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534297 Los(e)/Seite
Los 155
A large pair of Chinese carved wood and polychrome lacquered Bodhisattvas, Qing Dynasty or later, each graceful figure standing barefoot in robes and wearing elaborate necklaces, the hair drawn up to a topknot within a foliate crown (each centred by an Amitabha), with glass inset eyes, standing on lotus bases 129cm high and 130cm highProvenance:Acquired in the 1980s reputedly from the C K Chan CollectionEach Bodhisattva wears a crown bejewelled with a small Amitabha icon, also known as Amida or Amitayus - the definition of boundless light. As a bestower of longevity, they are believed to be a celestial buddha who rules over the Pure Land in the West of the universe. Devotion to the Amitabha came to the foreground in China around 650CE and from there spread to Japan.
Los 191
A Group of five Japanese scroll paintings, late 19th and early 20th century, subjects including geese, chickens and chicks and blossoming shrubs61 x 84cmGoose with Iris - tearing to the top and with some losses top sides, several lateral creases throughout, light, scattered spotting and staining, some light discolouration to the surface, colours largely bright and strong Cherry blossom - surface with overall toning and discolouration, some losses to the right and left hand edges, with heavy lateral creasing throughout and some light and scattered foxing and staining Sparrow and berries - discoloured and stained throughout, with heavy foxing. Typically creased and the lower centre with a small hole. There are a series of small scattered holes, likely caused by insect damage, to the lower right quadrant Wren and almond blossom - typically toned and discoloured throughout and with light but overall foxing. Creasing is fairly light but the surface with some minor undulation Chicken and chicks - surface discoloured and toned throughout. Heavy losses to the support present and the top and bottom margins and the lower edge of the surface detached from the wooden baton. Light foxing and staining.
Los 212
Thomas Smythe (British, 1825-1906) A horse-drawn wagon on a country road; and Travellers resting with their dogeach signed 'T Smythe' (lower left and lower right)oil on canvas25 x 34.5cmFramed 32.5 x 42cmBoth paintings are executed in oil on canvas supports which are unlined. The canvases are in a good condition and attached to the original stretchers. The canvas tension is slightly slack with minor undulations. The paint layers are in stable condition overall. Localised areas of overpaint are mainly in the sky and have a slightly matte appearance. The varnish layers have yellowed with age but are even and glossy with a light layer of surface dirt present.
Los 216
William Daniell, RA (British, 1769-1837) View of Windsor Castle from the Brocas Meadows; View of Eton Collegeaquatints on paper 29.5 x 49.5cm, a pairProvenance:Walker's Galleries, London;Wood Hall, Hilgay, NorfolkSurface dirt and fly spots under glass to both pictures. Light staining along the edges. Discoloured mounts. Eton College - wrinkling to the paper visible along the top. Loss of colour in the sky.Framed 44 x 64.5cm
Los 224
Manner of Isaac Oliver Portrait of Queen Elizabeth I (1533-1603)inscribed 'Elisabeta D. G. Angliae Ch. V. Sichen fecit' (lower left and right)pen and ink with touches of watercolour on laid paper28 x 18cmProvenance:Walter Brandt and by descent to his grandsonThe present composition is closely based on a drawing of Elizabeth I attributed to Isaac Oliver in the Royal Collection. Since the present image is in reverse of the original design, it most likely derives from a later engraving of this subject.Believed to be 19th centuryDiagonal fold top left corner. Light toning and discolouration to the paper. Slightly loose in its frame. Framed 44 x 33cm
Los 235
Friedrich Brentel (German, 1580-1651) Actaeon being transformed into a stag by Diana at a rocky pool at the edge of a wood, with an extensive river landscape and town with mountains beyondsigned indistinctly within the gold left margin 'Fr [.............]' (lower left) and dated 163 [?8] (lower right)gouache with gum arabic on vellum, laid down18.6 x 26.5cmProvenance: Presumed to have been acquired for the collection at Horseheath Hall, Cambridgeshire sometime before 1792, Thereafter removed to Little Barford Manor and by descent in the Alington family to the late owner Sold by order of the Executors of the Estate of the late Nigel Alington (1947-2018) Friedrich Brentel was born circa 1580 in Lauingen, Bavaria. He later studied under his father Georg Brentel's direction initially as an engraver but went on to become one of the most important draughtsmen and artists in 17th century Strasbourg. Through his successful workshop and with his most famous pupil, Johann Wilhelm Baur (1607-1642) they established the city of Strasbourg as a leading centre for the painting of miniature small scale landscapes and other subjects principally in gouache. The present work with its rich palette of colours and brilliant handling of detail is exceptionally well-preserved, other than the artist's signature which seems to have been deliberately and largely obliterated - possibly to pass it off as by his more valuable pupil, Baur, or to confuse it with the work of the even more valuable artist, Jan (Velvet) Breughel the Elder.Overall in very good condition. Bodycolour with gum arabic heightening on parchment or vellum. Laid down onto good quality wove paper. Some cracking of the pigment layer and very small amount of flaking which shows as white spots. Small areas of black and white lead pigment or graphite mainly on the female figures. Colours have been well preserved. Partially erased inscription bottom left corner. Damaged date bottom right corner. Paper backing discoloured around the edges. Five rust marks on the paper backing from nails holding the picture in its frame. Under raking light, little vertical soft wrinkle left of the centre of the top edge. Slight cockling at the edges.
Los 248
Manner of Andrea Scacciati A still life of flowers including peony, tulips and lilacs in a basket on a ledge with pomegranates and plumsoil on canvas170 x 120cmThe painting is executed in oil on a linen canvas support which has been lined. The picture is in plane and the paint layers are stable. There is a network of age cracks across the surface. There are a few, small scattered losses in the dark background. Localised areas of overpaint appear glossy compared to the original paint layers. The varnish is semi-matte and even with a light layer of surface dirt.
Los 260
Hercules Brabazon Brabazon, NEAC (British, 1821-1906) Northumberland Avenue, London - Sunsetsigned with initials 'HBB' (lower right)gouache on paper13.5 x 19.5cmProvenance:Walker's Galleries, LondonFoxing spots in the sky area. There is a slight bulge upper left corner. Possibly light wrinkling to the paper - it does not sit flat against the mount - visible gap along the left edge. Not examined out of frame. 29.5 x 35cm (framed)
Los 271
Franz Richard Unterberger (Austrian, 1838-1902) Rio dei Ognissanti with Santa Maria del Rosario in the distance, Venice signed 'F R Unterberger' (lower left)oil on canvas80 x 69.5cmProvenance:MacConnal-Mason & Son, London, from whom acquired by the grandfather of the present owner by 1935The present painting epitomizes the spectacular and highly romanticised Italian views which brought Franz Richard Unterberger international recognition. Suffused with a warm and shimmering light, the scene is populated with fashionably dressed couples strolling alongside vegetable sellers and other members of Venetian society. Like many of Unterberger’s compositions, certain perspectives have been expanded and some architectural features idealised or added for artistic effect. Born in Innsbruck in 1838, the eldest son of an art dealer, Unterberger began his artistic training at the Munich Academy in the 1850s under the guidance of Albert Zimmermann (1808-1888) and Julius Lange (1817-1878). In 1859, he left Munich to study in Düsseldorf where he was greatly influenced by the brothers Andreas (1815-1910) and Oswald Achenbach (1827-1905) and initially became known as a painter of atmospheric Alpine landscapes set in his native Tyrol. In 1864, he established himself in Brussels, though he spent much of his time travelling extensively across Europe, from Norway to Sicily. He exhibited his first Italian scene in 1868 and since then became renowned mainly for his Venetian scenes and panoramic coastal landscapes set in Southern Italy. He gained a large international following, exhibiting his work throughout Europe and in America. In 1874, he was awarded the Knight’s Cross of the Order of Franz Joseph by Emperor Franz Joseph I of Austria.The painting is executed in oil on a linen canvas which has been lined. The lining is well attached and the canvas has good tension. There is a minor undulation at the right hand side of the lower edge. The paint layers are in a stable condition overall apart from a small localised areas of raised, flaking paint at the centre of the lower edge. A few small paint losses have occurred in this area. There is some overpaint in the sky which is slightly yellowed compared to the surrounding paint layers. The varnish is clear, glossy and even. There is a light layer of surface dirt including fly spots and some white drips in the darker paint passages. Framed 97 x 87cm
Los 272
Maria Herzig after Tobias Edward Rosenthal The Trial of Constance de Beverly, a scene from Marmionsigned and dated 'Maria Herzig / T. E. Rosenthal 18.3.1886' (lower left)oil on canvas82 x 107cmProvenance:Christie's, South Kensington, 31st October 2007, lot 1263,Birling Ashes, KentThe present painting is a copy after the original by Rosenthal in the Los Angeles County Museum of Art. Sir Walter Scott’s epic poem, Marmion: A Tale of Flodden Field (1808), is set in 1514 and follows Lord Marmion’s plot to triumph over Ralph de Wilton for the hand in marriage of the wealthy Clara de Clare. Marmion forges a letter to incriminate his rival of treason which forces de Wilton into exile and Clara to take refuge in a convent, only for Marmion to pursue her there. Marmion had been assisted in his plot by his mistress Constance de Beverly, a perjured nun, but when he abandons her, she follows him in the disguise of a page. This painting depicts the moment Marmion’s scorned lover is discovered at the convent and condemned to death. As the nun’s final act of vengeance, she provides evidence of de Wilton’s innocence. The climax of the tale takes place at the Battle of Flodden Field where Marmion is killed and de Wilton wins back his honour as well as Clara’s heart. The painting is executed in oil on a canvas support which has not been lined. The canvas is slightly slack but the picture is in plane. There is some water staining on the reverse although this does not appear to have affected the paint layers. Drying cracks have formed in some of the darker paint passages; the paint layer is stable overall. There are a few small scuffs to the surface of the paint layers. The painting has been partially cleaned and residues of old varnish are present in some areas. Overpaint is localised and slightly pale, notably in the central figure's face. The varnish is semi-matte and even with a light layer of surface dirt.
Los 277
Samuel Howitt (British, 1756-1822) Studies of a Cougar and an Ocelotboth signed 'Howitt' and inscribed below 'F. Concolor' and 'F. Ocelot of Albany'watercolour on paper19.5 x 13cm (2)Provenance: Messrs. Fores of Piccadilly, LondonSamuel Howitt (1756-1822) was born into a wealthy Quaker family who were squires at Chigwell, Essex. He spent his youth participating in field sports and only turned to art professionally after running into financial difficulty. Perhaps because of his strict Quaker upbringing, Howitt was known for having a ‘carefree attitude’. He spent much of his time frequenting the gambling houses and drinking parlours of London with his brother-in-law, the acclaimed caricaturist, Thomas Rowlandson. Mostly working in oil and watercolour, Howitt’s artistic output was broad and varied. Often working from life, his light-hearted and spirited depictions of animals appeared in several sporting and other publications. He executed numerous studies at the Royal Menagerie in The Tower of London, exhibited works at the Royal Academy and worked on private natural history commissions. Perhaps the most notable of these commissions was the five-volume album Ornithological Collection that Howitt worked on alongside J.M.W. Turner. Compiled in the early 1820s for Walter Fawkes (1769-1825) at Farnley Hall, Yorkshire, the album contained watercolours by Turner and Howitt alongside plumage specimens and cut-outs taken from Thomas Bewick’s British Birds series. Fawkes had a considerable collection of Howitt's and Turner’s work, and on several occasions invited the artists to his estate where he would entertain them.Framed 34 x 27cm
Los 284
§ Klaus Philipp (German, b. 1932) Portrait of Sheikh Mohammed's Soviet Star (USA)signed and dated 'Philipp / 88/89' (lower left) and inscribed with title (lower right)oil on canvas39 x 49cm; together with a limited edition lithograph of Soviet Star, 38 x 45.5cm (2)Soviet Star (1984-2014) was an American-bred thoroughbred racehorse and sire. He was sired by Nureyev and was sold as a yearling to Sheikh Mohammed for $310,000. The painting is executed in oil on a linen canvas support which is unlined. The support and paint layers are in a good condition overall. There is a diagonal line of deformation to the painting, probably caused by impact from the reverse and only noticeable in certain lighting conditions. The varnish is clear, even and glossy with a light layer of surface dust.
Los 285
Follower of John Boultbee Portrait of the hunter Weasel in a wooded landscape, circa 1805inscribed with the horse's lineage and biography (on a pamphlet attached to the reverse)oil on canvas58.5 x 68.5cmWeasel was a brown colt by Son of Herod bred in 1790 from the famous Harpur Crewe stud at Calke Abbey in Derbyshire. He ran once at Derby on 15th August 1793 when he bolted and never ran again. He was sold at Tattersalls in November 1795 and thereafter used as a hunter.The painting is executed in oil on a linen support which has been lined. There are minor deformations to the canvas but overall it has good tension and is in plane. The thinly applied paint layers are stable but have suffered from wear in the past. Areas of overpaint have been applied to cover wear and are reasonably well matched to the original. The varnish is semi-glossy and even with a light layer of surface dirt present. Framed 73.5 x 84cmThe pamphlet on the reverse states:“Weasel He was bred by Sir Henry Harpur in the year 1790 - / His Dam was got by Snap, Her Dam by (Black ?), her grand Dam by / Old (Cade?), her great grand Dam by Old Partner, her great great / grand Dam by Bay Bolton, which …. was the Dam of the Duke / of Bolton’s Merry Andrew, and full sister to Lord Godolphin’s White / foot and Wryfoot, her great great great grand Dam by Darley / Arabian (Sire is the Devonshire Childers) great great great great / grand Dam by the Byerley Turk, great great great great great / grand Dam by (Place’s?) White Turk great great great great great great grand Dam by the Tripoli Barb out of a natural Barb horse. / This horse was sold at Tattersalls (sale?) on Monday 2nd Nov.r 1795 / His Sire Sir Henry Harpur’s Son of Herod. He was got by (Th…?) Herod / Dam by Snap which bred the two (Sharks?), Granddam by the ….. / Warwickshire (Wags?) Dam by Malborough, Brother to Babraham / and out of a natural Barb horse. Weasel was trained by Sir Henry Harpur and run once / at Derby when he bolted. He was afterwards taken out of training / and sold to the (Bros.?) Tho.s (Grosley?) who used him for years as a / Hunter and afterwards gave him to his relation E. (Croyall?) in / November 1797 who kept him till his Death. His qualification / and …… as a Hunter are so well known in Warwickshire / and Leicestershire that they……………..’ / This portrait was painted by (Lawrence?) in 1805 / and considered an excellent ….. Weasel ….is very ……………..14th March 1821.”
Los 286
§ Sir Peter Markham Scott (British, 1909-1989) Greylags Alighting, 'Brogden' marsh, Cumbriasigned and dated 'Peter Scott 1941' (lower left)oil on canvas49.5 x 74.5cmProvenance:Arthur Ackermann & Son Ltd., London; John Day, by 1984;Private collectionA facsimile letter from the artist dated 1984, attached to the reverse of the painting, specifies that this scene was painted in 'Brogden' marsh on the north side of the estuary of the Rivers Kent and Bela, opposite Arnside and above the Sandside Viaduct, which was demolished in 1942. The north side of the marsh used to be the winter feeding ground for up to a thousand Greylags and has since been converted into arable land.Framed 66.5 x 91.5cmThe painting is executed in oil on a linen canvas support which is unlined. The canvas tension is slightly slack but the picture is in plane. The paint layers are in a good condition overall. The varnish is clear, even and glossy with a light layer of surface dirt including some fly spots.
Los 289
§ Peter Biegel (British, 1913-1987) Daily Mail poster - Pony Club Mounted Games for the Prince Philip Cup,together with other assorted prints and ephemera including two advertising posters for 'Player's Weights', a design for 'Huntley & Palmers' Steeplechase Tin, five signed posters for the 1972 Newmarket R S Scott Memorial Handicap, giclée print of Mysterious, Epsom Oaks Winner, 1973 and two other prints (12)Provenance:The artist's studio and thence by descent within the familyDaily Mail poster- 3 horizontal and 3 vertical folds. Creasing throughout. Small tears visible along the centre fold in the left hand section. Some light dirt marks. The paper appears to be discoloured along the bottom. Some 36 x 35cm (framed)Player's Weights - one on card, another on paper, both printed, vertical crease about 2 inches from the right margin to one, little staining to the otherHuntley & Palmers design - few small tears along the top, small creases along the bottomMysterious giclée print - framedFurther 7 prints - generally good condition, unframed, some light creasing
Los 310
Rudolf Wilhelm August Lehmann (German/British, 1819-1905) Portrait of Mrs Jane Mary Stocks (née McEchran, d.1925) seated three-quarter length, in a black dress holding a peacock feather fan, resting her left arm on a stone balustrade, a sunset landscape beyondsigned with monogram (centre right) and dated ‘1879’ (centre left)oil on canvas 123 x 98.5cmProvenance:By descent from the sitter at Wood Hall, Hilgay, NorfolkThe sitter married Michael Stocks (1825-1895) in 1863 who was to acquire Wood Hall in 1878.Framed 162 x 136cmThe painting is executed in oil on a linen canvas support. The canvas is unlined and has an artists’ suppliers stamp fir Charles Roberson on the reverse. The back of the canvas has a priming layer. The canvas tension is slightly slack and there are minor undulations at the corners. The paint layer is generally in a stable condition. The thin grey paint in the sky has suffered from small areas of loss in line with the tops of the canvas weave. Under ultraviolet examination there are areas which appear dark in the skirts of the dress. In normal light these areas are slightly more matte than the surrounding areas, possibly reworking by the artist. Drying cracks have formed in some areas, which would have formed as the paint layers dried. The varnish is semi-glossy and even. There is a layer of surface dirt present including fly spots which are noticeable in the sitter’s face.
Los 313
Circle of Henry William Pickersgill, RA (British, 1782-1875) Portrait of Major Richard Ellison (1807-1881) in uniform oil on canvas, oval73.5 x 60cmProvenance:By descent from the sitter to his granddaughter Charlotte Ellison, who married Michael Stocks (b. 1864) in 1888,Thence by descent at Wood Hall, Hilgay, NorfolkRichard Ellison (1807-1881) of Boultham Hall, Lincolnshire, was the son of Richard Ellison, MP of Sudbrooke Holme and Jane, daughter of William Maxwell. He was educated at Christ Church, Oxford. In 1830, he married Charlotte (1807-1891) daughter of Sir George Chetwynd, 2nd Baronet of Brocton (1739-1824). Upon his marriage, he was given by his father the estate of Boultham Hall. Ellison took public office as a Justice of the Peace and was a Major in the Royal North Lincoln Militia from 1836. He was promoted to Lieutenant Colonel in 1853. When the Lincoln Poor Law Union was established in 1836, Ellison was appointed its Guardian. He was a notable supporter of the local community and in 1840 following severe flooding in the area surrounding Boultham, he installed several steam pumps to alleviate the floods. We are grateful to Christopher Bryant for identifying the sitter's uniform.Framed 96 x 83cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is slack and there are undulations across the surface. The paint layers are in a good, stable condition overall. Prominent drying cracks have formed in the red paint passages. The varnish is clear and even with a light layer of surface dirt.
Los 314
English School, first quarter of the 19th century Portrait of Lieutenant Francis Scrimes Pilcher (c.1783-1838) of the 1st Regiment of Life Guardsoil on canvas76.5 x 63.5cmtogether with his commission to be a Cornet in the 24th Light Dragoons, dated 23rd January 1812, and his commission to the position of Barrack Master, dated 26th May 1827, signed by the 1st Marquess of Anglesey (3)Provenance:By descent from the sitter, great-great-great-great grandfather of the present ownerFrancis Scrimes Pilcher of Cobham, Kent exchanged into the 1st Life Guards from the 24th Light Dragoons on 12th March 1812. He fought in the Peninsular wars, at Vitoria (2013) and Toulouse (1814) and was promoted to Lieutenant on 3rd April 1815. He went onto half-pay on 13th December 1821. In 1827, he was appointed Barrack Master. Pilcher married on 5th October 1801 Ann, daughter of Revered Thomas Hole of Georgeham, Devon. We are grateful to Christopher Bryant for his assistance with this catalogue entry.The painting is executed in oil on a canvas support which has been lined. The canvas is in plane with good tension. There are a few localised areas damage to the paint layer. In areas the age cracking is slightly raised and there are scattered losses. Areas of overpaint are present around the damages and in the dark paint of the horse. Some of the textural variation in the paint is due to drying defects. The varnish is very darkened and discoloured. It no longer saturates the paint layers below, leaving a matte surface.
Los 329
Circle of Mason Chamberlin, RA (British, 1727-1787) Portrait of a gentleman, half length, believed to be Charles Jennens (1700-1773) in brown, in a feigned ovaloil on canvas laid down to board, in a fine period carved and giltwood frame73.5 x 61cmProvenance: By descent from the presumed sitter to his sister Elizabeth Hanmer (1705-1777) through the male line of her only daughter Esther, Viscountess Curzon (d. 1764) and subsequently the Earls Howe at Gopsall Hall, Leicestershire until 1918,Sale on the premises at Gopsall Hall, Messrs. Trollope, 5th Day of Sale, 21st October 1918, presumably lot 1191, as 'Godfrey Kneller, A half-length portrait of a gentleman wearing a wig and light coat and vest, within an oval (canvas 29.5 x 24in)';By 1935 in a private collection (as by Kneller) - see illustrationSALEROOM NOTICE We are grateful to the present Earl Howe who has expressed doubt that this is in fact a portrait of Charles Jennens Junior (1700-1773). Instead, he proposes that it is more probably his father – also Charles (1662-1747) – pointing out on the one hand that the chin in the present portrait does not have the dimple that is seen in all the other portraits of Charles Junior. Also, the folds of skin below the chin are unlike Charles Jennens’ throat and neck in the image of him at about the same age by Mason Chamberlin in the Foundling Museum. Also, the present sitter’s nose is somewhat more ‘hooked’ than that of Jennens Junior. A further argument that this is more likely to be Charles Jennens Senior is that the longer wig and coat he is wearing are not of the 1770s which is what it would need to be if this is of Charles Jennens Junior at this age. Likewise, the frame of the present painting and which has every possibility to be the original, dates from the middle of the century and not the third quarter. As it is not known what Charles Jennens Senior looked like as no other portraits of him are known, the proposition it is him has to be conjecture, but the provenance of the picture, its date and the age of the sitter make it a very distinct possibility. Another perhaps more subjective reason that it is more probably the father and not the son, is that though he too was very wealthy - unlike his son who was flamboyant and generally richly attired in his known portraits - Jennens Senior was a country lawyer and Justice of the Peace and the more casual and modest appearance of the sitter in this painting is in keeping with what is known about Jennens Senior who is unlikely to have sat to a London portraitist anyway, hence the uncertain attribution here, which may point to an accomplished provincial painter. ORIGINAL CATALOGUE ENTRY We are grateful to Dr Brian Allen for proposing this is a portrait of Charles Jennens on the basis of the close facial resemblance to the 1771 Mason Chamberlin portrait of him (see below) which is supported by its descent at Gopsall until 1918 (see Provenance). Charles Jennens (1700-1773) was the grandson of Sir Humphrey Jennens (1629-1690) of Erdington in Warwickshire, who had made his fortune as an ironmaster. Jennens - whose father, also Charles (1662-1747) had married Elizabeth Burdett - was brought up at Gopsall Hall in Leicestershire which had been built in the Jacobean style. When a cousin William Jennens (1701-1798) died intestate he left in today’s money in excess of £250 million and Charles himself was to become one of the richest commoners in England. It was at Balliol College, Oxford where Jennens’ lifelong interest in literature and music was formed. Though a devout Protestant, he was unwilling to swear allegiance to the Hanoverians whilst the descendants of King James II were still alive and as a consequence, he never held any public office. Instead, he indulged his wide interests and used his vast wealth to form one of the best collections of Old Master and contemporary British paintings in Britain for the great Palladian mansion he rebuilt at Gopsall (demolished 1951). For his largesse and extravagance Jennens was known as Suleyman the Magnificent after the 16th century Ottoman sultan. It is however as a patron of music that Charles Jennens is best known today, particularly of Georg Friedrich Händel (1685-1759). Their friendship was such that they collaborated on libretti for many works, including Saul, Belshazzar, L’Allegro, il Penseroso ed il Moderato, but most notably Jennens wrote the text for the Messiah, first performed in Dublin in 1742. Jennens commissioned the great portrait of Händel by Thomas Hudson that like the present painting descended in the Curzon family, but has since 1968 been in the National Portrait Gallery, London. Jennens’ huge musical library including hundreds of manuscripts of Händel’s music was left to his first cousin once removed Heneage Finch, 3rd Earl of Aylesford (1715-1777) which is today preserved in the Watson Music Library in Manchester. Jennens also commenced the first critical edition of Shakespeare’s works and carried on an extensive correspondence with the classical scholar Edward Holdsworth (1684-1746) in whose memory he erected an Ionic temple at Gopsall. An old label (see illustration) still affixed to the reverse of the painting indicates that it seems to have remained at Gopsall with the descendants of the sitter’s sister until the sale of the house and estate in 1918 to Samuel James Waring. A sale of some of the contents took place at Gopsall over eleven days by Messrs. Trollope in October 1918. Only four other portraits of Jennens are known – one of him three-quarter length seated by Mason Chamberlin of 1771 now in the Gerald Coke Handel Collection at the Foundling Hospital Museum; one by Nathaniel Dance in a private collection; and one by Hudson of him three-quarter length standing that was sold in Sotheby’s in 1997 and is now in the Handel House Museum. The fourth and earliest, dated 1747 and also by Hudson, is in a private collection. The present work, probably of Jennens towards the end of his life circa 1765-70, is possibly the most informal and intimate of the known portraits of this extraordinary man and polymath to whom the world of music in particular is so indebted. At his death, his fortune and most of his property passed to his sister Elizabeth Hanmer (1705-1777) whose daughter Esther (d. 1764) married Assheton Curzon, 1st Viscount Curzon of Penn (1730-1820) on 21st February 1756. The painting is executed in oil on a canvas support which has been laid onto a piece of hardboard. The picture is well adhered and in plane. The paint layers are in a stable condition overall. There is a network of age cracks which are slightly raised, but sound. Overpaint is mainly located on old areas of damage in the background which have been crudely repaired. Residues of old varnish and dirt are present in the texture of the brushstrokes. The varnish is even and semi-glossy with a layer of dirt across the surface including fly spots. Framed 97 x 84cm
Los 347
A George III mahogany wing back armchair, the serpentine headed padded back with shaped sides over outscrolling arms and single squab cushion upholstered in a green damask fabric, raised on square section front legs and splayed back legs united by an H-shaped stretcher116 x 86 x 78cmsome light wear to frame commensurate with age and use, upholstery in good condition
Los 387
An oak low boy, 19th century, the rectangular top over three drawers raised on tapered legs and pad feet 67.5 x 82 x 56.5cmStructurally firmTop has various indents and light scratching, there is a thin strip added across the centre, the edge is quite knockedDrawers run wellGenerally quite knocked especially the drawer fronts and legsSee images
Los 423
A marquetry games table, 19th century, the inlaid chess board top slides to reveal a backgammon board in the recess below, with single frieze drawer and three dummy drawers raised on square tapered legs and brass castors74.5 x 51 x 51cm (closed)74.5 x 83 x 51cm (open)See images for the backgammon boardthe removable top is slightly warped with minor split through one side of the chess board, light scratches and indents consistent with use, veneer lifting in placesGenerally quite sun bleached Corners and legs particularily knockedStructurally firm though does rock diagonally on the castors
Los 506
A Regency style mahogany and leather hall bench, 19th century, the rectangular back with buttoned leather upholstery over down scrolling lotus leaf capped arms raised on lapet carved, turned and tapered legs92 x 222 x 61cmLeather with some light scratching and minor stainsGenerall knocks to the frame particularily the arms and legsSee photos
Los 532
A Crimean War medal group of three, and hand written diary, to Captain (later Major) Michael Stocks, Royal Dragoons, with clasps for Sebastopol, Inkermann and Balaklava; Turkish Crimea medal (named); and Order of the Medjidie badge named to reverse 'Major Stocks Royal Dragoons 1858'; with miniature medals, and a portrait miniature (probably an overpainted photograph) of Stocks wearing the medals, within a rosecut diamond frame with gilt back, dated 1861 to reverse, in original box. Together with his Crimea War diary, 1854-55, oblong 12mo, written in ink, bound in morocco leather, detailing the voyage from Liverpool, travel and everyday military life with events and actions, a second smaller size volume bound in from May 23rd 1855, to October 19th 1855, ending 'and so closes the diary of Michael Stocks..., Captain Royal Dragoons'. Also a Russian pressed metal medallion with old note 'This medal was taken from the body of a dead Russian on the field of Inkerman the day after the Battle, by Major Stocks, Royal Dragoons, Crimea 1854' in leather boxProvenance:Wood Hall, Hilgay, NorfolkThe diary includes a description of events on the day of the 'Charge of the Light Brigade' on October 25th 1854. "..Thank God I am here to write this, we all as usual turned out half an hour before day break, and when it got light the guns on the advanced field works thrown up by the turks began to fire, an aide de camp came gallloping in to us to say we were to advance, as the enemy were approaching in large numbers, so on we went near the field works, the enemy still continued to move on & the round shot came into us (spent balls) but still with sufficient force to do damage, one ball came rolling down the hill straight where I stood, I saw it was coming right to me, so put the spurs into my horse and only just in time, for it went close behind me and broke the legs of two horses, the next took a long hop and hit a man on the head and he never moved more... The enemy had advanced.. took one of the hills from the turks... after a time up comes their cavalry part of which made a dash where the 93rd flanked by turks were waiting to receive them, and as soon as they saw them coming away went the turks leaving the 93rd to stand the brunt of it... and sent the Huzzars to the right, at the same time another body of cavalry came at us, the Greys - 6th were ordered to meet them... however they soon sent them off with a flea in their ear & our horse artillery opening on them quickened their pace, we then advanced to the top of the hill and saw their army in the valley ... it was near 12 o clock and all remained at status quo for a couple of hours, when an order from Lord Raglan was brought to Lucan to attack the enemy which he did by sending the light cavalry into the greatest trap that ever was made, we and the Greys advanced first and then somebody said let the light cavalry go on, and on they went ... to take some guns in front, we followed at a trot, they went at a gallop and we saw nothing more of them until we saw them coming back by ones and twos some mounted but mostly dis-mounted, such a smash never was seen , they were murdered it seems they got & took - killed the gunners at the guns but could not keep them, the infantry played on them and when they looked round they found their way stopped by cossacks, then they cut their way through and about 40 came back in a body, the French Cavalry came down at this time and cleared the opposite hills of the guns but for us now we got about three parts of the way and the shot & shells & bullets came down on us like hail, every second I expected to get one, when luckily Scarlett gave the word Halt. "
Los 546
George III mahogany chest of drawers, the rectangular top above two short over three long graduating cockbeaded drawers with brass swan neck handles raised on bracket feet90 x 95 x 52cmDrawers run wellTop has various indents and light scratching, including a deep scratch to the right part of the topThe back section of the top is a lighter colour and possibly a replacement Vertical dry crack to the lower section of the right side panelHandles are replacementGeneral wear and knocks to the edges and feetSee photos
Los 619
A George III mahogany three-tier dumb-waiter, the three graduating dish tops on a turned and wrythen column support raised on three cabriole legs and pad feet106.5 x 62cmSee images,Structurally firmGeneral wear consistent with use, some light scratching to the tiers and minor knocks to the edgesHas been repolished and restoredMinor dry splitting to the column in placesThe lowest tier has been broken in half and repaired
Los 633
A near pair of George III mahogany night cupboards, both with tray tops above an open recess and drawer below and raised on square section legs78.5 x 51 x 45cm76 x 51 x 44cmGood colour and patina to bothBoth are structurally sound Some light scuffs to the legs commensurate with useBoth have had tambour fronts originallyShrinkage crack to the side of one cupboard either side of the carrying handleDrawers operate smoothly on both
Los 329
Major John Harold Cooper "Jack", West Lancashire Army Cadet Force good service and noted devotion to duty certificate, signed by Major General in 1973, glazed and framed, 3 Kings Regiment hats, a miniature Escape compass and souvenir album, quantity of various Kings Regiment buttons and badges, Officers order of the Bath Tria Juncta in Uno Pips, some Royal Artillery / Rifles, 6 crown badges, a 19th century Printing Union badge, a Highland Light inventory cap badge Kings crown, A.C.F. cloth and metal 2 "Kings" badges, a wooden plaque with Cadet Battalion ink stamp to rear, The Kings Regiment book by Osprey and various other related items.
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534297 Los(e)/Seite