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534325 Los(e)/Seite
Los 51
*Item to be collected from Friargate, Derby* Metal ware - a 19th century cast iron fire plate, depicting a crown above fleur-de-lis and foliage, approx 55cm x 54cm; a Victorian brass twin standish, approx 27cm; a Victorian brass rose bowl, stamped 'Lombard England', approx 15.5cm diam; a Regency brass planter with swag detail, approx 41cm; an Art Nouveau metal wall light, approx 24cm; a Regency brass coal bucket and cover, approx 37cm high; eight Victorian horse brasses, various designs; two Regency copper samovars, and another electroplated; two Victorian cast photo frames; a pair of spelter figures; a copper coal bucket, etcCondition - wear and tear commensurate with age Object location - Drawing Room
![RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à MARIEN, AVEC DESSIN signé 'Magritte' et daté 26 mars [1952], 4 pages, in-](https://cdn.globalauctionplatform.com/639ca756-344d-44ab-8674-afc500c6e43e/c84882ec-04bc-4d75-af63-afc500d3a95e/468x382.jpg)
Los 107
RENÉ MAGRITTE (1898-1967)LETTRE AUTOGRAPHE SIGNÉE à MARIEN, AVEC DESSIN signé 'Magritte' et daté 26 mars [1952], 4 pages, in-16 (155 x 101mm.) à l'encre.Lettre amicale de Magritte à son disciple et ami Marcel Mariën (1920-1993), figure incontournable du surréalisme en Belgique. Avec Louis Scutenaire ou Paul Nougé, c'est lui qui trouvait les titres de certaines toiles du peintre, comme l'atteste cette lettre: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'En décembre 1951 Mariën s'était engagé à Rotterdam comme garçon de mess sur le Silver Ocean, un cargo suédois transporteur de fruits qui faisait la navette entre les Antilles françaises et la Normandie. Sans nouvelles de son ami, Magritte exprime son inquiétude avec un humour pince sans rire: 'Heureusement, vos cartes mentionnées ci-dessus et 2 nouvelles encore que je reçois ce jour même de Varangéville depuis le 22 mars permettent d'attribuer à votre silence momentané une cause inconnue, mais ne menaçant pas notre tranquillité relative. Envisagez-vous un terme à vos déplacements sur l'eau, même si ce terme n'exclut pas votre persévérance à naviguer aussitôt ce terme expiré?'Dans cette lettre, Magritte aborde une variété de sujets, y compris la récente visite de Magritte à l'exposition d'Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' Le peintre belge Alfred Pietercelie (1879-1955), auteur principalement de paysages dans un style assez traditionnel, fait ensuite les frais de la férocité de Magritte.Le beau dessin qui illustre cette lettre est ainsi légendé par le peintre: 'livre et interrupteur électrique'. On y voit un livre, un interrupteur, puis, à côté, l'interrupteur monté sur le livre, ce qui donne un appareil photo. Ainsi que l'explique Magritte, il s'agit d'une 'variante' du tableau L'Explication, construit sur le même principe: une bouteille, une carotte et une bouteille-carotte, qui réunit les deux. Dans le cas présent, un interrupteur, un livre et un livre-interrupteur. L'artiste ne semble jamais avoir réalisé ce tableau qui, comme il l'explique, ne le 'satisfait pas énormément'.La lettre témoigne des liens très étroits qui unissaient Magritte à Marcel Mariën. Le peintre lui parle avec une entière confiance, faisant de lui un de ses interlocuteurs privilégiés, auquel il pouvait communiquer en toute franchise ses idées et ses jugements.AUTOGRAPH LETTER TO Marcel Mariën, SIGNED 'Magritte', WITH SKETCH, 26 March [1952]. 4pp., ink on paper, 16mo (155 x 101mm.). Friendly letter from Magritte to his disciple and good friend Marcel Mariën (1920-1993), one of the essential figures of the surrealist movement in Belgium. It was him, alongside Louis Scutenaire and Paul Nougé, who suggested titles to Magritte for his paintings, as is attested by this letter: 'Les deux titres « La Rose des vents» et «Les Paradis artificiels», sont très bien, surtout le second qui paraît convenir aux 2 tableaux avec les fumées.'In this letter Magritte touches upon a variety of other subjects, including his recent visit to an exhibition of works by the artist Alfred Pietercelie, 'Hier j'ai visité l'exposition d'Alfred Pietercelie dont je vous envoie le catalogue.... Et la peinture de Pietercelie, vous la connaissez, c'est également miteux et honnête et d'une inefficacité complète, comme d'ailleurs il est possible de la trouver dans n'importe quoi si l'on veut.' The Belgian painter, Alfred Pietercelie (1879-1955), author mainly of landscapes in a fairly traditional style, is here criticized by Magritte.The letter is also adorned by a little sketch, that is captioned by Magritte as: 'livre et interrupteur électrique'. In the drawing we see a book, a light switch, and then again, the light switch added to the book, which become thus a photographic camera. As is explained by Magritte, this is a variant of his painting L'Explication, which was composed around the same principle: a bottle, a carrot and a bottle-carrot that brought the two together. In this case a book, a light switch and a book-light-switch. Magritte never realised this painting, and as he himself explains it ' ne me satisfait pas énormément'This letter bears witness to the very close bon between Magritte and Marcel Mariën. The painter speaks to Mariën in complete confidence, making him one of his privileged interlocutors – on he could communicate to his ideas and judgments in complete frankness and honesty.Footnotes:ProvenanceCollection particulière, France.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 178
DESMOND MORRIS (Né en 1928)Tripod signé avec les initiales de l'artiste, numéroté et marque du fondeur 'DM/3/8' (sur le pied arrière) bronze avec une légère patine brune Conçu en 2020signed with the artist's initials, numbered and stamped with foundry mark 'DM/3/8' (on the back leg)bronze with a light brown patinaConceived in 202030 x 18cm (11 13/16 x 7 1/16in).Footnotes:ProvenanceCollection particulière, Royaume-Uni.BibliographieS. Levy, D. Morris, Late Work, Analytical Catalogue Raisonné 2012-2020, Bristol, 2020, no.2020/15D (un autre exemplaire illustré p. 268).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 49
PAUL ELUARD (1895-1952)CONTRAT D'ÉDITION SIGNÉ. Paris, 22 février 1943, 2 pages tapuscrites. Contrat entre Paul Eluard et Gallimard pour une édition illustrée par Picasso de Capitale de la douleur, édition qui ne verra jamais le jour.Le contrat est signé par Gaston Gallimard et Paul Eluard. SIGNED PUBLISHING AGREEMENT. Paris, 22 February 1943, 2pp., typescript.Contract between Paul Eluard and Gallimard for an illustrated edition by Picasso of Capitale de la douleur, an edition that will never see the light of day.The contract is signed by Gaston Gallimard and Paul Eluard.Footnotes:ProvenanceCollection particulière, France.For further information on this lot please visit Bonhams.com
Los 7
Joseph Edgar Boehm: A carved marble bust of Lieut Col Hon Augustus Frederick Ellissigned AVC Fred.Ellis Etat24 J.E.Boehm 1876 After Chantry 1824 64cm highLieutenant-Colonel Hon. Augustus Frederick Ellis 17 September 1800 – 16 August 1841 was a British Army officer and Tory politician.Ellis was the son of Charles Ellis, 1st Baron Seaford and Elizabeth Catherine Caroline Hervey.He was educated at Eton College between 1811 and 1814 and commissioned into the 9th Regiment of Light Dragoons in 1817. On 4 October 1821 Ellis purchased a captaincy in the 76th Regiment of Foot.He stood for the Seaford constituency, a seat controlled by his father, in the 1826 general election. He was returned as the Member of Parliament alongside fellow Tory John Fitzgerald. Ellis vacated the seat to allow George Canning to hold the seat for four months in 1827, before resuming it. He rarely attended the House of Commons and focused on his military career, being promoted to lieutenant-colonel in the 60th Royal Rifles in December 1828. Ellis voted for Catholic emancipation in March 1829.Sir Joseph Edgar Boehm, 1st Baronet, RA 1834 –1890 was an Austrian-born British medallist and sculptor, best known for the "Jubilee head" of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. During his career Boehm maintained a large studio in London and produced a significant volume of public works and private commissions. A speciality of Boehm's was the portrait bust, as in this example; there are many examples of these in the National Portrait Gallery. He was often commissioned by the Royal Family and members of the aristocracy to make sculptures for their parks and gardens. His works were many, and he exhibited 123 of them at the Royal Academy from 1862 to his death in 1890.It is likely that Boehm would have made a copy of Sir Francis Leggatt Chantrey’s original executed in 1824 at a cost of £105.00, probably for another family member. Garden ornamentGarden statue Sculpture
Los 45
LEITZ MIKAS (micro ibso) Used to attach a camera to a microscopeGeorge Furst:I have used this microscope attachment a great deal over the years. In your picture it is upside down and is best used with a microscope that has a tri ocular head. The photo microscopy attachment also may have an internal shutter. The viewing lens allows you to focus the camera body and therefore solve the problem of out of focus pictures. When using one must be careful to swing the prism out of the way when taking the picture. Long exposures are usually dependent on the transmission of light through the microscope. It worked with a remote shutter cable as any movement when pushing the on camera shutter button could cause vibration and affect the final pictures after using it.
Los 140
JOHN CHARLES MAGGS (BRITISH, 1819-1895)The Cock Inn, Bishopsgate Streetsigned 'J C Maggs' (lower left) and inscribed with title (on canvas return)oil on canvas36 x 66cmProvenanceSporting Art and Dogs, Christie's, London, 22nd November 2001, lot 61;Private collection, UKCondition reportThe canvas has been relined but the paint surface retains some impasto and is in good, clean condition. Ultraviolet light reveals retouching to craquelure in the sky, upper right, some minor retouching to outline of buildings. held in a later plaster gilt frame in fair condition.
Los 195
AFTER ELISABETH JERICHAU-BAUMANNThe Norwegian Widowbears signature and date (lower right)oil on canvas98 x 68cmProvenanceIn the private collection of an aristocratic Danish family;Thence by family descentFootnoteThere is a work of this title (The Norwegian Widow) fully attributed to Elisabeth Jerichau-Baumann in The Royal Collection, situated in the Drawing Room at Osborne House on the Isle of Wight (RCIN 403883). It was acquired by Queen Victoria after the artist's exhibition at the Bridgewater Gallery in June 1852 and is recorded as being at Osborne House in 1876.We believe the version of The Norwegian Widow being sold here to be a copy executed during a similar period to the original. The fully attributed work in The Royal Collection is signed and dated 1852, whereas the version here bears her signature and the date 1851.Condition reportCraquelure visible to various areas, most of it fine craquelure.Some minor blistering, mostly to chair back and some minor paint separation.Surface dirt.Variation to varnish to top of chair back at left edge.Inspection under uv light reveals a very uneven varnish which prevents further readings.
Los 223
WILLIAM CHRISTIAN SYMONS (BRITISH, 1845-1911)Sheep near Udimoreoil on canvas51 x 76cmProvenanceProperty of the Artist;Thence by family descentExhibitedHastings Museum and Art Gallery, 2nd July - 14th August 1994, no.12 (titled 'Sheep, Udimore Ridge);Rye Art Gallery, 30th January 1999 - 28th March 1999, no.14 (titled 'Sheep, Brede Valley')FootnoteThe present work was executed on the edge of the marshy flood-plain of the RiverBrede, south of Udimore.Condition reportThe canvas has been sympathetically relined and is slightly uneven in the sky, upper left. Otherwise paint surface is in good overall condition. Ultraviolet light reveals retouching to the sky, upper left, further fluorescence in the central foreground and tree upper right but these appear to correspond to the darker pigments and therefore the hand of the artist. Held in a later composite frame in fair condition.https://www.bellmans.co.uk/story/william-christian-symons-1845-1911
Los 128
CHARLES TOWNE (BRITISH, 1763-1840)A wooded landscape with a traveller on a path signed 'By C.T. ' (lower left) oil on canvas 59 x 49.5cm Provenance Sale, Christie's, London, 31st January 2018, lot 89; Private collection, LondonCondition reportThe canvas has been relined. Traces of craquelure to the paint surface - stable, otherwise surface is clean. Ultraviolet light reveals retouching to craquelure in the sky - this has been well executed. Held in a repainted plaster gilt frame in fair condition.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 105
THOMAS ROWLANDSON (BRITISH, 1756-1827) (2)A fisherman with other figures in a river landscape ink and watercolour 14.5 x 23cm together with Side Box Sketches, etched by Samuel Alken (1756-1815) after Thomas Rowlandson, a set of four etchings framed as one, each 10.5 x 15cm (2)Condition reportThere are light traces of a vertical crease to the centre of the work and light scuffing off the lower left border; otherwise sound. Framed an under glass, unexamined out of frame.PrintsAbrasions, scuffing and discolouration to the borders, otherwise generally sound throughout. Framed and under glass, unexamined out of frame.
Los 136
CIRCLE OF HENRY JOHN BODDINGTONAn extensive landscape with a country house beyond oil on canvas 97 x 145cmCondition reportThe canvas has been relined. The paint surface is in good clean condition throughout. Ultraviolet light reveals retouching to the sky, upper left, off the border; a few further smaller sections, upper centre and upper right; a few further scattered spots in the foreground.
Los 51
HENRY PIERCE BONE (BRITISH, 1779-1855) (2)Portrait miniature of Henry Pierce Bone (self portrait); Portrait miniature of his wife Anna Maria (nee Long), a pairthe first inscribed ‘Henry Pierce Bone / Feby. 1855, Painted by H.P.B. / after a drawing by his Son / C.R Bone.’ the second inscribed ‘Ann Maria / Wife of Henry Pierce Bone. / Decr 1848. Painted from Life / by H.P.B. Enamel Painter / to Her Majesy H.R.H. Prince Albert, HM the Queen Dow / -ager, & HR.H the Duchess / of Kent’ (on the counter-enamels)enamel on copperoctagonal, 12 x 9cmin rectangular gilt-metal mounts within velvet-lined box frames(2)ProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteA similar pair of miniatures painted for Henry Pierce Bone’s daughter Elizabeth in July 1847 and May 1849 was sold Christie’s, London, 9 November 1965, lot 72. They are mentioned in D. Foskett, Dictionary of British Artists, London, 1972, I, p. 172, II, pl. 22, nos. 70 and 71. Another pair painted for his daughter Maria was sold Christie’s, London, 31 March 1981, lot 72. Another was sold Christie’s, London, 20 November 2013, lot 197 from the collection of the late Valerie Eliot.Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s.Condition reportHenry Pierce Bone:Uneven surface, with an indentation centre right, including right side of face.Uneven varnish or possible bloom or surface dirt, resulting in some pale grey spots visible in places.Firing cracks to the reverse.A faint horizontal line across jacket, only visible in certain light at a certain angle, possibly as a result of the firing.Generally appears in good original condition.His wife:A little surface dirt.Some firing cracks to the reverse.Appears in generally good original condition.The present works will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 161
WILLIAM ADOLPHUS KNELL (BRITISH, 1801-1875)Ships at nightsigned 'Adolphus Knell' (lower right)oil on board19 x 30cmCondition report.The board is sound. Minor flecks of dirt and staining on the surface of the varnish, otherwise paint surface is sound. Ultraviolet light reveals an areas of strengthening just off the upper border, no further retouching. Held in a plaster gilt frame with some loss to mouldings.
Los 245
ALBERT GOODWIN (BRITISH, 1845-1932)Wells from St. Cuthbertssigned 'Albert Goodwin' (lower right), titled 'Wells' (lower left)watercolour on paper19 x 25.5cmProvenancePrivate Collection, UKCondition reportSky a little discoloured.A few very small minor spots of foxing in places, mostly in sky.Otherwise appears overall generally good.Under glass and unexamined out of frame.Not inspected under uv light.
Los 190
ELIAS MOLLINEAUX BANCROFT (BRITISH, 1846-1924)Der Weisse Thurm, Rothenburg O'Tauber, Bayern (The White Tower, Rothenburg O'Tauber, Bavaria)signed and dated 'Elias Bancroft 1911' (lower right), titled (on canvas return) and inscribed (verso)oil on canvas140 x 85cmProvenanceVictorian Paintings & Sculpture, Sotheby's, London, 16th December 1987, lot 62;Private collection, UKCondition reportOriginal canvas. The paint surface is in good clean condition throughout. No sign of retouching under ultraviolet light. Held in a later moulded frame in fair condition.
Los 66
CIRCLE OF APOLLONIO DOMENICHINIThe Grand Canal from the Palazzo Foscari, Venice oil on canvas 42 x 63.5cm Provenance Sale, Bonhams London, 3rd July 2013, lot 43, where acquired by the present ownerCondition reportThe canvas has been relined. Traces of craquelure throughout the paint surface which is stable; some frame abrasions. Ultraviolet light reveals infilling to craquelure throughout the sky, some further to the buildings and white sail. Held in a plaster gilt frame in fair condition.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 116
CIRCLE OF JOHN DOWNMANPortrait of a gentleman, head and shoulders, wearing a grey coat oil on copper oval, 17 x 14cmCondition reportVarious small marks and scratches to surface.Inspection under uv light reveals small areas of retouching, including to forehead, hair and background.An opaque varnish prevents further reading.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 133
JOHN SAMUEL RAVEN (BRITISH, 1829-1877)Sheep in a storm indistinctly signed (lower right), inscribed 'Sheep in a Storm/ this pictures is the property of H.M. Raven/ Broadstairs, Trustee to the Raven Collection/ & is loaned to Mrs Holliday/ Oak Tree House, Branch Hill/ Hampstead' (on and old label attached to the reverse) oil on panel 12 x 19cm (unframed)FootnoteSamuel John Raven appears to have been generally self-taught other than possible tuition from his father, Revd. Thomas Raven who was also an artist. His early work was influenced by the Norwich School of artists as well as Constable, Thompson of Duddingston and, particularly in his unconventional treatment of light, the work of Samuel Palmer. His later work adhered to the tenets of Pre-Raphaelitism with three works seminal paintings, Rooks Parliament, Saint-Foin in Bloom, along with a study for the latter, exhibited at Tate Britain, Pre-Raphaelite Vision - Truth to Nature (12th February -3rd May 2004, nos.39-41). A man of strong faith, Raven was described by Henry Holiday as a man who would, '...look at the beautiful sky and mountains and trees, and think of the good God that made them.'The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 31
EDWARD DAYES (BRITISH, FL. C. 1786-1804)Portrait miniature of a boy with long curling hair in a blue coatsigned with initials and dated 'E D 1786 27' (lower right)on ivory (ref. R272MH1Y)4.5cm highin a gilt metal frameProvenanceSotheby’s, London, 29 November 1976, lot 72;Private collection, UKCondition reportSome surface dirt.Some abrasions or light scratches upper right.Otherwise appears to be generally good.Under glass and not examined out of frame.
Los 75
FOLLOWER OF MEIFFREN CONTE, 18TH CENTURY (2)Still life with a ewer, flowers and other items, a pair, oil on canvas each 100 x 76.5cm (2)Condition reportBoth canvases relined. Traces of craquelure throughout and retouching to frame abrasions, visible to the naked eye, probably from a previous framing. The works are varnished which prevents conclusive reading under ultraviolet. Some areas of light bloom. Held in a matching cut-down frames in fair condition.
Los 122
JAMES PARDON (BRITISH, CIRCA 1792-1862)Portrait of Joseph Taylor Phillips Esq signed and dated 'J Pardon 1854' (lower centre, on chair) and with brass presentation plaque engraved 'Presented by the supporters of Pains Lane Races to Joseph Taylor Phillips Esq. 1854' oil on canvas 142.5 x 112cmCondition reportThe canvas has been relined. There is a protrusion to the canvas, right of the sitter's head. Retouching visible to the naked eye, upper right and left. Traces of repaired tears, upper right and off the right hand border to the red curtain. Ultraviolet light suggest retouching to aforementioned tears but the varnish prevents a conclusive reading. held in the original plaster gilt frame with a few losses to mouldings but sound overall.
Los 246
ALBERT GOODWIN (BRITISH, 1845-1932)Trummelbach Falls, Lauterbrunnensigned 'Albert Goodwin' (lower right) and titled 'Lauterbrunnen' (lower left)watercolour and bodycolour on paper11.5 x 17cmProvenanceChris Beetles, LondonExhibitedChris Beetles, London, Albert Goodwin RWS, 7th May - 7th June 1996, no.22Condition reportCraquelure around the area to the centre left heightened with white, there could be a little retouching with white here or it could be original to work, difficult tell.Under glass and unexamined out of frame.Not insulted under uv light.
Los 4
NATHANIEL HONE (IRISH, 1718-1784)Portrait miniature of Charles James Fox in a blue coaton ivory (ref. AX38PHL6)7.5cm highin a rectangular papier-mâché frameProvenanceSotheby’s, London, 28 February 1977, lot 144 (part lot,together with a portrait of Samuel Whitbread, MP by Turmeau);Private collection, UKCondition reportSome small surface abrasions, including to upper right background. Surface dirt.Otherwise appears generally good.Under glass and unexamined out of frame.Inspection under uv light reveals a little fluorescing on the jacket, to collar and edges/seams.The frame is loose, has various knocks and scratches.
Los 54
HENRY PIERCE BONE (BRITISH, 1779-1855)Portrait miniature of the artist's son, George Bone (b. 1814)inscribed ‘George Bone / [Lon]don. Ju[…] / [Paint]ed From Nature / [by Henry Pierce Bone Enamel Painter / [to] Her Majesty, and their Royal / Highnesses the Duchess of Kent / and Princess Vict[oria]’ (the inscription partially obscured by tape, on counter-enamel)enamel on copperoval, 9.5 x 7.5cmin a rectangular gilt metal mount within giltwood frame with foliate scrollsProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteGeorge Bone was one of seven children of Henry Pierce Bone and his wife Anna Maria. He married, circa 1842, Rebecca Davies, daughter of James Davies and his wife, Sarah Ann, née Knaggs. They had two daughters; Georgina Davies Bone (also known as Gina) and Alice Bone. Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s.Condition reportUneven surface but this is original to work and would have been caused in production.Two small marks catching the light at certain angles to right background but again these look like they are original to the work and would have been caused in production, they could just be part of the uneven surface.Some pale mottled grey areas to edges/background, these could be variation to varnish.Some surface dirt.Appears in generally good original condition.Frame in need of repair.
Los 67
AFTER GEORGE STUBBSPortrait of The Royal Tiger oil on canvas 78 x 117cm Provenance Purchased circa 1900 by the vendor's great great grandfather; Thence by family descentFootnoteLord Clive, Governor of Bengal, also known as Clive of India, gifted a female Indian or Bengal Tiger to George Spencer, 4th Duke of Marlborough for his menagerie at Blenheim palace in 1762/63. Blenheim Palace records show that the tiger was in the menagerie by 1763 and that the Duke was conscious of supplying it with an ample supply of food, with bills indicating that 24lbs of meat was delivered every two or three days for the tiger's consumption, at three shillings a time, as well as the odd head (presumably a cow's) for an additional fourpence. Indeed, the tiger had its own account, headed 'Meat for the Tiger'.George Stubbs painted three versions of a Portrait of the Royal Tiger, all in the same pose but on different scales. Presumably the first was the one commissioned by the 4th Duke of Marlborough, thought to be around 1763-68, measuring approximately 100 x 124cm, which still hangs in the private apartments at Blenheim.Another is known as the Portman version, named after the pictures' former owner, Viscount Portman, acquired at Stubbs' Studio Sale in 1807, it was sold by the The Trustees of the Portman family at Christie's, London, 8th June 1995, lot 64. This is the largest of the three versions measuring an impressive 139.7 x 215.9cm.Finally, there is the Mellon version, named so as it forms part of the Paul Mellon Collection. Measuring 61.4 x 72.9cm, it is now at the Virgina Museum of Fine Arts (Object No. 99.95). The picture on offer for sale here is an excellent copy, thought to date from the 19th century, after one of the original works by Stubbs. Similarities of the tiger's features and the composition of the foliage and background suggest it may be a copy after the Blenheim version, although it is quite normal for copyists to add or omit small details, therefore it is difficult to be certain.Condition reportThe picture was sent by the vendor's father to Arthur Ackermann & Peter Johnson Ltd. in the 1990s, who arranged for reframing, cleaning and restoration. Their label appears on the back of the stretcher from this time. It was sent for these purposes only and not to be put up for sale.The canvas is lined.Traces of craquelure visible throughout.Inspection under uv light reveals various areas of retouching to the craquelure; also restoration to surface abrasions, including lower right and to the Tiger's neck.An opaque varnish prevents further reading.The work appears very presentable and is in 'ready to hang' condition.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 164
ENGLISH SCHOOL, LATE 19TH/EARLY 20TH CENTURYThe Barque Iota of Swanseainscribed 'In MEMORIAM DEC 17 1889, BARQUE IOTA OF SWANSEA LAT. 17 34 N. 67 50 W' (lower centre)oil on canvas50.5 x 76cmCondition reportOriginal canvas. There are three repairs to the reverse of the canvas. Lines of paint loss above the sails, upper centre, surface abrasion, lower right. Ultraviolet light reveals a thick varnish which prevents further reading.
Los 137
R. W. FOLKARD (BRITISH, 19TH CENTURY)A grey and chestnut horse with a foal signed and dated 'R. W. Folkard Pinx 1834' (lower right) oil on canvas 71 x 92cmCondition reportThe canvas has been heavily relined. There are traces of craquelure throughout the paint surface and some light surface dirt; also slight discolouration to the varnish. Ultraviolet reveals traces of old retouching to frame abrasions. Held in a maple frame in fair condition.Provenance; Local private collection, for circa twenty years.
Los 221
WILLIAM CHRISTIAN SYMONS (BRITISH, 1845-1911)The Picnicwatercolour heightened with oil on paper34 x 24.5cmProvenanceProperty of the Artist;Thence by family descentExhibitedBath, Victoria Art Gallery, 30th April - 25th June 1994, no.66;Hastings Museum and Art Gallery, 2nd July - 14th August 1994, no.66;Newcastle-under-Lyme, Borough Museum and Art Gallery, 27th August - 9th October 1994, no.66;Rye Art Gallery, 30th January 1999 - 28th March 1999, no.71Condition reportSheet is sound. Traces of light craquelure to the thicker pigments visible on close inspection. Good overall condition with strong colour. Framed and under glass, unexamined out of frame - some losses to mouldings on frame.https://www.bellmans.co.uk/story/william-christian-symons-1845-1911
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MANNER OF EDWARD WILLIAM COOKEMen on the shore below Dover Castle, with ships off the coastoil on canvas71 x 91cmCondition reportThe canvas has been relined. Areas of craquelure to the paint surface and evidence of small repairs to the centre of the work on the horizon line. Ultraviolet light reveals infilling to craquelure in the darker pigments to the foreground, retouching to the repairs on the horizon, some further scattered patches in the sky. Held in a recently painted plaster frame in fair condition.
Los 206
WILLIAM HENRY PYNE (BRITISH, 1769-1843)The Half Moon Innwatercolour26 x 36cmProvenanceSale, Christie's, London, 13th July 1993, lot 46Condition reportTwo light surface abrasions in the sky, upper right, an area of staining to the sky, upper left. Otherwise the sheet is sound and strong colour throughout. Framed and under glass; unexamined out of frame.
Los 69
VENETIAN SCHOOL, 18TH CENTURYEliezer and Rebecca at the Well oil on canvas 92 x 115cmCondition reportThe canvas has been relined. Extensive craquelure throughout the paint surface and areas of paint separation, particularly to the darker pigments. The varnish is also heavily discoloured and prevents reading under ultraviolet light. Held in a plaster gilt double swept frame with extensive losses to mouldings and gilt.
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ATTRIBUTED TO THOMAS CHURCHYARD (BRITISH, 1798-1865)A landscape with a house in the distance indistinctly inscribed in pencil (verso) oil on board 15 x 20cm (unframed)Condition reportThe board is sound although the grain of the wood is visible. Paint surface is sound with an even varnish; ultraviolet light reveals scattered spots of infilling to the sky.
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