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
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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
Henry Pierce Bone (British, 1779-1855)John Charles Spencer, Viscount Althorp, 3rd Earl Spencer (1782-1845), as Chancellor of the Exchequer, full length in Chancellor's robes over black mourning suit, standing beside a George II giltwood console table from Spencer House draped with green cloth, his right hand resting on a document entitled 'Amendment of the Poor Laws', large leather-bound books and folio propped against table leg, inkwell, salt cellar and quill on silver stand on table, red curtain, pillar and curtain interior; landscape background. Enamel on copper, signed and dated on the spine of the largest leather-bound book 1835. HPBone, signed, dated and fully inscribed on the counter-enamel, John Charles Earl Spencer Viscount Althorp, later Chancellor of the Exchequer London Feby. 1835 Painted from Life by Henry Pierce Bone Enamel Painter to Her Majesty and their Royal Highnesses the Duchess of Kent & Princess Victoria, frosted ormolu mount engraved on lower edge ENAMEL. H.P. BONE., gilt-wood frame. Rectangular, 350mm (13 3/4in) highProvenance: Commissioned by John Charles, Viscount Althorp, later 3rd Earl Spencer (1782-1845) and thence by descentThe Spencer House Sale, Christie's London, 8 July 2010, lot 1065The Twinight CollectionExhibited:London, Royal Academy, 1835, no. 436, as Viscount Althorp (now Earl Spencer) Chancellor of the Exchequer, - enamel, from the life H.P. BoneLondon, South Kensington Museum, Special Exhibition of Portrait Miniatures, June 1865, no. 1336 (lent by the Earl Spencer).Footnotes:Unlike the majority of Henry Pierce Bone's works, in this instance, the drawing was taken from life, rather than from an existing portrait, probably at Spencer House in London, before a view of Green Park.A year before the present miniature was executed, John Charles, Viscount Spencer sat for Henry Pierce Bone in a plain black coat and without his robes of office. This smaller, head and shoulders, octagonal enamel dated August 1834 was sold anonymously at Sotheby's London, 6 November 1997, lot 267 (erroneously identified as having been exhibited at the Royal Academy in 1835, no. 436) and is now in the Spencer Collection at Althorp.John Charles Spencer, 3rd Earl Spencer, PC, DL, FRS, styled Viscount Althorp from 1783 to 1834, was a British statesman and abolitionist. He was Chancellor of the Exchequer under Lord Grey and Lord Melbourne from 1830 to 1834. Due to his reputation for integrity, he was nicknamed 'Honest Jack'.The George II gilt-wood console table next to which Viscount Althorp stands was designed by James 'Athenian' Stuart for the Great Room at Spencer House, St James's and is now at Althorp. The document on the table entitled 'Amendment of the Poor Laws' refers to the New Poor Law Amendment Act of 1834 which followed the Reform Act of 1832. Under the premiership of Lord Grey, Viscount Althorp was instrumental in bringing about these constitutional reforms considered, 'the great aim and object of his political life' (D. Le Marchant, Memoir of John Charles, Viscount Althorp, third Earl Spencer, ed. H. D. Le Marchant, 1876).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
Henry Bone R.A. (1755-1834)Sir Thomas Smythe (c.1558-1625), wearing black robes, cap and fur stole, his right hand resting on a globe, a ring on his left hand, which holds a pair of gloves. enamel on copper, signed, dated and inscribed in full on the counter-enamel: Aetis suce, 33__/ Sir Thos: Smythe Born March 28th 1512/ Died Augst 12th 1577__/ 1526__ Sent to Queens Coll: Cambridge__/ 1535__ Brought in a new manner of pronouncing/ Greek, which prevailed in the University/ 153*__ Made University Pastor__/ 1539__ Took the Degree of Dr of Civil Law at P[...]/ 1542__ Regi[...] Professor of Civil Law at Cambridge/ Preceptor to Edward 6th/ Master of Requests to the Duke of Somerset./ Steward of the Stanaries. Provost of Eaton./ Dean of Carlisle./ 1548__ Secretary of State & Knighted by Edward 6/ 1551__ Ambassador to France/ Allowed a Pension of £100 per annum in Marqis Reign/ 1558__ Employed by Elizabeth in the Settlement of Religion/ S[...] Ambassador to France/ 1571__ Made Chancellor of the Garter/ 1572__ Secretary of State - author of several Works/ & a Man of great Learning &c. &c./ London Decr 1814 Painted by Henry Bone R.A./ Enamel painter in Ordinary to His Majesty & Enamel/ painter to HRH the Prince Regent after the Original/ by Holbein in the Possession of Sir Willm Smythe [...]/ of Hill Hall Essex, gilt-metal slip engraved, ENAMEL HBONE, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon and Turnbull, 14 January 2015, lot 22;The Twinight CollectionFootnotes:Sir Thomas Smythe was an English merchant and politician. He was the first Governor of the East India Trading Company and was elected a Member of Parliament in 1614 and 1622. The present lot derives from a painting by Hans Holbein once at Hill Hall, Essex. A number of variants of Holbein's portrait exist, including one by Thomas Hudson in the Collection of Queen's College, Cambridge University and one from the Collection at Spains Hall, Finchingfield that was sold in these rooms on 24 October 2018 (lot 44).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
Henry Bone R.A. (1755-1834)The Shipwreck of Aeneas. Enamel on copper, signed and dated, HBone/ Aug 1817, inscribed along the top edge, London, July 1817, Painted by Henry Bone R.A. Enamel painter in Ordinary to his Majesty and Enamel painter to H.R.H. the Prince Regent after the Original by Rubens in the Collection/ of Thomas Hope Esqr, pierced gilt-wood frame with rocaille and acunthus leaf detail. Rectangular, 231mm (9 1/8in) highProvenance: Bonhams London, 18 November 2003, lot 148;The Twinight CollectionFootnotes:The present lot is an unusual example of Bone's work in that it is not portrait based. Whilst he is recorded as having enamelled historical and mythological subjects, they are still predominantly figurative, whereas the present enamel is almost purely a landscape.The Shipwreck of Aeneas off the Carthaginian coast in 1176 BC forms the first book of Vigil's Aeneid. The original by Rubens, painted during his Italian stay circa 1605, is currently in the Berlin-Dahlem, Staatliche Museen. The landscape was identified in 1677 by Roger de Piles, secretary to the then owner, the Duke of Richlieu in Paris. It shows the Medieval Castle built by the Genoese in 1161, situated at the top of a point dominating the now called Grotto of Byron at Porto Venere. At the foot of the hill is the Church of San Lorenzo, built in 1116 in the Lombardian style. For an illustration of the prototype, cf. Michael Jaffé, Catalogo Completo Rubens, Milan, 1989, pp.92-3.This publication states that the painting was owned by a Lady Stuart, until 1841. However as the present lot indicates, the enamel was owned by Thomas Hope (1769-1831) by at least 1817. This is a good example of how important Nineteenth Century enamel copies, with their detailed inscriptions, are in confirming the ownership and provenance of Old Master paintings. After Thomas Hope, the Rubens painting (and presumably the present enamel) passed to Henry Thomas Hope (1808-1862) and thence to his nephew Lord Francis Pelham Clinton Hope (later 8th Duke of Newcastle under Lyne) (1866-1941) and then to Sir Alfred Beit Bart, who gave the painting to the Kaiser-Friedrich-Museums-Verein in 1899. Thomas Hope was in possession of a number of Old Master paintings belonging to his younger brother Henry Philip Hope (1774-1839), which had formed part of the Hope Collection, formed by their father John and great-uncle Adrian. However once the paintings had been inherited by Lord Francis, they were to leave the family as a result of his bankruptcy through gambling in 1894. At the same time, the famous 45.52 dark blue 'Hope' diamond (now in the Smithsonian Institute), which had also been passed down through two generations of the illustrious banking family, was sold. It is most probable that Francis owned the present lot in addition to his other heirlooms and that it too was sold to ease his debts.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
Henry Bone R.A. (1755-1834)Charles Grey, 2nd Earl Grey, KG PC (1764-1845), facing left in blue coat, white waistcoat and tied cravat, powdered hair; red curtain, pillar and sky background. Enamel on copper, signed on the obverse, HBone and in full on the counter-enamel, Charles Grey Esq. M.P. Henry Bone pinxt Augst 1794, gilt-metal frame surmounted by a coronet. Oval, 92mm (3 5/8in) highProvenance: Christie's London, 10 December 2002, lot 38The Twinight CollectionFootnotes:Henry Bone's drawing for the present lot, inscribed Honble C. Grey/ 1794 is in the collection of the National Portrait Gallery (NPG D17551).Another version of this enamel, signed and dated September 1820, sold Christie's, London, 10 July 1991, lot 129, now forms part of the Draper Gift at Kenwood House (Miniatures at Kenwood. The Draper Gift, London, 1997, no. 67, illustrated p. 157). Both enamels are based on an oil portrait by Sir Thomas Lawrence known from a lithograph (Bridgeman Images no.XJF142407).Charles Grey was the eldest surviving son of General Sir Charles Grey, K.B. and Elizabeth, daughter of George Grey. In 1786 he was returned member for Northumberland. He was one of the managers of the impeachment of Warren Hastings and in 1792 he helped to found the Society of Friends of the People. He introduced the motion for the impeachment of Pitt and took a prominent part in the temporary session of the Whigs from parliament. He also denounced the union between England and Ireland. In 1806, he became First Lord of the Admirality and on the death of Fox, foreign secretary and leader of the House of Commons. He carried through the act abolishing the African slave trade. In 1831, he became Prime Minister and again in 1832-1834 when he successfully saw through the first Reform Act but dissensions sprang up and in consequence of his Irish difficulties he resigned in July 1834. He married Mary Elizabeth, daughter of William Brabazon Ponsonby, in 1794 and they had fifteen children but also had liasons with Georgiana, Duchess of Devonshire.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
Johann Heinrich von Hurter (Swiss, 1734-1799)A Gentleman, head and shoulders facing right, wearing black doublet, white ruff, brown hair and moustache. Enamel on copper, signed and dated on the counter-enamel, JHHurter pinxit./ 1777., gilt-metal mount. Circular, 68mm (2 11/16in) highProvenance: Christie's London, 7 December 2004, lot 119;The Twinight CollectionFootnotes:Johann Heinrich Hurter, born in Schaffhausen, first pursued a career as a pastellist, enamel painter and miniaturist in Berne and Geneva. He moved to London circa 1777, subsequently exhibiting at the Royal Academy in the years 1779–1781. He received patronage from the royal family, as is revealed by enamel portraits by him of King George III, Queen Charlotte and some of their children in the Royal Collection (RCIN 421869, 421943, 421945, 421970 and 421972). From the mid 1780s he divided his time between England and the Continent. In 1789 he was ennobled by Karl Theodor, Prince-Elector of Bavaria, becoming a Reichsfreiherr.This enamel is based upon an oil painting by Sir Anthony van Dyck.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
Follower of Noah Seaman (British, active 1721-1731)William Dolliffe, wearing lilac-coloured coat with white braiding over lace chemise and tied stock, powdered bag wig. Enamel on copper, turned wood frame, the reverse bearing paper label inscribed, Wm Dolliffe's/ Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. Oval, 42mm (1 5/8in) highProvenance:Bonhams London, 19 November 2008, lot 12; The Twinight CollectionFootnotes:The backing paper is inscribed in a later hand Mr Dolliffe's /Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. The three families were related: Anne Bateman (1692–1773), daughter of Sir James Bateman, married, as her second husband James Doliffe. Her daughter Sarah, from her first marriage to William Weston, married William Hanbury.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
Henry Pierce Bone (British, 1779-1855)Henry Bone, R.A (1755-1834), the artist's father, facing right, in black coat, waistcoat and frilled cravat; draped red curtain background. Enamel on copper, rectangular gilt-wood frame. Oval, 122mm (4 13/16in) highProvenance:Christie's London, 10 December 2002, lot 39The Twinight CollectionFootnotes:Another version of the present lot was sold Bellmans, 28 March 2023, lot 52. This example, which had remained in the possession of Henry Pierce Bone and was passed down to his son and then grandchildren before being gifted to the family of Richard Henry Egerton Russell was fully inscribed on the counter-enamel, Henry Bone R.A. / Enamel Painter to George 3rd, / George 4th & William 4th. / London March 1845. Painted by his / son Henry Pierce Bone Enamel / Painter to Her Majesty & H.R.H. Prince / Albert, the Queen Dowager & HRH. / the Duchess of Kent. From an / Oil Picture painted by him (Henry / Pierce Bone) in 1805. / Born Feb. 6th 1755. Died Dec. 17th 1834.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
Henry Bone R.A. (1755-1834)Saint Cecilia, Patron Saint of Musicians, wearing a coronet of red and white roses in front of her halo, standing before Classical columns and arches, holding a palm – the symbol of her martyrdom – in one hand and a sheet of music in the other; to the left, a portable organ; to the right an angel leans on a harp. Enamel on copper, inscribed, signed and dated on the counter-enamel, London/ April 1811/ Painted by Henry Bone RA Enamel/ painter in Ordinary to His Majesty/ and Enamel painter to His RH the/ Prince Regent after the Original/ by Dominichino in the possession/ of William Wells Esq/ Original 3feet, 7in/ 4 - 9, gilded composition frame. Rectangular, 214mm (8 7/16in) highFootnotes:Provenance: Twinight CollectionHenry Bone's drawing for the present lot, inscribed St Cecelia after Dominichino June 1811 For Thos. Hope Esq.-/size of Picture H 3-7 1/2 by 4-8in is in the collection of the National Portrait Gallery (NPG D17419).The present lot was commissioned by Thomas Hope (1769-1831), an interior and Regency designer, traveler, author, philosopher, art collector, and partner in the banking firm Hope & Co. He is best known as an early promoter of Greek Revival architecture, opening his house as a museum and his novel Anastasius, a work which many experts considered a rival to the writings of Lord Byron.The original painting was previously thought to be by Domenichino (as borne out by the inscription on Henry Bone's drawing). This attribution goes back as far as the eighteenth century, when it was in the collection of a Scottish nobleman, Sir Robert Udny. The painting, now in the collection of the National Gallery, London (NG5284) was later considered to be by an unknown Roman painter, but is now correctly attributed to Pietro da Cortona. Pietro da Cortona was one of the most influential and prolific figures of the Roman Baroque who decorated many of Rome's churches and palaces. The painting is one of a small number of works stylistically linked with his frescoes in the Palazzo Mattei in Rome, datable to shortly before 1624–5. Cortona's early works include a profusion of classical architecture and other references, such as the temple seen in the background here.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
Henry Pierce Bone (British, 1779-1855)John Feckenham visits Lady Jane Grey in the Tower of London. Enamel on copper, signed and dated on the obverse, HP. Bone 1833, signed, dated and inscribed in full on the counter-enamel, Lady Jane Grey London, Septr. 1833. Painted by Henry Pierce Bone. Enamel Painter to Her Majesty and their Royal Highnesses the Duchess of Kent & Princess Victoria. From the Original by J. Northcote R.A. in the Collection of Joseph Neeld Esq. M.P., gilded slip engraved, ENAMEL H. P. BONE, gilded composition frame with scroll, acanthus leaf and floral detail, the inner mount hinged and accompanied by a key for the lock, reverse of frame with handwritten label inscribed, No I/ Lady Jane Gray in prison/ after Northcote/ Enamel/ H. P. Bone/ 12 Percy Street/ Bedford Square. Rectangular, 315mm (12 3/8in) highProvenance: Christie's South Kensington, 21 September 2010, lot 156The Twinight CollectionFootnotes:The whereabouts of the original painting by James Northcote R.A. are unknown, but an engraving by William Bromley (1769-1842) inscribed 'Published as the Act directs by R. Bowyer, Historic Gallery, London, May 20, 1795', a plate to Bowyer's edition of David Hume's History of England, 1795 is in the Royal Collection no. RCIN 601004.This scene took place on 10 Feburary 1554. John Feckenham, confessor to Queen Mary visited Lady Jane Grey in the Tower of London in the hope of converting Jane to the Catholic faith. The debate that took place between the two individuals was documented and apparently signed in Jane's own hand. Within months of her death, printed material containing the famous debate were being produced and circulated to demonstrate Jane's strong religious beliefs in the Protestant faith.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
A Meissen clock case and a stand, late 19th centuryMoulded with gilt- and turquoise-edged scrollwork and applied on each side wit trailing flowers, the enamel dial enclosed by a shell-moulded cartouche, each side with painted flower sprigs and scattered blooms, the neck with pierced, gilt-edged trellis panels, surmounted by a seated pastoral couple, on a similarly-decorated rectangular base, together with a winding key, 60cm high overall, crossed swords mark in underglaze-blue, incised model number 'No. 373', painter's numeral 16. in red, the base with crossed swords mark in underglaze-blue above one incised cancellation mark, incised 'No;572', impressed 70, painter's mark 12 in iron-red (typical small chips) (3)Footnotes:Provenance:Kelham Hall, Nottinghamshire, thence by descentFor further information on this lot please visit Bonhams.com
A Sèvres pâte-sur-pâte vase and cover (vase Boizot), circa 1897Of flared form applied with gilt-edged goats head handles, on a circular foot and with a domed cover, gilt-edged rims, decorated with a winged female figure holding a bow and two birds on a base enclosed by folaite scrollwork. 37.5cm high, S.76 in an oval stencilled in green, RF monogram and 'DECORE A SEVRES 97' within concentric circles stencilled in red, A 9.76.3 in green, 3 in white enamel (cover flange restuck) (2)Footnotes:The 'pâte caméleon' or 'pâte changeante' was probably developed by Alphonse Salvétat and was first shown at the 1862 London Exhibition and reported in the Illustrated London News. This drew attention to 'chameleon ware', which changed from grey in daylight to pink in artificial light. Salvétat listed the names of Gély and Solon as the two artists responsible, while other artists mentioned were Hyacinthe Règnier, Pierre Adolphe Dammouse and Claude-Edouard Forgeot. see Bernard Bumpus, Pâte-sur-Pâte, colour plate VII.For further information on this lot please visit Bonhams.com
A Sèvres plaque depicting Anne d'Autriche after Rubens, circa 1814-1824Signed Arsène and C in black enamel, the Archduchess seated on a red velvet chair under a red baldachin, facing sinister and wearing elaborate jewellery, holding a bouquet of flowers, an elaborate baroque interior with Corinthian columns and enfilade of rooms behind her, ina modern giltwood frame, 22.7cm x 18.5cm unframed printed factory mark of interlaced double L enclosing fleur de lys and Sèvres, incised 9oU I and title inscription in green,Footnotes:Provenance: Christie's, Paris, 17th December 2009, lot 53;With Michel Vandermeersch; The Twinight CollectionPainted by Mlle Arsène Trouvé (1818-22; 1827) and Jean-Marie-Dominique Troyon (1802-1817). The portrait is titled on the reverse as 'Portrait d'Elisabeth de Bourbon, Peint d'après Rubens. This is erroneous however, as the painting is based on a copy after a lost original painted by Rubens dating to 1620-1625. Anne of Austria was the eldest daughter of King Philip III of Spain and his consort Margaret of Austria. She not only held the titles of Infanta of Spain and of Portugal but also that of Archduchess of Austria. She married Louis XIII in 1615 at the age of thirteen, and was the mother of Louis XIV (1643-1715) and Philippe I, Duke d'Orléans.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
A Sèvres plate with cameo centre, circa 1808Decorated with a plain red border outlined in gilding, the centre with a simple gold band enclosing a finely painted cameo en grisaille of Hera 23.6cm diam., M.Imp.le de Sevres 8 in red enamel to the base, incised marks and L. in red script (minor rubbing to gilding)Footnotes:The source for the many of the cameos painted on pieces from Sèvres services is the three-volume work Iconographique Grec (1811) by Ennio-Quirino Visconti, keeper of antiquities at the Louvre, which publication was commissioned by Napoleon himself (see: Wittwer Raffinesse & Eleganz (2007), p. 158f.).Although not know if this plate was a sample plate for a larger service or indeed a one-off commission, it bears resemblance to the service given to the King of Württemberg by Napoleon Bonaparte in 1809. The King had remarked favourably about a service with cameo decoration he saw at the factory on his earlier visit to Paris, and it was added to the list of diplomatic gifts to the Württemberg Court; see C. Leprince, Napoléon I & Sèvres (2016), cat.no.128.For further information on this lot please visit Bonhams.com
A Sèvres green-ground cup and saucer, circa 1811Decorated in gilding with a broad band of foliate motifs, around a central foliate motif on the saucer, below a band of shield motifs alternating with berries below a beaded border, the saucer: 13.4cm diam.; the cup: 6.2cm high, 'M.Imp.le/ de Sevres/ 1811' stencilled in iron-red, D.I to cup and D.12. to saucer in green enamel, incised t (cup) and Cx (saucer) (very minor rubbing) (2)For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)The sculptor, Sir Francis Leggatt Chantrey, RA. (1782-1841), in black morning suit, blue waistcoat with gold fob-seal, standing three-quarter length beside the bust of William Hyde Wollaston, F.R.S. (1766-1828) on a plinth. Enamel on copper, signed, dated and inscribed on the counter-enamel, Francis Chantrey Sculptor. RA./ London/ 1831 I Painted in Enamel by Henry Bone RA. / Enamel painter to His Majesty &c &c / after the Original by ).Jackson RA., frosted gilt-metal mount, engraved Sir Francis Chantrey RA/ Enamel HBone, RA., ormolu mount and gilded composition frame, the reverse with gilt-metal plaque engraved, Sir Francis Chantry RA/ THE SCULPTOR/ BY HENRY BONE RA/ THE GIFT OF HIS WIDOW/ Lady Chantry/ to A C BURDETT COUTTS, and a handwritten monogrammed note, With/ affectionate love/ from M.A.C./ to her ever kind friend/ Miss Burdett Coutts/ June 29th 1869. Rectangular, 242mm (9 1/2in) highProvenance: Lady Mary Chantrey (1787-1875), given in 1869 to Angela Georgina Burdett-Coutts, 1st Baroness Burdett-Coutts (1814-1902);The Rt. Hon. William Burdett-Coutts, M.P. (c. 1851-1921);Christie's London, 11 May 1922, lot 412 (40 gns. to Guerin);Leo R. Schidlof (1886-1966) Collection, Vienna, in 1924;Christie's London, 4 March 1992, lot 95;Christie's London, 10 June 2010, lot 135;The Twinight Collection Exhibited:London, Royal Academy, 1831, no.455London, New Gallery, Exhibition of the Royal House of Guelph, 1891 Vienna, Albertina, Internationale Miniaturen-Ausstellung in der Albertina Wien, 1924, no. 102 (lent by Leo R. Schidlof)Geneva, Musee d'Art et d'Histoire, Chefs-d'oeuvre de la Miniature et de la Gouache, 1956, no. 50. Literature:H. Clouzot, Dictionnaire des miniaturistes sur email, Paris, 1924, p. 31.L.R. Schidlof, The Miniature in Europe, Graz, 1964, I, p. 93.R. Walker, Regency Portraits, London, 1985, I, p. 105.R. Walker, 'Henry Bone's Pencil Drawings', The Walpole Society, LXI, 1999, p. 318, no. 99Footnotes:Sir Francis Leggatt Chantrey RA was the leading portrait sculptor in Regency era Britain, producing busts and statues of many notable figures of the time. His most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for St Paul's Cathedral, London.In 1807, William Hyde Wollaston patented his design of the camera lucida, the scientific instrument used by Sir Francis Chantrey to project an image onto a plate from which a tracing could be made. As well as a great inventor, Wollaston was regarded as the most skilful chemist and mineralogist of his day and was responsible for the discovery of palladium and rhodium. A plaster bust by Chantrey of Wollaston is in the Ashmolean Museum (inv. no. 664-152) and is incised Died 22 Dec 1828 / WILLIAM HYDE WOLLASTON / M.D. V.P.R.S. FC, and a marble bust made in 1829 for Mrs Seymour Bathurst and presented by Lord Bathurst to the Royal Institution in 1879, is incised WILLIAM HYDE WOLLASTON / CHANTREY SC / 1830. Henry Bone's preparatory drawing of the present enamel is illustrated in R. Walker, Regency Portraits, London, 1985, II, pl. 231. The drawing, inscribed, J. Jackson RA/ FL Chantrey - 183*/ for Mrs Chantrey 1831 and a sketch of Bone made by Chantrey, are in the collection of the National Portrait Gallery (nos. NPG D17472 and NPG 316a [13b], respectively). The present lot derives from a portrait by John Jackson R.A., a version of which is in the Tate Gallery, London (inv. no. 3672).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
Early 20th century 9ct gold open face crown wind lever pocket watch, white enamel dial with Roman numerals, outer Arabic minute ring and subsidiary seconds dial, case by Dennison, Birmingham 1918Condition Report:Approx 81.75gm, inner dust cover also 9ct, movement functioning and in good condition, dial good, case closes tight with some scratches around opening, overall well presented, case diameter = 47mm
Two silver open face key wound lever pocket watches, one by American Watch Company, case by Dennison, the other by H.Samuel, white enamel dials with Roman numerals and subsidiary seconds dial and a silver Albert chain with silver cycling fobCondition Report:Both movements functioning H Samuel inner dust cover not silver, max diameter = 50mm, chain approx 58.65gm
Early 20th century 15ct gold gold orange / yellow / peach topaz, pink tourmaline, pink sapphire peridot and diamond necklace, the pinks stones each set with four rose cut diamonds and spaced by scroll links with white enamel and black dots, to a trace link chain necklace, in fitted silk and velvet lined box by Skinner & CoCondition Report:Approx 12.55gm, tested 15ct, max depth = 0.85cm, necklace length = 42.5cm, links chain and clasp good, one tourmaline stone at end other three pink sapphires, stones with some light inclusions, a couple of claws need re pointing, each enamel scroll links with small losses, well presented necklace
Early 20th century 9ct gold full hunter crown wind lever pocket watch white enamel dial with Arabic numerals and subsidiary seconds dial, case by Benson Brothers, Chester 1922Condition Report:Approx 89.85gm, inner dust cover also 9ct, movement functioning, with some discolouration / dial good, replacement acrylic cover, hands moving freely, case closes tight, with some light scratches and very small dints, case diameter = 48mm
Gold green enamel and diamond pendant and a gold wedding band, both 18ct, gold Celtic design ring, pair of hoop earrings and a gold Accurist wristwatch, all 9ctCondition Report:Watch approx 10.45gm (including movement), movement not checked, bracelet non magnetic 9ct non stone stet approx 5.95gm, one small split to earring, ring size T, 18ct approx 5.25gm, ring size P, all hallmarked or tested
Gold white sapphire and enamel floral design pendant, suspending a single pearl, Victorian silver presentation locket, with applied gold floral decoration, 9ct gold amethyst fob pendant, Sheffield 1998 and a silver pearl and enamel laurel wreath and bow pendant necklaceCondition Report:Gold pendant approx 1.3gm (tested 19ct possibly higher gold overlay on lower carat), length = 2.5cm, good condition, locket - the reverse engraved, 9ct amethyst fob approx 6.3gm, good condition, necklace length = 42cm, central section in the middle missing, one pearl loose
Omega - Gentleman's 9ct gold cased open-face pocket watch, the signed white enamel Roman dial with blued steel hands and seconds subsidiary, Birmingham 1928, the back door and inner door both 9ct and numbered 420445, signed fifteen jewels manual wind movement, 49mm diameter (ex.winder), 77.6g gross approx., with Haywards Jewellers box
Edwardian 18ct open faced pocket watch, H. Fowle, Red Hill, having a white enamel dial with seconds subsidiary at the sixth hour and gilt metal hands, engraved case back with engine turned decoration, signed chain fusee movement numbered 5271, 46mm diameter (ex.loop), 93g gross approx, with brown leather strap
Late 19th century brass carriage clock, the white enamel dial with Roman hour markers and blued steel spade hands, retailed by H.M. Emanuel & Son, Portsea, with presentation inscription 'John G.M. Field with Asshelton Curzon's best wishes 1885', the movement numbered 46 with sticking coil gong, 13cm high, with later key
A Victorian silver and enamel medal, London College of Music, named to Audrey M Galey, for Elocution Advanced Senior, 3.25cm diam, Birmingham 1899; a naval boxing medal, named to K Mc N Walter, HMS Thunderer March 1922, Cadets Light Heavyweight; fobs, R Duggan, Captain, N.D.A.L Charity Cup 1931 - 32; J Duggan, B.J.L Runners Up 1920 - 21 (4)
Medallions – Toye, Kenning & Spencer Ltd, Churchill Centenary picture medallion, gold plated on sterling silver (Birmingham 1974) 78mm dia. by 10mm 120gr., the flan made up 2 parts which fit together with 13 accompanying small circular coloured prints within depicting events from Churchill’s life by F. Jaffe each with rev. description on the reverse of each, in fitted case of issue (450 x 550mm) with inset pair of tweezers, one of an edition of 500; Toye, Kenning and Spencer Duke of Wellington commemorative picture medal 1975, gold plated on sterling silver (Birmingham 1975) 78mm by 10mm 120gr. still in cellophane wrapping as issued, the flan made up 2 parts which fit together with 13 accompanying small circular battle prints, each with rev. description on the reverse of each, in fitted case of issue (450 x 550mm) with inset pair of steel tweezers, label on exterior suggest that this was No. 137 out of 500 issued; China, Year of the Rooster (2005) 40mm dia. Commemorative 10 Yuan piece, fine silver, matt proof with coloured enamel to obv., one ounce (28.4gr) issued by Peoples’ Bank of China, struck by Faude & Hugenin, in plastic blister, and fitted case of issue with certificate (3)
![Automobilia - a George V car badge, The Royal Automobile Club [RAC], 12cm long; another, brass; another, another, Royal Autom](https://cdn.globalauctionplatform.com/4e8e14fe-7029-4ead-ba25-b0e00091453b/19663948-a327-4a12-81cf-b18f007e0622/468x382.jpg)
A Kashmiri copper ewer or coffee pot, profusely chased in the Persian taste with stylised lotus and scrolling foliage, hinged cover, cast brass handle, 32cm high, North India, 19th/early 20th century; a Middle Eastern enamel and copper circular tray, 33cm diam; another, similar, decorated in Arabic with Islamic calligraphy (3)
![Silver and enamel Jewish Athletic Association medal fob [SCHOOL SPORTS 1909 LONG JUMP OPEN W DUNITZ 1ST] by maker Daniel Geor](https://cdn.globalauctionplatform.com/de33afc4-7272-4df8-bc06-b1990085b042/ceff5752-9cdf-4411-afeb-b19c01590aa3/468x382.jpg)
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