The Twinight CollectionFootnotes:The motto inscribed in Latin on the counter enamel Commissum tege may be translated as 'cover the commitment' or more freely 'keep the secret' - possibly alluding to a union that could not be publicly declared between the sitter and the recipient. The cipher on the back of the frame is made up of the initials of the young gentleman depicted.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 108
John Haslem (British, 1808-1884)Self Portrait of the artist, wearing black coat, stock and white chemise. Enamel on copper, signed, dated and inscribed on the reverse, Portrait of John Haslem/ Painted by himself 1852, gilt-metal mount. OvalProvenance: Chiswick Auctions London, 20 March 2018, lot 65;The Twinight CollectionExhibited: South Kensington Museum, London, Special Exhibition of Portrait Miniatures, June 1865, no. 3028 (lent by the artist)Literature:D. Foskett, A Dictionary of British Miniature Painters, 2 vols, London, 1972, vol. 1. p. 314V. Remington, Victorian Miniatures in the Collection of Her Majesty the Queen, 2 vols, London, 2010, vol. 1. p. 273Footnotes:John Haslem was apprenticed to his uncle James Thomason, later manager of the Derby China Works, thereafter working for thirteen years as a porcelain painter specialising in flowers and figures. Encouraged by the Duke of Sussex he moved to London to study under Edward Thomas Parris. He continued to paint on porcelain but diversified to paint in enamel on metal and in watercolour on paper, exhibiting at the Royal Academy from 1836 to 1865. In the 1840s received extensive patronage from Queen Victoria - at the Great Exhibition of 1851 he exhibited a number of miniatures he had painted for the Queen and Prince Albert. For examples of his work in the Royal Collection see Remington op. cit., nos 509–539.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 73
Charles Richard Bone (British, 1809-circa 1880)A Gentleman, wearing white chemise, red sash, black coat and hat.. Enamel on copper, signed, dated and inscribed on the counter enamel,Holbein./the original by Holbein, in the / collection of Earl Spencer/ Althorp, Northamptonshire/ C R Bone. Feby./1841.,,later square ebonised and gilt-wood frame. . Circular, 95mmmm (3 3/4in) highProvenance: The Twinight CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 35
Henry Bone R.A. (1755-1834)George Granville Leveson-Gower, Marquess of Stafford (1758–1833), later 1st Duke of Sutherland, three-quarter profile to the left, wearing double-breasted brown coat, white waistcoat, stock and cravat, blue sash and breast star of the Order of the Garter. Enamel on copper, inscribed, signed and dated on the counter-enamel, George Granville-Leveson/ Gower, Marquess of Stafford/ &c &c &c Born Jany 9. 1758/ London/ Jan 1821/ Painted by Henry Bone RA/ Enamel painter to His/ Majesty, after the Original/ by Thomas Philips RA, gilded composition frame. Rectangular, 122mm (4 13/16in) highFootnotes:Provenance: The Twinight CollectionThe original by Thomas Phillips, dated 1805 is in the collection of The National Portrait Gallery, London (no. 1298), as is Bone's related drawing (NPG D17717) which is inscribed Marquis of Stafford after/Philips [sic]- 1820 Sepber. (R. Walker, Henry Bone's Pencil Drawings, Walpole Society, 1999, Vol. LXI, no. 493). A further enamel version by Bone signed and dated 1820 is in the collection of the Duke of Norfolk at Arundel Castle and was probably the miniature exhibited at the Royal Academy, 1821, no. 476. Sutherland was the eldest son of Granville Leveson-Gower, 1st Marquess of Stafford, by his second wife, Lady Louisa, daughter of Scroop Egerton, 1st Duke of Bridgwater. In 1785, he married Elizabeth Gordon, suo jure Countess of Sutherland (1765-1839) being the only child of the 18th Earl of Sutherland. The couple had two sons and two daughters. He was a member of the Privy Council and Knight of the Garter. He was created Duke of Sutherland on 28th January 1833 and died on 19th July that same year.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 87
Henry Bone R.A. (1755-1834)George IV (1762-1830), King of England (1820-1830), when Prince Regent, half length, wearing a Field Marshal's red uniform with gold lace and sash, with the badge of the Order of the Golden Fleece and stars of the Orders of the Garter, Holy Spirit, Black Eagle and St Andrew. Enamel on copper, inscribed on the counter-enamel, His Majesty George 4th and further signed and inscribed indistinctly, Painted by Henry Bone/ Enamel ..... His Majesty/ ....painting....the Duke of/ Thos. Lawrence R.A. ...., gilt-wood frame. Rectangular, 187mm (7 3/8in) highProvenance:Sotheby's London, 4 December 1985, lot 161;Sotheby's London, 11 November 2003, lot 69;The Twinight CollectionFootnotes:The present lot is based on Sir Thomas Lawrence's portrait, painted for Lord Charles Stuart and exhibited at the Royal Academy in 1815 (Garlick 325c). Following the exhibition Bone immediately began making copies in enamel, the earliest recorded being dated November 1815. The Prince Regent evidently found the portrait most pleasing, and in the ensuing years gave away numerous copies as presents, leading to it becoming one of the iconic images of him. The present work, dated 1826, was painted eleven years after Henry Bone's first work. For other examples in the Royal collection see R. Walker, Miniatures in the Collection of Her Majesty the Queen,, 1992, nos.757-765.George was the eldest son of George III and Queen Charlotte. In 1811, George became regent after his father was declared insane and king in 1820. Throughout his adult life, George was an important artistic patron, acquiring an impressive collection of art. In the last years of his life George spent his time in seclusion at Windsor Castle. His only child, Princess Charlotte having died in childbirth in 1817 meant the crown passed to George's brother who became William IV.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 62
Henry Pierce Bone (British, 1779-1855)A Gentleman, wearing black doublet, slashed to reveal white, white ruff collar and two gold chains. Enamel on copper, inscribed on the pale green counter-enamel, Sr Antonio More/ from a picture by himself/ Painted by Henry/ Pierce Bone/ March 1854, silver frame with glazed reverse. Rectangular, 89mm (3 1/2in) highProvenance:The Collection of Miss Locker-Lampson of Sussex Sotheby's, 13th December, 1943, lot 62Bonhams London, 18 November 2003, lot 35The Twinight CollectionFootnotes:The present lot is after a full-length portrait of a Gentleman with his hunting dog by Antonis Mor van Dashorst from 1569 in the collection of The National Gallery of Art, Washington DC. This painting is thought to have been in the collection of Sir Peter Lely (sale, London, 18 August 1682), before entering the collection at Althorp House, Northamptonshire, by 1822 until 1927. It was purchased February 1930 by Andrew W. Mellon and gifted to the National Gallery of Art in 1937.Henry Pierce Bone must have made the present detail copy whilst the painting was in the possession of the Spencer family at Althorp House, at which time, it was presumably considered to be a self portrait of Antonis Mor van Dashorst.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 102
Jean-Rodolphe Gautier (Geneva 1764-1820 Paris)A young boy, wearing blue coat, embroidered yellow waistcoat and white chemise, seated at a desk writing a letter, which begins, 'Pour ma Tante / Jenny', on red upholstered chair; window in background overlooking houses. Enamel, signed on the obverse, Gautier, mounted on the lid of a circular glass box with gold and enamel mounts, maker's mark of Joseph Marie Roux, unregistered 3e titre, Paris 3e titre and moyenne garantie, 1798–1809. Circular, 64mm (2 1/2in) highProvenance:With D. S. Lavender (Antiques) Ltd., in 2000 (as Marie-Madelaine Guimenel 'the Celebrated French Dancer disguised as a boy, writing a letter')Mrs T.S. Eliot, executor's sale 'A life's devotion: The Collection of The Late Mrs T.S. Eliot', Christie's London, 20 November 2013, lot 199The Twinight CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 61
Henry Pierce Bone (British, 1779-1855)The poet, John Milton (1608-1674), wearing black doublet and cloak, white collar. Enamel on copper, signed and inscribed on the counter-enamel, Milton/ London Novr 1847/ Painted by Henry Pierce Bone/ Enamel Painter to Her Majesty HRH/ Prince Albert &c &c From a picture/ in the possession of Mrs Dymoke/ Wells, ormulo mount with engraved floral and foliate detail, gilt-metal easel frame with blue enamel border. Oval, 120mm (4 3/4in) highFootnotes:Provenance: The Twinight CollectionAnother version of the present lot, signed by Henry Pierce Bone and dated 1845, was sold Christie's London, 2 December 2015 as lot 454. The counter-enamel of this earlier version describes the original portrait as a 'mutilated picture in the Possession Mrs Dymoke / Wells'. This version was slightly smaller and housed in a carved gilt-wood frame.Milton is regarded as one of the greatest English poets. Forceful and idealistic, he served the Commonwealth as Latin Secretary but was arrested upon the restoration of Charles II. He was a Puritan, and an opponent of the Catholics and of the Stuarts. His life followed a tragic path - an unhappy marriage, the premature death of his second wife and his eventual blindness in 1652. Milton is best known for his epics, Paradise Lost (1667), Paradise Regained and Samson Agonistes (1671). He died in London on November 12, 1674.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 28
Henry Bone R.A. (1755-1834)The Madonna with the infant Jesus at her breast. Enamel on copper, signed on the obverse and dated, HBone 1803, signed in full on the counter-enamel, London March 1803/ Painted for the R:t Hon:ble the Earl of Suffolk/ by Henry Bone A.R.A. Enamel Painter to/ H.R.H. the Prince of Wales after the/ Original Picture by Leonardo da Vinci/ in His Lordships Collection, gilded composition frame with rocaille, scroll and acanthus leaf mouldings. Rectangular, 248mm (9 3/4in) highProvenance:Bonhams London, 23 November 2005, lot 162;The Twinight CollectionFootnotes:The prototype for the present lot was reattributed by Agnews to Giovanni Pietro Rizzoli (called Giampetrino), a pupil of Leonardo da Vinci. Another 16th Century oil version attributed to Giampetrino was sold at Etude Tajan, Paris, October 19 2005, lot 5.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 31
Henry Bone R.A. (1755-1834)Mark Anthony (c.83-30 B.C.), wearing fur-trimmed black doublet over white chemise and black beret. Enamel on copper, enamel, signed on obverse, HBone, signed, date and fully inscribed on the counter-enamel, Marc Antonio/ London Jany 1802/ Painted by Henry Bone A.R.A. Enamel Painter to H.R.H. the/ Prince of Wales for Tho. Hope Esq/ after the original Picture by/ Raffaella in his Collection, gilt-metal frame. Circular, 86mm (3 3/8in) highProvenance:Bonhams London, 24 June 2004, lot 25;The Twinight CollectionFootnotes:Another version of the present lot was enamelled by Bone in 1805 for Admiral Lord Radstock. This enamel was sold Christie's, 13 May 1826, lot 3. cf. R. Walker, Henry Bone's Pencil Drawings in the National Portrait Gallery, LXI Vol. of the Walpole Society, 1999, p.335, no.340.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 10
Christian Friedrich Zincke (German, circa 1683-1767)A Gentleman, head and shoulders facing right, in a crimson coat, white and gold waistcoat, white chemise with a long cravat, full-bottomed brown wig. Enamel, signed on the counter-enamel, C.F. Zincke pinx, gilt-metal frame with pierced spiral cresting. Oval, 74mm (2 15/16in) highProvenance:Limner Antiques, November 1983The Property of an American Gentleman, Bonhams, London, 21 November 2007, lot 115;The Twinight CollectionFootnotes:This is a fine example of Zincke's work dating from the earlier years of his career in London. Its size - larger than most enamel portraits painted by Zincke - is indicative that at the time it was painted it was conceived as a work of high status.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 14
Christian Friedrich Zincke (German, circa 1683-1767)A Lady, traditionally identified as Lady Isabella Bentinck, second wife of Evelyn Pierrepont, 1st Duke of Kingston-upon-Hull, wearing widow's weeds, a black gown and veil with a pleated lawn cap. Enamel on copper, gilt-metal frame. Oval, 44mm (1 3/4in) highProvenance:Christie's London, 25 May 2004, lot 5;The Twinight CollectionFootnotes:Lady Isabella Bentinck (1688–1726), daughter of Hans William Bentinck, 1st Earl of Portland and his first wife Anne Villiers, married in 1714, as his second wife Evelyn Pierrepont, 1st Duke of Kingston-upon-Hull (1655–1726). Two daughters were born of the union.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 23
Henry Bone R.A. (1755-1834)Thomas Howard, 2nd Earl of Arundel (1585-1646), wearing black doublet and white ruff, seated before an embroidered curtain in a red chair, his right hand holding a paper, his left hand clasping the jewel of the Lesser George, the badge of the Garter, which is suspended from the blue ribbon of the Order around his neck. Enamel on copper, signed on the obverse, HBone, signed, dated and inscribed in full on the reverse, Thos Howard Earl of Arundel/ London/ April 1827/ Painted by Henry Bone RA/ Enamel painter to His Majesty &/ To His (late) RH the Duke of York/ &c &c after Van Dyke in the Marquis/ of Stafford's Collection Cleveland House/ London, gilded composition frame with scrolling acunthus leaf mouldings, the inner mount hinged and accompanied by a key. Rectangular, 191mm (7 1/2in) highProvenance:The Estate of Mrs. Charles W. Englehard, Christie's New York, 18 March, 2005, lot 132;The Twinight CollectionFootnotes:Thomas Howard, 2nd Earl of Arundel was prominent during the reigns of James I and Charles I and noted for his art collections of marbles and manuscripts. In 1604, he was restored to his father's Earldom of Arundel and to the Baronies of his grandfather, Thomas, 4th Duke of Norfolk. His fortunes fluctuated under James I and Charles I; he held many high offices and was more than once imprisoned. He is best remembered for his patronage of the arts and for his magnificent collections. These were dispersed after his death, most of the marbles and statues being given to Oxford University in 1667 to become known later as the Arundel (or Oxford) marbles. The library was given to the Royal Society and to the College of Heralds, the manuscript portion of the Royal Society's moiety being transferred to the British Museum in 1831 forming the present Arundel Collection.The present lot derives from Sir Anthony Van Dyck's portrait of the Earl painted circa 1620/1 and now in the J. Paul Getty Museum (86.PA.532). Bone's squared drawing for his enamel is in the Collection of the National Portrait Gallery, no. NPG D17392 (catalogued as Thomas Howard, 14th Earl of Arundel) bears the inscription Earl of Arundel for Earl Suffolk. Vandcyk/ June 1801/ In the Collection of Lord Gower.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 27
Henry Bone R.A. (1755-1834)Alessandro Farnese (1468-1549), Pope Paul III (1534-1549), seated three-quarter-length, in papal robes. Enamel on copper, signed on the obverse, 'HBone', inscribed in full on the counter-enamel and dated, Pope Paul the third / London / May 1810 / Pajnted by Henry Bone ARA. Enamel Painter/ in Ordinary to Hjs Majesty and Enamel Painter I to His R.H. the Prince ofWales after Titian, gilt-metal mount engraved Enamel HBone, gilded composition frame with rocaille, scroll and acanthus leaf mouldings. Rectangular, 198mm (7 13/16in) highProvenance: Christie's London, 10 June 2008, lot 117;The Twinight CollectionFootnotes:Richard Walker's Henry Bone's Pencil Drawings in the National Portrait Gallery, (Walpole Society, LXI. 1999, p. 339, no. 398) mentions the preparatory drawing which is in the collection of the National Portrait Gallery no. NPG D17423 and is inscribed, Pope Paul 3rd by- Titian. April 1810. /Original O. Humphry Esq' for George Bowles Esq.. The original portrait of Paul III without cap, painted by Titian in 1543 is in the collection of the Capodimonte Museum, Naples, Italy. It seems likely that Henry Bone worked from an oil copy (possibly by Ozias Humphry) of the original Titian which has been in its current location since 1734.Pope Paul III (1468-1549) was born Alessandro Farnese. He became Pope from 1534 until his death. He called the Council of Trent in 1545. He was one of the few Popes to have fathered children before his election. He was a patron of the arts, commissioning Michelangelo to paint The Last Judgement.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 11
Christian Friedrich Zincke (German, circa 1683-1767)A gentleman, head and shoulders facing right, in a blue day-gown, white chemise with a long cravat, full-bottomed grey wig. Enamel on copper, signed on the obverse with cipher, CFZ. gilt-metal frame. Oval, 71mm (2 13/16in) highProvenance: Dr William Lindsay Gordon sale, Christie's London 2 June 2009, lot 216;The Twinight CollectionFootnotes:This is another fine example of Zincke's work executed in the decade after he arrived in London from Dresden in 1706 to be the assistant of Charles Boit, qv.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 9
Charles Boit (Swedish, 1663-1727)Anne, Queen of Great Britain and Ireland (1665–1714), seated three-quarter-length, in an ermine-lined crimson cape, lilac-coloured gown, white chemise, the lesser George on a blue ribbon at her corsage, crown and orb to dexter, interior and drapery background. Enamel on copper, signed on the obverse and dated, C: Boit pinx; / 1712, gilt-metal frame with pierced spiral cresting. Rectangular, 127mm (5in) highProvenance:with D.S. Lavender Ltd, London, 1993 Mrs T.S. Eliot, executor's sale 'A life's devotion: The Collection of The Late Mrs T.S. Eliot', Christie's London, 20 November 2013, lot 152;The Twinight CollectionExhibited:D. S. Lavender (Antiques) Ltd., London, The Monarchy in Portrait Miniatures from Elizabeth I to Queen Victoria, 1993, no. 63 (lent by D. S. Lavender (Antiques) Ltd.).Literature:C. Lloyd and V. Remington, exhibition catalogue Masterpieces in Little. Portrait Miniatures from the Collection of Queen Elizabeth II, London, 1996, p. 134Footnotes:Charles Boit, born in Stockholm to French parents, first trained as a goldsmith in his hometown before travelling to Paris to further his studies. He moved to London in 1687 where he benefitted from the protection of the Swedish portrait painter Michael Dahl. His 'very neat' work, as described by George Vertue, assured him patronage, the apogee of which was marked by his appointment as court enameller to King William III in 1696. Royal employment continued under Queen Anne, which included a commission to paint a large (40.5 x 61cm) commemorative enamel plaque celebrating the Battle of Blenheim. This highly ambitious project was abandoned due to a combination of technical, financial and political issues, ultimately forcing Boit to flee to France in 1714. In Paris he was able to re-establish his career, enjoying the patronage of the Regent, Philippe, Duc d'Orléans. In 1717 he was made an Agrée of the Académie Royale.A full-length portrait by Charles Boit of Queen Anne, depicted seated with her consort Prince George of Denmark standing to her right, is in the Royal Collection (RCIN 421497, signed and dated 1706).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 239
A rare black-ground Sèvres hard-paste plate, circa 1791Asiette uni, fond noir chinois en or platine, decorated with a black ground over its entire surface in imitation of Chinese lacquer, the chinoiseries after Jean-Baptiste Pillement, in two-tone tooled gold and platinum, the rim with three individual cartouches in the same manner, 24.4cm diam., interlace double L enclosing date letters oo for 1791, painters mark 2000 in gold for Henri-François Vincent (le jeune) and Bn for Nicolas Bulidon, (flat chip inside footrim)Footnotes:The Production and Legacy of Black-Ground Sèvres Porcelain (1778-1794)For a discussion of decoration in imitation of lacquer, see Selma Schwartz, Chinoiserie Decoration on Black-ground Sèvres Porcelain, in M. Köpplin (ed.), Schwartz Porcelain - The Lacquer Craze and its Impact on European Porcelain, vol. III (2003), pp. 98-107.With the rise of Neoclassicism in the 1770s, there was renewed interest in the furniture of André-Charles Boulle (1642-1732) as well as furniture inspired by his designs. Their materials: tortoiseshell, brass, and tin, in their black, gold, and silver appearance matched perfectly with lacquer objects. In fact, the inventories of some of the most prominent lacquer collectors show that their furniture was more often in the Boulle genre rather than made from lacquer. Selma Schwartz (op.cit., pp.98-107) explains the incorporation of lacquer imitation beyond the obvious technical advancements. In the late 1780s, a series of important lacquer furniture was delivered to the French court, including pieces for Versailles, Saint Cloud, Compiègne, and Bellevue; for Louis XVI, his aunt Adelaide, and Madame Victoire. Notably, Jean Henri Riesener created furniture for Marie Antoinette in 1783 (now in the Metropolitan Museum of Art, see catalogue illustration), intended for her Grand Cabinet Intérieur at Versailles. This furniture harmonised with the collection of Japanese lacquer boxes inherited from her mother, Empress Maria Theresa (1717–80) of Austria, by reusing choice fragments of seventeenth-century Japanese lacquer as veneer.The interest in creating porcelain that resembled lacquer and related experiments seem to have started in Sèvres around 1769, shortly after the manufactory began producing hard-paste porcelain. This was driven by the new technical possibilities and the ongoing fascination with East Asian lacquer. Two documents in the Sèvres archives (Archives, Cité de la céramique, C2/9) suggest that the manufactory explored the process of producing lacquer, possibly for applying lacquer decoration to already fired pieces. In one letter, a Parisian manufacturer of vernis (imitated lacquer) describes his recipes and the process of using black and white lacquer on porcelain. The second document, signed by the director of the manufactory, Melchior François Parent (1772-78), specifies the mixture ratios for black and red lacquer and the application of gold. However, it would take another ten years before the first lacquer imitations were produced.Between 1778 and 1782, the Sèvres manufactory produced a remarkable series of porcelain decorated in imitation of lacquer. This included a notable series from 1779 with black ground colours, achieved using a combination of iron oxide, cobalt, and manganese. These black backgrounds were often adorned with gold and silver decorations, echoing the renewed taste for lacquered furniture. However, the production was marred by technical difficulties related to the tarnishing nature of silver. Platinum, which does not tarnish, quickly replaced silver.In April 1790, the Comte d'Angiviller, Director-General of the King's Buildings and in charge of the Sèvres Manufactory, wrote to Antoine Régnier , the new director of the manufactory (1778-93), congratulating him on acquiring 3.5 pounds of platinum:It was an acquisition not to be missed, and I strongly approve of it. For I rely heavily on this new kind of decoration that no other manufactory will certainly achieve(Archives, Cité de la céramique, H5 vol.1, sincere thanks to Cyrille Froissart who first published this reference).Notable Productions and SalesBetween 1790 and 1793, Sèvres created around forty pieces with black grounds, decorated with coloured gold and platinum. These included vases, flower bowls, water pots, candlesticks, tea services, and table services. The first of these services, though with a sparser decoration of polychrome flowers on the cavetto, was sold on May 6, 1791, to the Marquis de Sémonville (1759-1839), Louis XVI's ambassador to Genoa. A second service was purchased on 4 April, 1792, by James Milmes (sic), consisting of 48 plates at 48 livres each. Some plates featured enamel flowers, while others had entirely black backgrounds with Chinese figures in gold and platinum, similar to our plate. James Milmes, as listed in the Sèvres archives, likely refers to James Milnes (1755-1805), heir to a wealthy Wakefield woollen merchant and member of Parliament. Milnes was an inconspicuous Member. He joined Brooks's Club, sponsored by Fox, on 17 May 1803 and a week later voted with the Whigs on the failure of negotiations to prevent the resumption of war with France.In late 1794, Citoyen Empaytaz & Compagnie, a company acting as agents for the King of Prussia, bought part of a black-ground service produced in 1791 that remained in stock. This service, composed of 71 pieces including 21 plates, a mix of black ground pieces with others featuring polychrome flowers on a white background. Provenance and LegacyIn the 19th century, specifically in 1844, Prince Nicolay Borisovich Yusupov (1750-1831) owned 107 pieces of the black-ground service. By 1887, the Yusupov family possessed only 32 pieces. Fifteen of these are now housed at the Hermitage Museum in Saint Petersburg, including five plates with entirely black backgrounds (see Nina Birioukova and Natalia Kazakevitch 'La porcelaine de Sèvres du XVIII siècle' The Hermitage Museum (2005), pp. 189-193, nos. 946-954). Twelve plates are in the Metropolitan Museum of Art, New York (Christian Dauterman, Sèvres (1969), p. 52, pl. II); and two others are in the Nelson-Atkins Museum of Art, Kansas City (cat.no. 33-1369 and 33-1370). Two 'seau à demi bouteille' dated 1791 are in the Getty Museum, Malibu (Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain (1991), no. 30, pp. 152-157). A jug and two hexagonal double-gourd bottles are in the collection of Belton House, Lincolnshire, NT 433527 (Patricia F. Ferguson, Ceramics: 400 Years of British Collecting in 100 Masterpieces (2016), p..). Two plates were sold at Christie's in New York in 2010 (Christie's, New York, 22 October, 2010, lot 639) and another plate was sold in 2018 from the collection of Christophe Perlès, Pescheteau-Badin, 18 June, 2018, lot 120). The source for the central scenes on the plate can found in the work of Jean-Baptiste Pillement (1728-1808). The prints after Pillement used at Sèvres can be found in Jean Avril's 'Cahier de Balançoires chinoises' of circa 1770, and the image used for this plate is on the title page (see catalogue illustration). For a study on Sèvres black-ground dessert services, see David Peters, Sèvres Plates and Services of the 18th Century (2015), Vol. IV, no. 91-4, pp. 943-945; no. 92-4, pp. 965-968, and vol. V, no. 94-11, pp. 1075-1078.For further information on this lot please visit Bonhams.com
Los 37
Henry Bone R.A. (1755-1834)Mrs. Robert Hawthorn, facing right in white dress, fringed yellow shawl and blue lined purple cloak, her fair hair dressed in ringlets, sky background. Enamel on copper, signed on the obverse HBone and inscribed, signed and dated on the counter-enamel (partly obscured by the frame) [...] Wells [...] [wi]fe of Rob:t Hawtho[rn] London Oct.r 1825. [pai]nted by Henry Bone [...] [...] painter to His Majest[y] painter to His R. H. [Du]ke of York &c&c [...] [afte]r a miniature [...] Robertson in [...], hinged gilt-metal mount with plaited hair reverse within hinged gilt-metal case with engine-turned covers. Oval, 83mm (3 1/4in) highProvenance: Christie's London, 22 November 1999, lot 31;The Twinight CollectionLiterature:D. Foskett, 'Many 19th Century Miniaturists are Still Undervalued', Antique Collecting, 1988, p. 31 ('It is the only enamel I know of which is after Robertson'), illustrated p. 29, fig. 5.Footnotes:Henry Bone's drawing for the present lot, inscribed Mrs. Hawthorn 1815 is in the collection of the National Portrait Gallery (NPG D17746).The present lot is an unusual example of Henry Bone creating a copy of a portrait miniature by one of his contemporaries. Andrew Robertson exhibited a miniature of R. Hawthorn at the Royal Academy in 1825.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 34
Henry Bone R.A. (1755-1834)John Williams Hope (1757-1813), facing left in blue coat with gold buttons and black collar, white waistcoat and frilled cravat, powdered hair. Enamel on copper, signed on the obverse, HBone, inscribed, signed and dated in full on the counter-enamel, Williams Hope Esq. Painted by Henry Bone ARA. Enamel painter to His R.H. the Prince of Wales after a Miniature painted in 1795 by R Cosway R.A. April 1806., ormolu frame, fitted red leather travelling case. Oval, 88mm (3 7/16in) highProvenance:Maxime Hébert, Paris, no. 1391. Ernst Holzscheiter, Meilen; Sotheby's, London, 9 June 1986, lot 38 Christie's, 10 December 2002, lot 37Exhibited: Arenenberg, Napoleonmuseum, Miniaturen und Karikaturen, 1954, no. 5 (lent by Ernst Holzscheiter)Footnotes:A miniature of the sitter by Richard Cosway, signed and dated 1796, was sold from the di Portanova Collection, Christie's, New York, 20 October 2000, lot 37 and is illustrated in D. Foskett, Miniatures: Dictionary and Guide, Woodbridge, 1987, p. 360, pl. 104C.Henry Bone's drawing for the present lot, inscribed - Williams Hope Esqre after/ Cosway - for Sir F. Baring-/ Decr 1806 is illustrated in R. Walker, Henry Bone's Pencil Drawings, The Walpole Society, LX, 1999, p. 331, no.277; and is the collection of the National Portrait Gallery (NPG D17601). John Williams Hope was a banker and merchant, a partner in Hope & Co, a famous Dutch bank that spanned two and a half centuries. The son of William Williams, he assumed the name of Hope on his marriage to Ann, niece and heiress of Henry Hope. A banker in Amsterdam, he was one of the eight statesman of Holland 1794-1806.Sir Francis Baring, 1st Baronet (1740-1810) who commissioned the present lot was an English merchant banker.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 22
Henry Bone R.A. (1755-1834)Sir Martin Frobisher (c.1535/9-1594), privateer, explorer and naval commander, wearing white doublet with large pearl buttons and embroidered cuffs, pleated white ruff, black cloak and gold chain necklace. Enamel on copper, signed on the obverse, HBone and signed, dated and fully inscribed on the counter-enamel, London March 1803./ Painted for the Rt Honble the Earl of Suffolk/ by Henry Bone A.R.A. Enamel Painter to/ H.R.H. the Prince of Wales after the/ Original Picture by Leonardo da Vinci/ in His Lordship's Collection, gilt-wood frame with gilt-metal slip engraved Enamel HBone, R.A. Rectangular, 177mm (6 15/16in) highProvenance:Christie's London, 17 May 2017, lot 97;The Twinight CollectionFootnotes:A preliminary drawing, squared for transfer of a later version of the present lot by Henry Bone, inscribed Sir Martin Frobisher after the/ Original in Dulwich College June 1818 is in the Collection of the National Gallery, London, no. NPG D17156.Sir Martin Frobisher made three voyages to the New World looking for the North-west Passage. He probably sighted Resolution Island near Labrador in north-eastern Canada, before entering Frobisher Bay and landing on present-day Baffin Island. On his second voyage, Frobisher found what he thought was gold ore and carried 200 tons of it home on three ships, where initial assaying determined it to be worth a profit of £5.20 per ton. Encouraged, Frobisher returned to Canada with an even larger fleet and dug several mines around Frobisher Bay. He carried 1,350 tons of the ore back to England, where, after years of smelting, it was realized that the ore was a worthless rock containing the mineral hornblende. He was later knighted for his service in repelling the Spanish Armada in 1588.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 36
Henry Bone R.A. (1755-1834)Sir William Ponsonby (1772-1815), wearing fur-trimmed brown cloak over armour. Enamel on copper, signed, dated and fully inscribed on the counter-enamel, London/ July 1807 / Painted by Henry Bone ARA/ Enamel Painter to HRH/ Prince of Wales/ Miniature, gilt-wood frame. Rectangular, 112mm (4 7/16in) highProvenance:By Family DescentPurchased from Philip Mould & Company, 23 May 2008 ;The Twinight CollectionFootnotes:Bone's preliminary drawing for the present lot, inscribed, after Saunders June 1807/ Col. Ponsonby., is in the Collection of the National Portrait Gallery, London, no. NPG D17594. Ponsonby was not, despite Bone's hurried note, made a full Colonel until 1810, but had been a Lieutenant Colonel since 1800. The enamel dates from the year of his marriage to the Hon. Georgiana Fitzroy, sixth daughter of the First Lord Southampton (described as a 'lady of very uncertain temper') and may have been a gift to her. Ponsonby, a member of an Irish aristocratic family, was a long-serving Guards officer. He won a seat in the Commons as a supporter of the Whig opposition, which was led by his uncle, George Ponsonby, but he was mostly away on military service. Ponsonby commanded the Union Cavalry Brigade at Waterloo, where he was killed in action after a charge in which his horse got stuck in the mud. In his Waterloo Dispatch, Wellington expressed his grief 'for the fate of an officer who had already rendered very brilliant and important services, and was an ornament to his profession'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 72
Henry Pierce Bone (British, 1779-1855)The English dramatist and poet Thomas Otway (1652-1685), with long curling brown hair, wearing a draped brown cloak with white shirt and upturned collar. Enamel on copper, signed, dated and inscribed on the counter-enamel, Otway/ London June 1841 Painted by/ Henry Pierce Bone Enamel Painter to Her/ Majesty & H.R.H. Prince Albert the/ Queen Dowager & H.R.H. the Duchess/ of Kent. From the Original by Mary/ Beale. In the Collection of Earl/ Spencer Althorp, rectangular gilt-wood frame. Oval, 146mm (5 3/4in) highProvenance:The Twinight CollectionFootnotes:Thomas Otway wished to become an actor but his stage fright was so severe that he performed badly and decided to never return to the stage. He realised that writing might be a better fit than acting, and he found a muse in the actress Elizabeth Barry. His infatuation with Barry was increasingly one-sided. She flirted with him but was already in a relationship with the Earl of Rochester. This, combined with his poor finances, encouraged Otway to join the army, where he served in the Netherlands. When his regiment was disbanded, Otway had to make his own way back to London, arriving almost penniless in 1679. He continued writing, and produced some of his most famous works in the last few years of his life. The possibly apocryphal story of his death, as told in Lives of the Poets, is that Otway choked on a piece of bread after begging a guinea from a passer-by who recognised him. He was just 33 at the time of his death.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 60
Henry Pierce Bone (British, 1779-1855)James Graham, 1st Marquis of Montrose (1612-1650), facing right in gilt-studded armour and white lawn collar, black skull cap in his curling fair hair, small beard and moustache. Enamel on copper, signed and dated in full on the counter-enamel, July 1838 James Graham 1st Marquis of Montrose London. Jany. 1839. Painted for J.P.Ord Esq by Henry Pierce Bone. Enamel Painter to the Queen Dowager & her R.H. the Duchess of Kent. The Original by Vandyck, in the Collection of the Duke of Montrose Buchanan Castle N.B., gilt-metal slip engraved, ENAMEL H.P.BONE, gilded composition frame with rocaille, scroll and floral mouldings. Rectangular, 130mm (5 1/8in) highProvenance:Christie's London, 28 May 2002, lot 11The Twinight CollectionFootnotes:In 1644, the Scottish soldier and Royalist, James Graham, Marquis of Montrose, was appointed Lieutenant General in Scotland and commissioned to reconquer the country. He managed to enter Glasgow and summon a parliament, but he was eventually defeated in a surprise attack and escaped abroad. Upon his return in 1650, he was betrayed, captured and hanged by the Presbyterians in Edinburgh.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 42
Henry Bone R.A. (1755-1834)Elizabeth Chamberlain Towry (d.1806), her upswept curling brown hair held with a peach bandeau and wrapped in a gauze scarf, wearing a high-necked, white silk dress with jewelled clasps. Enamel on copper, signed, dated and indistinctly inscribed on the counter-enamel [...][...] Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after/ [...][...]Lawrence RA/ July 1808, gilded composition frame with scrolling acorn leaf mouldings, within a laurel leaf and ribbon border. Rectangular, 95mm (3 3/4in) highProvenance:The Canterbury Auction Gallery, 23 June 2009, lot 371 (as Anne Lady Ellenborough) ;The Twinight CollectionFootnotes:Elizabeth was the wife of Captain George Henry Towry (1767-1809), a Royal Navy officer best known for his service as commander of the frigate HMS Dido, in the action of 24 June 1795 in the Western Mediterranean Sea during the French Revolutionary Wars. Elizabeth and George married in 1802, a marriage noted for its 'greatest harmony and most perfect happiness' until her untimely death in 1806 which left him grief-stricken.The original drawing (squared for transfer) for the present lot is in the collection of the National Portrait Gallery, no. NPG D17263 and inscribed The Late Mrs. Towry/ after Lawrence for Captn T./ May 1808. A further drawing relating to an oval version of the present lot, dated December 1807 is also in the collection of the National Portrait Gallery no. NPG D17336.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 171
A London gilt-metal-mounted rectangular enamel tobacco box with tamper, circa 1755Each side with a relief quatrelobed panel painted in crimson camaieu with a landscape vignette, the sides with a boy playing bagpipes and a seated girl the lute, the front and back with a couple fishing, the corners with blue foliate scrollwork, the cover with a scene depicting two boys and a girl with fish and a crayfish and blue shell-devices to the corners, the inside cover with a polychrome landscape scene depicting a dancing couple and a seated flute-player, the base with a recessed quatrelobed panel painted in crimson with a fisherman by a classical ruin and blue flowers in the corners, the tamper painted on both sides with scattered flowers and leaves and mounted with a gilt-metal rim and handle, the mounts with scrollwork thumbpiece, 12.5cm across (2)Footnotes:Provenance:Ole Olsen Collection, Copenhagen, sold Winkel & Magnusson, Copenhagen, 4 May 1953, lot 565;Anon. sale, Sotheby's London, 24 October 1988, lot 355;British American Tobacco Collection of Eighteenth-Century Tobacco Containers & Accessories (acquired in the above sale)For further information on this lot please visit Bonhams.com
Loading...-
396323 Los(e)/Seite