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283284 Los(e)/Seite
Los 117
FRENCH SCHOOL (18TH CENTURY)PORTRAIT OF MADAME DE MONTESPANOil on canvas, ovalInscribed 'Mde De Montespants' (along upper edge)40 x 31cm (15½ x 12 in.)Françoise Athénaïs de Rochechouart de Mortemart (1640-1707), the Marquise de Montespan, was the most celebrated official mistress of King Louis XIV. They had seven children together, entrusting their education to the widow of poet Paul Scarron, who would supersede her as Madame de Maintenon. Six of these children were legitimated by the King from 1673 onwards.Condition Report: The canvas has been relined. Some craquelure in the skin tones. Some surface dirt and discolouration of the varnish. UV reveals minor scattered retouching underneath the varnish. Condition Report Disclaimer
Los 124
FOLLOWER OF JOSHUA REYNOLDSA SKETCH FOR A PORTRAIT OF A LADY, THREE-QUARTER LENGTH, SEATED, WITH HER HEAD RESTING ON HER HANDOil on canvas120 x 92cm (47 x 36 in.)Provenance:Sale, Christie's King Street, Pictures by Old Masters, December 16, 1966, lot 239 (as 'Reynolds') Condition Report: The canvas has been relined and is structurally sound and secure. The paint layers also appear stable. There is a long repaired tear running across the sitter's face and the shadows around her head, which is visible to the naked eye. Some surface dirt and discoloured varnish layers. There are numerous retouchings within the background, which would be removed should the painting be fully cleaned and restored and this would therefore necessitate a considerable amount of work. Alternatively one could merely surface clean and revarnish without removing the old retouchings or discoloured varnish layers. Condition Report Disclaimer
Los 128
CIRCLE OF ROSALBA CARRIERA (ITALIAN 1673-1757)PORTRAIT OF A YOUNG LADY IN A FUR WRAP, AN ALLEGORY OF WINTERPastel62 x 49cm (24¼ x 19¼ in.)In a fine Carlo Maratta frame Condition Report: Appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
Los 173
CARL HAAG (GERMAN 1820-1915)PORTRAIT OF A BALKAN WARRIORPencil and watercolourSigned and dated 1854 (lower left)35 x 24cm (13¾ x 9¼ in.)Provenance:With Abbott & Holder, LondonWhere purchased by the previous owner circa 1972Private collection, UKCondition Report: Under glass and unexamined out of frame. Some rubbing to the paper along the rocks to the right of the sky in the upper left corner as well as in the lower left corner and in the background to the right of figure's legs. Two small water stains to the lower edge. Some discolouration throughout the sheet, particularly visible around the edges. The paper has been stuck at the corners to support card. Condition Report Disclaimer
Los 23
ENGLISH SCHOOL (16TH CENTURY)PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS RALPH NEVILL, EARL OF WESTMORLANDOil on panelInscribed (lower left and right): RALPH NEVILL / Earl of Westmorland /DIED 153251.5 x 43.3cm (20¼ x 17 in.)Provenance:By descent in the family of the sitterColonel Francis William Henry Fane, 12th Earl of Westmorland (1825-1891), Apethorpe Hall, NorthamptonshireHis posthumous sale, London, Christie's, 2 June 1892, lot 48Captain F. SpicerWith Frost & Reed Ltd, London and BristolSale, Plainfield, New Hampshire, William Smith Auctions, lot 232 (this and the above two lines according to a label on the reverse)Where presumably acquired by the present ownerCondition Report: There are three substantial vertical cracks to the panel, two of which run the whole length of the portrait (as visible in online images). Paint loss associated with the cracks, together with additional paint loss throughout the work can be seen. Some areas of paint thinning, together with light surface scratches throughout. Retouching visible in natural light together with further patches of retouching, and a green cloudy varnish, visible under UV light. Verso, one of the full length cracks has been treated with wooden supports (see online image). The other crack has been taped over using green tape but this is providing little support and could be easily removed. The label reads:Ralph Neville / Earl Westmorland Died/ July 31st 1532 24th of Henry VIICondition Report Disclaimer
Los 242
RALPH PEACOCK (BRITISH 1868-1946)PORTRAIT OF ETHEL BRIGNALLOil on canvasSigned (lower left)61 x 50.5cm (24 x 19¾ in.)Provenance:Sir James ReynoldsEthel Brignall was the younger sister of Ralph Peacock's wife, Edith, and a favourite model of Peacock's at the turn of the century. Peacock's full length depiction of her at fourteen in 1897 (Tate Britain) was one of the most popular pictures in the Tate gallery in the early 20th century, and The Sisters (1900) a portrait of Ethel and Edith also resides in the Tate. The current portrait was similarly painted around 1897, when Ethel was still in her teens. Her wild look is reminiscent of Romney's paintings of Emma Hamilton as a bacchante. Peacock married Edith in 1901 and in 1908 Ethel married Harold A. Titcomb, an American mining engineer.
Los 25
CIRCLE OF JACOB GERRITSZ. CUYP (DUTCH 1594-1652)PORTRAIT OF A YOUNG GIRL, FULL-LENGTH, HOLDING TULIPS SPROUTING FROM A GARDEN URN Oil on canvas108.5 x 82.5cm (42½ x 32¼ in.)Provenance:The Desmond Heyward Collection from Haseley Court, OxfordshireSale, Cheffins, Cambridge, 29 September 2021, lot 148Exhibited:London, Sotheby's, Loan Exhibition, Childhood, 2nd-27th of January 1988, no. 1 as 'English School, 17th Century' Please note an amendment to the cataloguing. Provenance:The Desmond Heyward Collection from Haseley Court, Oxfordshire
Los 258
λ GERALD LESLIE BROCKHURST (BRITISH 1890-1978)PORTRAIT OF A GENTLEMAN, HALF-LENGTH, WEARING A DINNER JACKETOil on canvasSigned (lower right)60 x 50cm (23½ x 19½ in.)Please note: The symbol for Droit de Suite has been incorrectly printed in our catalogues, but is correct on our websiteCondition Report: The canvas has been relined. Significant surface cracking throughout the canvas and visible stretcher marks. Some abrasions around the edges from contact with the frame. A thick layer of surface dirt and discolouration of the varnish. A diagonal surface scratch of circa 9 cm along the left hand edge in the sitter's jacket. Some lifting paint along the cigarette and in the bowtie, with some small accompanying losses of paint. Inspection under UV light shows retouching along the edge of the sitter's cheek, as well as a few other scattered areas. Condition Report Disclaimer
Los 259
λ CATHLEEN SABINE MANN (BRITISH 1896-1959)PORTRAIT OF BARBARA WALSHOil on canvas76 x 52cm (29¾ x 20¼ in.)Cathleen Sabine Mann was a British portrait painter and a member of the Royal Institute of Oil Painters and the Royal Society of Portrait Painters. In 1926 she married Francis Douglas, 11th Marquess of Queensberry and styled Marchioness of Queensberry until 1946. She was the daughter of the famous Scottish portrait painter Harrington Mann (1864-1937) and also appeared in several of his paintings. By 1924 Mann had two portraits in the Royal Academy, and exhibited there regularly from 1930. Two of her portraits are in the collection of the National Portrait Gallery: Sir Matthew Smith and Sir Eduardo Paolozzi (both oil on canvas, 1952). Barbara Walsh was the London-based American society girlfriend of Wing Commander Herbert Benjamin Bell-Syre, aka Michael or 'Micky'. Barbara left him her Chelsea apartment, which is where the portrait remained ever since. Upon Micky's death he left the contents of his flat, including the portrait of Barbara Walsh, to his partner, Patricia, Lady Foley, the consignors mother. Please note: The symbol for Droit de Suite has been incorrectly printed in our catalogues, but is correct on our website Condition Report: The canvas is unlined. Some surface dirt and discolouration of the varnish. Inspection under UV light shows no signs of restoration. Condition Report Disclaimer
Los 26
ENGLISH SCHOOL (1606)PORTRAIT OF THOMAS POPE, AGED 8, AND WILLIAM POPE, AGED 10, BOTH FULL-LENGTH, STANDING, WEARING WHITE SLASHED DOUBLETSOil on canvasInscribed with date 1606 (upper right) and with the identity and ages of the sitters (above their heads and by their feet)138 x 98cm (54¼ x 38½ in.)Provenance:By descent to Viscount Dillon, Wroxton AbbeyFrancis Howard coll. Bt. SpencerSale, Christie's, October 23rd 1969, lot 279Property from the collection of Sir Mark and Lady WeinbergLiterature:Lionel Cust, 'Marcus Gheeraerts', Walpole Society, Vol. III, p. 39, pl XXVIIIThis grand double portrait depicts Thomas Pope, 3rd Earl of Downe (1598-1668) and his elder brother Sir William Pope, 2nd Earl of Downe (1596-1624). The Popes migrated to Oxfordshire from Kent at the beginning of the fifteenth century. They were small landowners until Sir Thomas Pope, who sat for Buckingham in 1536 and Berkshire in 1539, became one of the richest commoners in England as treasurer of the Court of Augmentations during the Dissolution of the Monasteries and was also the founder of Trinity College, Oxford. The sitters were sons of William Pope, 1st Earl Downe and Anne Hopton (1561-1625), widow of Henry, 3rd Baron Wentworth and daughter of Sir Owen Hopton, Lieutenant of the Tower of London. They both attended Oxford and matriculated in 1614. Thomas was knighted at Woodstock in 1625. In 1636 he married Beata, daughter of Sir Henry Poole of Sapperton, Gloucestershire. The Royalists imprisoned him for six weeks at Oxford during the Civil War and he was held in 1656 on suspicion of complicity in the 'Cavalier Plot'. He succeeded his nephew, Thomas to the Earldom and the estate of Wroxton Abbey near Banbury, Oxfordshire in 1660. William married Elizabeth, daughter and heiress of (Sir) Thomas Watson of Halstead, Kent, in 1615. He then travelled to Italy from 1617-1620 and upon his return became the second and last of his family to sit in the Commons, when he served as knight of the shire for Oxfordshire. Other portraits of the sitters at a later age are in the Paul Mellon Collection, Yale Centre for British art (William Pope) and the Tate (Thomas Pope).Condition Report: The canvas has been relined and is on a later stretcher, which is sound and secure. The canvas has been trimmed around the edges. The reline is visible along the upper edge. The paint layers appear stable. Minor abrasions and some wear to the paint surface. Some fine surface cracks, including two vertical lines running down through the sitter's faces which are slightly raised but secure. There is a possibility that the painting may originally have been on panel and was then transferred to canvas. Inspection under UV light shows extensive scattered retouching across the image including vertical lines in the sitters faces and in the darker shadows around the figures. Some surface dirt and the varnish layer is uneven and discoloured, but should respond well to cleaning and revarnishing.Condition Report Disclaimer
Los 260
JAMES SEYMOUR (BRITISH 1702-1752)A RACEHORSE AND A JOCKEYPencil, unframed15.7 x 21.7cm (6 x 8½ in.) (4)Together with three other unframed works on paper: three studies of a horse (recto and verso), pen and ink, 9.5 x 25.8 cm; a figure on a horse rearing up, pencil, 9 x 10 cm; portrait of a gentleman, pencil, 9.5 x 7.5 cm.
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GOTTFRIED LIBALT (GERMAN 1610-1673)PORTRAIT OF A MAN, AGED 60, HOLDING A BOOKOil on canvasInscribed and dated 'Aetatis 60. Ao 1648' (upper left) and signed and dated 'Libalt. Fec. 1648'80 x 61cm (31¼ x 24 in.)Provenance:C. Newton-Robinson, Esq.The Peto FamilySir Geoffrey Peto and thence by descentLittle is known about the artist, the contours of Gottfried Libalt's life are still largely unknown. Presumably born in Hamburg, his known oeuvre largely consists of elaborate hunting and kitchen still lives. Only one other portrait by his hand is known to exist, the remarkable picture Youth with Monkey (Portrait of Alexander Ostrogosky), from the collection of Podhorce Castle in East Galicia, which today belongs to the Lviv Art Gallery and is displayed at Olesko Castle. This portrait was most likely commissioned by the mother of the sitter, Katharina Sobieska, sister of Jan III Sobieski (1629-1696), the future Polish king (from 1674). Condition Report: Lined and cleaned. There is a small spot of paint loss (approx. 3mm) to the lower right. Light craquelure throughout. Inspection under UV reveals patches of a green cloudy varnish and some light scattered retouching throughout, slight more extensive retouching to the right edge.Condition Report Disclaimer
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JOHN CLOSTERMAN (GERMAN 1660-1711)PORTRAIT OF A GENTLEMAN, C. 1702Oil on canvas127 x 101.5cm (50 x 39¾ in.)Provenance:Collection of S. Poyntz-Wright JP Private Collection, SpainJohn Closterman was born in 1660 in Osnabrück, then part of the Holy Roman Empire. Closterman's father was an artist and would have given his son a basic training. It was not until 1679 when Closterman travelled to Paris and worked under the Court artist François de Troy that he began to hone his skills as a portrait painter. In 1680, following the death of Sir Peter Lely, Closterman arrived in London where he was soon employed by John Riley as a painter of draperies. After the death of Riley in 1691, the demand for Closterman's works soared and by the late 1690s he appears to have enjoyed a position amongst the most distinguished literary and artistic circles. In 1696, Closterman was invited to Spain where he was patronised by the court and painted full-length portraits of Carlos II and Maria Ana of Neuberg. He then went from Madrid to Rome where he collected old master drawings and expanded his knowledge of classical antiquities. On his return to England in 1702, his demand amongst the nobility had increased further as a result. This portrait can be dated to the early 1700s, shortly after Closterman returned from Madrid and Rome in 1702. The sitter's richly embroidered coat, detailed with flashes of lapis lazuli lining is typical of Closterman's grand English baroque style and shows the artist's enormous skill at recreating draperies in a truly unique manner, setting him apart from the more generalised draperies of artists such as Lely and Kneller.
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MICHAEL DAHL (SWEDISH 1659-1743)THE HON. MRS. THEODORA COWPER, C. 1710Oil on canvas125 x 95cm (49 x 37¼ in.)Provenance:The Hon. Spencer Cowper, Hertingfordbury ParkThence by descent,Henry Cowper, Tewin Water, Hertfordshire The Rev. Henry Madan Pratt, by 1904, Southern House, Cheltenham (Inherited from the above)Sale, Christie's, London, The Rev. Henry Madan Pratt Sale, 23 May 1930, lot 151 (as Kneller)Private Collection, London Sale, Sotheby's, London, 11 May 1932, Lot 66 (As Kneller) Frost and Reed, Bristol and London Sale, Christie's, London, 10 March 1939, Lot 40 (as Kneller)Private Collection, FranceMichael Dahl painted this majestic portrait of the Hon. Mrs. Theodora Cowper around 1710, whilst the artist was at the height of his popularity amongst the elite in London society. The confident brush work and soft skin tones are typical of Dahl's work of this period and can be easily dated to c. 1710 when looking at the loose draperies and elevated hair. The sitter was born Theodora Kirk and firstly married Joseph Stepney MP in 1693. Her husband was the first cousin of John Stepney, 4th Bt. and Justina van Dyck, the only daughter of the great artist Sir Anthony van Dyck. After the death of her first husband in 1725, Theodora married the Hon. Spencer Cowper, MP and Chief Justice at the court in Chester. Spencer's brother William was the first Lord High Chancellor and had been made 1st Earl Cowper in 1718. Although Spencer and Theodora had no children together, it is clear to see the affection she held for her sons-in-law as she left her estate, including a 3% ownership share of the Bank of England, almost entirely to them. This portrait is also mentioned in her will, dating from 1750, noting that she wished to leave it to her husband's youngest son, the Reverend John Cowper. As John had no children it then passed to Spencer's other son William, whose family it remained until it was sold in 1930. This portrait is particularly unusual within Dahl's oeuvre for the fact that it depicts the sitter in the allegorical guise as Diana, goddess of the hunt. Dahl rarely painted his sitters in allegorical guises and in this instance, it is almost certain that the artist took inspiration from Sir Peter Lely's portrait of Frances Stuart, Duchess of Richmond, located in the Royal Collection. Lely's portrait of Frances Stuart was part of the famed Windsor Beauties series and would have been widely known. The goddess Diana, also known by the Greek name Artemis, was associated with elegance and purity and is often shown holding a bow with a crescent moon on her head, both attributes that Dahl has included in this portrait. Dahl closely echo's Lely's composition, however in turning Theodora more to the viewer he endows a greater sense of grace and poise. The rich landscape in the background is no doubt emblematic of an English Arcadian scene that had become the favoured setting for aristocratic sitters from the time of van Dyck in the previous century.Condition Report: The canvas has been relined and is on a later stretcher, which is providing good support. The paint layers appear stable. UV light reveals remains of an inscription lower right, as well as scattered restorations in the background and in the sitter's hair, neck and arms. Some of these are visible to the naked eye, but the face appears largely untouched. Areas of surface cracking in the sitter's face and chest. The painting has been recently cleaned and revarnished. Condition Report Disclaimer
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JAN VAN DER VAART (DUTCH 1653-1727)PORTRAIT OF A YOUNG BOY (PROBABLY THE HON. LAURENCE SHIRLEY), C. 1696Oil on canvas127 x 101.6cm (50 x 40 in.)Provenance:(Probably) 1st Earl of Ferrers (thence by descent) (Probably) Cheatle Auction, Staunton Harold Hall, 17 - 18 June 1834 (lot 48)Private Collection, USAJan van der Vaart was born in Haarlem in 1653 where he trained under the local artist Thomas Wyck. By 1674 he had moved to England and was working as a painter of still-life pictures and small landscapes with figures, very much in the tradition of his Dutch training. It was at this time that van der Vaart painted one of his most celebrated works, the Trompe l'oeil violin and bow hanging on a door, in the Devonshire Collection at Chatsworth. From about 1685, van der Vaart was painting draperies for Willem Wissing, the finest example of their collaboration is the portrait of Theresa Stuart, Duchess of Richmond and Lennox (National Portrait Gallery, London). After Wissing's death in 1687, van der Vaart continued his workshop and occasionally collaborated with the German artist Johann Kerseboom.From the early 1690s, van der Vaart worked almost exclusively for Robert Shirley, 1st Earl Ferrers, for whom he painted multiple portraits, including an impressive group portrait of the Earl and Countess with their four eldest children. It is almost certainly whilst van der Vaart was at Staunton Harold, the seat of the 1st Earl Ferrers, that this portrait was painted. It is most likely a depicting of the young Hon. Laurence Shirley in the guise of Cupid painted at the age of 2 or 3. Robert was married twice and had a total of 27 children, although Laurence did not inherit his father's titles, his son, who was also named Laurence, went on to become the 4th Earl Ferrers. The 4th Earl was a particularly violent man and after beating his rent collector Johnson, he shot him in the chest, resulting in his trial and then execution for murder. He was the last Peer in Britain to be hanged after a trial. Condition Report: The canvas has been relined and fine surface cracking is visible but the paint layer appears to be stable. Inspection under UV reveals there are some scattered areas of retouching which includes some fine lines on the sitters body and in broader areas in the background particularly to the right of the sitters head. There are other scattered areas of restoration, but they are all well executed and visible to the naked eye. It has been cleaned and re-varnished. Condition Report Disclaimer
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A Framed Photoprint Of A Newborn Baby Signed Esther Ling Mounted In A Grey Profile Frame 38 x 47cm Born In South Korea And Adopted To An English Family At The Age Of 2, She Now Lives In Suffolk With Holly, Ella And Isaac Her Three Children. Esther Takes On Wedding And Portrait Commissions Within The UK And Internationally.
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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Accent Mirror Simple In Design To Complement Most Settings, The Accent Mirror Will Make A Charming Statement Piece In Your Home. The Rectangular Wood Grain Frame Is Made From Natural Beach Wood And Effortlessly Curves Around The Large Mirror Plate Ensuring Style And Sturdiness This Mirror Can Be Hung In A Landscape Or Portrait Orientation 100 x 58cm
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V Adam (active late 19th/early 20th Century), Portrait of SS Hazel Branch, oil on canvas, signed and dated 1927, 60cm x 91cmNB: The 4734 ton cargo ship SS Hazel Branch was built by Napier & Miller in 1906. The owners were The Belgrano Steamship Company of Glasgow (Bell Bros. and McLelland). She collided with the SS Lake Eyrie off Cardiff in January 1919. The Lake Eyrie sank but was later refloated and repaired. It is recorded that she was broken up at Blyth on January 3rd 1936.
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The Naturalist's Library. The Natural History of Hummingbirds, 2 volumes, Edinburgh: W.H. Lizars, 1833, portrait frontispieces, additional hand-coloured vignette titles, 64 hand-coloured plates, advertisements to rear, tissue guards renewed, occasional light spotting, endpapers renewed, volume 1 bound in modern half calf gilt, volume 2 original brown cloth gilt (rubbed & faded), 8vo, together with:Mammalia, The Naturalist's Library, Edinburgh: W.H. Lizars, 1837, portrait frontispiece, additional hand-coloured vignette title, 32 plates (many hand-coloured), lightly spotted, endpapers renewed, modern half calf gilt, 8vo, withThe Natural History of British Butterflies, Edinburgh: W.H. Lizars, 1835, portrait frontispiece, additional hand-coloured vignette title, 36 plates (many hand-coloured), contemporary gift inscription to front blank, lightly spotted, endpapers renewed, modern half calf gilt, all edges gilt, 8vo with 39 others from The Naturalist's Library QTY: (43)
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Orwell (George). The Collected Essays, Journalism and Letters of George Orwell, edited by Sonia Orwell and Ian Angus, 4 volumes, London: Secker & Warburg, 1968, portrait frontispiece to each, original cloth, dust jackets, spines a little faded, 8vo, together with The Road to Wigan Pier, 1937QTY: (5)
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Orwell (George). Nineteen Eighty-Four, 1st edition, London: Secker & Warburg, 1949, half title, recent black morocco gilt by Exeter Bookbinders, upper cover in the form of a gentleman's jacket, with the eye of Big Brother at head, 3 gilt metal skeleton buttons, lower cover with Nineteen Eighty Four and George Orwell in gilt, endpapers with a collage of George Orwell's eyes, front pastedown with 2 flaps which open to reveal a ten shilling note with portrait of Queen Elixabeth II, and a one dollar bill with portrait of George Washington, 8vo QTY: (1)NOTE:Limited 'Black edition', one of only 5 copies (black morocco label under rear pastedown flap). The letter of provenance with the book states this edition was created to commemorate the passing of HM Queen Elizabeth II, on 8 September 2022.
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2nd Life Guards Attributed Waterloo and Military General Service MINIATURE Medal Pair. This pair are attributed to Captain Alexander McInnes of the 2nd Life Guards who oil painting portrait by Ramsay Richard Reinagle hangs in the National Army Museum London. Comprising: Military General Service Medal, clasp Vittoria, Waterloo Medal. These have been attractively mounted into a Spink quality Mahogany table frame. This frame would have at one time housed the full size medals and were mounted with a Victorian Life Guards pouch badge and a representation of the portrait. The miniature medals are unnamed. Frame Size 11 x 9 inches. Captain Alexander McInnes portrait is probably the most recognised of the period depicting an Officer of the Life Guards Waterloo Period. He was appointed a Cornet of the 2nd Life Guards in 1809, he became a Lieutenant in 1810 and Captain whilst serving in the Peninsula in 1813. Resigning his commission in 1814 he rejoined with the rank of Cornet and fought with the Regiment at Waterloo and took part in Uxbridge’s charge against d’Erlon’s corps. In 1821 he took the surname Nicholson by Royal Licence. He died in 1862 aged 82. PAYMENT BY BANK TRANSFER ONLY
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WW2 RAF DFM Winner Casualty Caterpillar Club Gold Badge. A scarce original example with swivel safety catch fitting and engraved to the reverse SGT A L LANGWORTHY. Awarded to Pilot Officer Alfred Leslie Langworthy DFM Flight Engineer who was killed on the 10th January 1944. The caterpillar badge is accompanied by original photographs 2x portrait Sergeant wearing rare FE (Flight Engineer) brevet, Grave with temporary marker. Copy photograph of him and crew. Pilot Officer Alfred Leslie Langworthy DFM was a native of Folkestone and on joining the RAF he volunteered for aircrew qualifying as a Flight Engineer. Posted to 10 Squadron operating the Handley Page Halifax bomber completing a tour of operations he was awarded the Distinguished Flying Medal London Gazette 15th June 1943. He was commissioned and posted to 1652 HCU as an instructor he was briefed on the 10th January for a duel control flight. Taking off from RAF Marston Moor, within minutes, control was lost and the aircraft crashed into the River Ouse inverted. All the crew were killed. PAYMENT BY BANK TRANSFER ONLY
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The sufi, 'Abd al-Qadir Gilani, in his youth, disputing with an older sufi, Sayyid Muhammad Fadil Deccan, 18th centuryGouache and gold on paper, extensive Persian inscriptions in nasta'liq script, together with Shuja-al-Daula, Nawab of Oudh (reg. 1754-75) on a terrace admiring a birdcage, and a prince giving audience to two noblemen on a palace terrace, the first: 196mm x 130mm (3)Footnotes:In the first minature, the figure on the left is described in the inscription: 'The blessed portrait of His Holiness Sayyid 'Abd al-Qadir when he was twenty years old, after which he was confirmed Caliph'.'Abd al-Qadir Gilani (1077-1166), also known as Ghawth al-A'zam, Pir-e Dastgir and Muhiyy al-Din, was the founder of the Sufi Qadiriyyah order. He moved from Gilan (Jilan) in Persia to Baghdad at the age of 18 to study the Hanbali law at the Nizamiyyah School. He travelled for 25 years and returned to Baghdad at the age of about 50, where he gave numerous sermons which attracted not only Muslims, but Jews, Christians and people of all rank. He wrote many books including a collection of his sermons, futuh al ghayb, and al- ghunyat al-talibin.The figure on the right is described: 'The portrait of His Holiness Sayyid Muhammad Fazel (Fadil) - may his grave be hallowed - during [his] dispute [with 'Abd al-Qadir] when his blessed age was fifty-seven'. This is perhaps a 17th century Qadiriyyah shaykh of this name. At upper centre is what may be a date '[1]291 [?]'. If this is a samvat date, it would be equivalent to 1819-20.For further information on this lot please visit Bonhams.com
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Contemporary SchoolPortrait of Sir Edwin Landseer LutyensIncorporating an architectural model for a 'chattri' roof, after the caricature bust made at Lutyens' Indian office in New DelhiDigital print on board 170.5 x 140cm (67 1/8 x 55 1/8in).Together with a similar example depicting Samuel Pepys, and a painted panel version of Sir Edwin Lutyens with a caricature of Sir Terence Conran (3)Footnotes:The relationship between Sir Terence Conran, Sir Edwin Lutyens and Samuel Pepys may not be obvious at first glance, however they all converge (across the centuries) at 85 Fleet Street. The birthplace of Pepys in 1633, the building was re-designed by Lutyens 300 years later for the Press Association and later served as Reuters head office for decades. In 2009, the building was taken over by Sir Terence and his restaurant group and named 'Lutyens' in homage of the architect, with an additional entertaining and events space named after Pepys.For an image of the Lutyens caricature bust see the Royal Institute of British Architects ref no. RIBA3080-37. This was originally provided to Sir Terence by RIBA after the purchase of the building, from which he commissioned artwork inspired by the original.The Samuel Pepys work is most likely based on the portrait by John Hayls at the National Portrait Gallery, ref no. NPG 211.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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Books: ArtA selection of Sir Terence Conran's books relating to art, artists and art history, approximately 130 vols., including: ELDEFIELD (JOHN), The Drawings of Henri Matisse, 1984-- MAILER (Norman), Portrait of Picasso as a Young Man, 1995-- GLAZEBROOK (Mark), David Hockney: Paintings, prints and drawings 1960-1970, 1970-- RITCHIE (Andrew Carnduff), Sculpture of the Twentieth Century, 1952, etc.,This lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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Burton (Richard F). The Land of Midian (Revisited), 1st edition, 2 volumes, London: C. Kegan Paul & Co, 1879, folding map to rear of volume 2, 16 plates (6 colour lithographs), uncut, small library blindstamp to volume 1 front free endpaper, lightly dust-soiled, original red cloth gilt, spines toned, rubbed, 8vo, together with:Bent (Theodore). Southern Arabia, 1st edition, London: Smith, Elder, & Co, 1900, portrait frontispiece, 6 folding maps, black and white plates, lightly dust-soiled, hinges cracked, original red cloth gilt, rubbed, 8vo, withLees (G. Robinson). Life and Adventure Beyond Jordan, London: Charles H. Kelly, [1910], colour frontispiece, black and white illustrations (many full-page), endpapers toned, original blue pictorial cloth gilt, spine faded, rubbed, 8vo, with 4 others on the Middle-EastQTY: (8)
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Cook (James). A Voyage to the Pacific Ocean; Undertaken, by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere: Performed under the Direction of Captains Cook, Clerke, and Gore, in the Years 1776, 1777, 1778, 1779, and 1780, 1st abridged edition, 4 volumes, London: John Stockdale, 1784, half-titles to volumes 2, 3 & 4, engraved portrait frontispiece to volume 1, 48 engraved plates, lacking maps (large map of the world supplied in facsimile), list of subscribers to rear of volume 4, occasional spotting, professionally cleaned throughout, endpapers renewed, modern calf gilt, morocco labels, 8voQTY: (4)
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