283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
Los 283
Cindy Sherman (American, born 1954)Untitled (Self-Portrait with Sun Tan) Chromogenic print, 2003, on photo paper, signed, dated and numbered 88/350 in black ink verso, published by The Serpentine Gallery, London, on the occasion of the Cindy Sherman retrospective in 2003, with margins, 620 x 395mm (24 3/8 x 15 5/8in)(I)For further information on this lot please visit Bonhams.com
Los 6
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669)Self-Portrait in a Cap and Scarf with the Face dark: Bust (Bartsch 17; New Hollstein 120) Etching, 1633, on heavy laid, a later impression of New Hollstein's third state (of five), with partial watermark Arms of Amsterdam, with thread margins, 132 x 103mm (5 1/8 x 4in)(PL); 133 x 105mm (5 1/4 x 4 1/8in)(SH)For further information on this lot please visit Bonhams.com
Los 179
Harold Knight (1874-1961)Portrait of Mary Monteath, 1933signed (lower left), titled and dated (upper)oil on canvas49 x 39cm. Provenance:Mary Lindsay (née Eady), Lady Monteath (1905-1994) was the wife of Sir David Taylor Monteath (1887-1961). David Monteath was a British civil servant, working at the India Office in London, who was the last Permanent Under Secretary of State for India and Burma. Mary Monteath was the niece of Harold Knight. Knight painted the current work as a wedding present in 1933. In Oxford University botanical gardens, beside the river Cherwell, there is a bench with a faded plaque, on it inscribed: "In memory of Jane Tomkinson and Mary Monteath". This bench is an important landmark as it plays a crucial part in Philip Pullman's trilogy, His Dark Materials. In the years since the bench appeared in the trilogy's final novel, The Amber Spyglass, it has grown into the rich literary fabric of Oxford and many tourists and fans visit the site. The frame is contemporary to the picture. The frame has some knocks, scuffs and scratches. Signs of display, wear and use. Slight crazing to the paint surface in places, but otherwise seems ok. Please note we have not removed the picture from the frame to examine.
Los 184
Elemér Kézdi-Kovács (1898-1976)Street Scene, 1942signed, dated, and inscribed 'To Mrs Diener, with my compliments, E. K. Kezdi, London'watercolour36 x 25cm; and a watercolour of an apple branch, signed, 'E. Zwirner', 18 x 18cm. Provenance:Mrs Rosa Diener, whose portrait was painted by Sergius Pauser;Miss Sophie Diener;thence by descent.
Los 7
Rebecca Coleman (b.1840) for Mintons Art Pottery at Kensington Gore, Charger painted with an Aesthetic Movement female portrait, 1874, Glazed earthenware, Painted signature 'R. Coleman', verso impressed marks 'MINTONS', year cypher for 1874 and other marks, 50cm diameter.Footnote:Rebecca Coleman was the sister of William Stephen Coleman, who was art director at Minton's Art Pottery Studio from 1871-73.Overall condition very good. Not removed from frame. Examined under UV and no damage or restoration found. The white of the dress has some crazing. Frame has a few knocks here and there. The reverse has holes drilled for hanging, and some brown spotted markings from the frame. Additional images available.
Los 160
AN INDIAN AXE AND TWO INDIAN MACES FORMED ENTIRELY OF STEEL, 18TH/19TH CENTURY, the first with engraved wedge-shaped head decorated with male and female portrait profiles on each face, on its haft; the second with fluted spherical head set with small copper alloy rondels (losses) on its haft; the third perhaps a badge of office, with fluted spherical head, on its haft with matching base; and a tribal axe, with carved none haft, the first: 38.0 cm overall (4)¦¦Provenance¦Anthony Dove (1938-2021)
Los 392
ENGLISH SCHOOL, 17TH CENTURY, PORTRAIT OF EDWARD POPHAM (CIRCA 1610-1651), ADMIRAL OF THE FLEET 1650, oil on canvas, head and shoulders, wearing armour, a naval vessel visible through an open window, upper right, all in a painted cartouche, inscribed lower right ~EDWARD POPHAM./Admiral of the Fleet 1650,~ 17th century depiction which appears to have undergone extensive restoration and heavy overpainting possibly in the 19th century, unframed, 77 x 64 cm ¦¦Provenance ¦Littlecote House, Wiltshire¦ ¦Edward Popham was born in about 1610, son of Sir Francis Popham (1573-1644) and his wife Anne (Dudley). He was a naval lieutenant and was later made a captain, hence the inclusion in this portrait of the distant view of English naval shipping through the open window. He was a supporter of the Parliamentary Cause during the English Civil War. Popham died of a fever at Dover in Kent on 19th August 1651. He was buried in Westminster Abbey in Henry VII~s chapel. At the Restoration of Charles II, along with many other of Oliver Cromwell~s supporters, he was disinterred. However, unlike many of his comrades his body was not re-interred in a pit outside the Abbey but returned to his brother. His monument remains in Westminster Abbey to this day with the inscription effaced.¦¦Property from a Private Collection¦
Los 247
Two 19th century portrait paintings, to include a 17th century style nobleman with brown wig and part breast armour, leaning against a canon, watercolour on paper, 18 cm high, the other of a Victorian gentleman with velvet robe and hat, monogrammed and dated 1869 lower right, watercolour on paper, 21.5 cm high, both in glazed giltwood frames
Los 263
Possibly by Matthias/Matthijs Maris (1839-1917) Dutch, 'day dreamers' or 'Girl inclining', sketch portrait of a maiden, possibly a fairytale character or romantic bride, pencil on paper, unsigned, 27 cm x 27 cm, within a glazed wooden frame, the back with various gallery and exhibition labels, attributing the work to Maris, including one for an exhibition arranged by the Empire Art Loan Collections Society in London, chalk marks, and stencil stock no.
Los 173
An American Civil War 1840 Pattern Sword by Ames Mfg. Co., the 82cm single edge fullered steel blade stamped on one side of the ricasso with maker's name, the opposing side stamped U.S. A.H.K. 1864, the brass hilt with fixed double shell guard, curved knuckle bow stamped J.C.W., with ribbed grip and ovoid pommel, with brass mounted leather scabbard, 99cm; an Ambrotype Portrait of a US Civil War Soldier, in a foliate embossed leather cloth covered case, the gold velvet lined inner cover marked L. HORNING ARTIST PHOENIXVILLE PA.; a Carte de Visite, showing a portrait of a Civil War officer, now in a leather covered case (3)Black patching to sword blade, creases and scuffing to the leather of the scabbard.
Los 18
A 17th Century Silver Gilt Medallet, of oval form, one side cast and chased with what is believed to be the portrait of Gustaves Adolphus of Sweden, the opposing side with Queen Eleanor, within a foliate border and with plain suspension ring, 3cm by 2cm, together with a hand written letter from R A G Caison, Assistant Keeper British Museum Department of Coins and Medals, dated 13 Sept.1958Footnote:- Very similar to the Royalist Medallets or Supporter's Badges from the British Civil War period.
Los 253
A Pair of Early 19th Century Spanish Flintlock Duelling Pistols by Astiazaran and Presented to Don Pedro de Villacampa, 13 bore, each with 20cm blued steel cannon barrel, octagonal at the breech and inlaid in gold GENL. DE SV DIVISION, MOLINA . AD.1810, DN. PEDRO BILLACAMPA (sic), with foliate chased border and maker's poincon to the top flat, plain steel lock plate, the cock with lion mask screw, the walnut full stock inlaid with scrolling tendrils in silver wire, silver ramrod pipes, fluted trigger guard with formal foliate finial, shaped side plate and spurred butt cap, with bone tipped wood ramrod, 35cm, in an associated mahogany case, the hinged cover with inset brass ring handle, the blue baize lined interior fitted with a reproduction brass combination flask, steel bullet mould and lead balls, together with a translation of an email communication of authentication from Luis Sorando, Adviser of the Army Museum and Collector of Napoleonic Militaria, and a photograph of an oil portrait of the recipientFootnote:- These pistols were presented by the Junta de Defensa de Molina de Aragon in 1810 to Don Pedro de Villacampa when he was appointed to lead the 2nd Army Division of the Molina Infantry Battalion which the Junta had established. Actions work, hold at full and half cock, but are very stiff. One pistol has a split to each side of the fore-end tip, a split across the back of the grip and there is a repair to the tip of the left spur running from the butt cap. There are traces of gilt to the foliage on the barrel and the trigger guard. There is some pitting to the barrel at the muzzle. The other pistol has a fine split to the left side of the fore-end tip, a bruise to the underside of the butt below the butt cap. There is some fine pitting to the barrel at the muzzle.
Los 43A
The White Star Line Ship Majestic - a Real Photographic Group Portrait, depicting engine room crew and firemen seated and standing on deck, a pair of crossed coal shovels before them framing a sign inscribed "Majestic 1910", in a glazed frame, size of photograph 25.5cm by 30.5cmFootnote:- The White Star Line Ship RMS Majestic was taken out of service in November 1911 and put into reserve due to RMS Olympic coming into service. After RMS Titanic sank on her maiden voyage, the Majestic was put back into service as Titanic's replacement. She continued in service until 1914 when she was sold for £26,700 to T Ward to be broken up. The ship breakers made money from Majestic by opening her to the public during the summer of 1914.
Los 64
Group Captain R. (Bobby) W. Oxspring D.F.C., A.F.C.:- a hand written note from him answering questions regarding his career and that of some of his colleagues, post-war, a signed First Day Cover commemorating the 50th Anniversary 1986 of the Spifire, a framed montage showing his portrait photograph, his combat record and a further signed First Day Cover - Duxford Spitfires, a cut glass trophy vase on a walnut plinth with plaque engraved 'F/LT. R.W. OXSPRING D.F.C. & TWO BARS 16-2-43', a Royal Doulton collector's plate 'Spitfire over St. Pauls', and a book 'Spitfire Command' by Group Captain Bobby Oxspring (6)
Los 88
A Quantity of Militaria, including British Second World War and post-War buttons, cap badges, glengarry badges cloth shoulder titles, DLI collar badges, shoulder titles and a buckle etc; also, a First World War Trench Art shell canister and cover engraved with Egyptian scenes, a post Second World War German Kriegsmarine EM's white tunic, with blue collar and cuffs and trade insignia, an NSKK Belt Buckle, in white metal of domed circular form with applied NSKK badge, a German War Merit Medal and a German 1914-1916 medallion type box containing portrait photographs of German leaders
Los 2791
-- "... zu einem Portrait kam es nicht mehr!"-- Rühmann, Heinz, Bühnen- und Filmschauspieler, Regisseur und Sänger (1902-1994). Eigenh. Brief m. U. 1 S. Quer-4°. O. O. 30.5.1985.An die Fotografin Ingrid von Kruse, die ihn gebeten hatte, Porträts von ihm anfertigen zu dürfen und ihm eine Mappe mit Beispielfotografien und Publikationen geschickt hatte: "Sehr geehrte Ingrid von Kruse, ich muss mich kurz fassen, da ich vor der Abreise stehe. Ihre Unterlagen gefallen mir sehr, fotografieren können Sie. Aber ich kann nicht und zwar das ganze Jahr: ich muss viel arbeiten, bitte schreiben Sie später noch einmal ..." Auf dem Umschlag schreibt Ingrid von Kruse mit Bleistift: "Heinz Rühmann ein kleiner Brief zu einem Portrait kam es nicht mehr!" - In blauer Tinte, leichte Knick- und Knitterspuren.
Los 139
A Second War ‘Italy campaign’ M.M. group of five awarded to Mortar Platoon Sergeant A. E. Moreton, Middlesex Regiment and Princess Louise’s Kensington Regiment, who was also Mentioned in Despatches Military Medal, G.VI.R. (6200187 Sjt. A. E. Morton [sic]. Midd’x. R.) in named white card box of issue and outer transmission box, the white box named ‘6200187 Sjt. A. E. Moreton, Midd’x. R.’; 1939-45 Star; Italy Star; Defence and War Medals 1939-45, with M.I.D. oak leaf, mounted court-style as worn, extremely fine (5) £1,200-£1,600 --- M.M. London Gazette 13 December 1945: No. 6200187 Sergeant Albert Edward Moreton, 13th London Regiment (Princess Louise’s Kensington Regiment): ‘In recognition of gallant and distinguished services in Italy.’ The original Recommendation, for a periodic M.M., states: ‘Sergeant Moreton is Platoon Sergeant of a 4.2” Mortar Platoon, and has shown consistent courage and steadfastness throughout the Italian campaign. As an instance, on the night of 16-17 April 1945 on the way up to position to support the attack on Argenta, two of the Platoon’s vehicles containing a section of mortars were held up by very heavy shell and mortar fire 500 yards short of the position. Sergeant Moreton received an alternative route on foot for the drivers and crews ands despatched them to the mortar position, and them himself drove the first vehicle through the fire onto the position and then retuned on foot and drove the second vehicle. All mortars were this in action on time. Throughout the night, the position was engaged by enemy guns and mortars, but Sergeant Moreton retained complete control of the situation and excellent supporting fire was given. This N.C.O. has always been in the thick of the fighting, encouraging his men, supervising the fire, and showing a consistent of courage, leadership, and devotion to duty which is beyond praise.’ M.I.D. London Gazette 29 November 1945: 6200187 Sgt. A. E. Moreton, Midd’x R. ‘In recognition of gallant and distinguished services in Italy.’ Albert Edward Moreton was born at Rotherhithe, London, on 29 November 1915 and was serving as a Mortar Platoon Sergeant with the 1st Battalion, Princess Louise’s Kensington Regiment when he was awarded the Military Medal. He died in London on 22 October 1973. Sold with the recipient’s original Mentioned in Despatches Certificate, named ‘Sergeant A. E. Moreton, The Middlesex Regiment (Duke of Cambridge’s Own.)’, and dated 29 November 1945’, with Record Office enclosure; Buckingham Palace enclosure for the M.M., named ‘6200187 Sjt. A. E. Moreton, M.M., The Middlesex Regiment (Duke of Cambridge’s Own).’; Army Council enclosure for the Campaign awards; a sepia portrait photograph of the recipient; the recipient’s miniature width riband bar; and copied research.
Los 168
An extremely rare Baden-Powell Scouting Badge group of five awarded to Corporal R. L. Picton, 5th Lancers, later Acting-Sergeant, South African Forces Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901 (5226 Pte. R. Picton. 5th Lancers); British War and Bilingual Victory Medals (A/Sjt. R. L. Picton. S.A.S.C.) with lids from original card boxes of issue, together with a related Baden-Powell Scouting Badge, in ‘gold’, with applied silver St. George and the Dragon motif to centre, the reverse officially inscribed ‘For Scouting, from R. S. S. B.-P. 1906’, in its original Elkington, London, fitted leather case, the lid of the case detached but present; and a Pretoria Citizens Service Medal 1914-19, bronze, unnamed, very fine and better and extremely rare (5) £1,000-£1,400 --- Raymond Law Picton served in the 5th Royal Irish Lancers for eight years, being transferred to the Army Reserve in November 1907. The background behind the award of his rare scouting badge is explained in an accompanying original handwritten statement from Baden-Powell, sent to Picton in November 1926: ‘This medal was won by Corporal R. L. Picton, a member of the team of the 5th Royal Irish Lancers which won the Scouting Competition at Aldershot in 1906. The competing regiments were: 1st Royal Dragoons 5th Royal Irish Lancers 8th Hussars. The members of the 5th Lancers team were Lieut. Pym; Sergt. Tredger; Corpl. Picton; L. Corpl. Crane; L. Corpl. Ashton; Pte. McCluny; Pte. Goodman. (signed) Robert Baden Powell.’ This document is accompanied by Baden-Powell’s original covering letter (and South African stamp marked envelope, dated 12 November 1926), in which he writes, ‘ ... I gladly enclose the statement you ask for, and am only so pleased to think that the little token I gave you so long ago, to encourage the development of scouting, was so much appreciated’. During the Great War, Picton enlisted in the South African Army Service Corps at Roberts Heights in February 1917, and, following service in a motor transport unit in German East Africa, was demobilised in January 1919, aged 39 years. Also sold with a quantity of other original documentation, including the recipient’s Certificate of Discharge, dated 15 January 1919 and a Civilian Protective Services, Cape Peninsula Fortress Command, Certificate of Authority, including portrait photograph, dated 14 January 1942.
Los 206
Pair: Chief Pilot Master J. Spink, Trinity House and Mercantile Marine British War and Mercantile Marine War Medals (John Spink) good very fine Pair: T. Olsen, Mercantile Marine British War and Mercantile Marine War Medals (Tudor Olsen) polished, nearly very fine Pair: Samuel H. Winter, Mercantile Marine British War and Mercantile Marine War Medals (Samuel H. Winter) good very fine (6) £100-£140 --- John Spink was born in Great Yarmouth in 1854 and served both with the Mercantile marine during the Great War and served as a Chief Pilot Master for Trinity House at the Port of Liverpool. Sold with the recipient’s Authority to War document for the Great War awards; OHMS transmission envelope, addressed to ‘Mr. J. Spink, 30 Seaforth Road, Seaforth, Liverpool’; and a portrait photograph of the recipient in his Trinity House uniform. Tudor Olsen was born at Llenelly on 5 September 1903 and served with the Mercantile Marine during the Great War. He subsequently attested for the Royal Engineers and served with them in the inter-War years, being recalled for service following the outbreak of the Second World War. Samuel Hugh Winter was born in Farnworth on 8 June 1899 and served as a Radio Operator in the Mercantile Marine in S.S. Carpathia, S.S. Circassia, and S.S. Montana. Sold with copied research.
Los 676
Ingrid Bergman, An Intimate Portrait 1959 by Joseph Steele. Unsigned book. Hardback Book. Fair Condition Overall. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 68
The O.B.E. attributed to G. H. J. Adlam, Esq., School Science Master and Editor of the School Science Review The Most Excellent Order of the British Empire, O.B.E. (Civil) Officer’s 1st type breast badge, silver-gilt, hallmarks for London 1932, in Garrard, London, case of issue; together with the related miniature award, nearly extremely fine £120-£160 --- O.B.E. London Gazette 1 January 1934: George Henry Joseph Adlam, Esq., M.A., Senior Science Master, City of London School. George Henry Joseph Adlam was born in Wells, Somerset, and was educated at Wells Cathedral Grammar School (where he was a chorister) and Wadham College, Oxford. He was employed as Senior Science Master at the City of London School from 1912, and for many years edited the School Science Review. It was for his services to this periodical that he was awarded the O.B.E., and he was invested with his insignia by H.M. King George V at Buckingham Palace on 28 February 1934. As his obituary noted ‘Adlam has let promotion go past him in order to devote his time and talents to the School Science Review. Indeed, its nurture has been his life’s devotion, and its present commanding position his great achievement. It is not too much to say that Adlam has done more to promote School Science than any man of his day. The Science Masters’ Association owes much to the School Science Review, and the School Science Review owes nearly everything to its Editor.’ Sold with the original Bestowal Document for the O.B.E., in Central Chancery envelope; Downing Street letters regarding the announcement of the award, and Central Chancery letter regarding the investiture (the investiture took place on 28 February 1934); the recipient’s Freedom of the City of London Parchment Scroll, in wooden tube; a portrait photograph of the recipient’ and a newspaper cutting from the Wells Journal containing the recipient’s obituary. Sold also with the original Bestowal Document for the C.B.E. awarded to Adrian Ernest Forsyth-Thompson, Esq., Development Secretary, Seychelles, dated 11 June 1966, in Central Chancery envelope.
Los 795
German Second World War Documents. 5 items of Second World War German paperwork comprising an unused Deutsches Reich Dienst pass; a double folded printed card for the DLV, some membership stamps included for 1936, identified to a member; a DAF membership book with all details of holder, many DAF membership stamps to the interior from 1935 through to 1940; another DAF membership book, accompanied by its own membership card, identified to a Heinrich Emdens; and a nice studio portrait photograph of a Waffen SS enlisted man wearing the visor cap, good condition (5) £40-£50
Los 90
An inter-War O.B.E., post-War K.P.F.S.M. group of four awarded to R. Mitchell, Esq., Chief Constable of Kincardineshire The Most Excellent Order of the British Empire, O.B.E. (Civil) Officer’s 2nd type breast badge, silver-gilt; King’s Police and Fire Service Medal, G.VI.R., 1st issue, for Distinguished Service (Robert Mitchell. O.B.E. Chief Const. Kincardineshire Constab.); Jubilee 1935 (Chief Constable R. Mitchell.) contemporarily engraved naming; Coronation 1937 (Chief Constable R. Mitchell, O.B.E.) contemporarily engraved naming, good very fine and better (4) £400-£500 --- O.B.E. London Gazette 11 May 1937: Robert Mitchell, Esq., Chief Constable of Kincardineshire. K.P.F.S.M. London Gazette 12 June 1947: Robert Mitchell, O.B.E., Chief Constable, Kincardineshire Constabulary. Robert Mitchell was born in 1883 and joined the Aberdeenshire Constabulary in July 1902, where he served for five years, latterly as a Clerk in the County Chief Constable’s Office. He transferred to the Ayr Burgh Police in August 1907, and was promoted Sergeant and Court Officer that same year. He was subsequently advanced to Chief Clerk and then Confidential Clerk to the Chief Constable, and was finally promoted Inspector in charge of the uniform branch in February 1923. Mitchell was appointed Chief Constable of Kincardineshire in March 1924, and served in this role for the next 25 years. During his period in charge of the Kincardineshire Constabulary he was responsible for ensuring that the force had their own patrol cars and radio communication, when other forces had been equipped with bicycles. He was created an Officer of the Order of the British Empire in the Coronation Honours’ List in 1937, and was awarded the King’s Police and Fire Service Medal in the 1947 Birthday Honours’ List. He retired, following the amalgamation of Kincardineshire into the Scottish North-Eastern Counties Constabulary, in May 1949. Sold with the original Bestowal Document for the O.B.E., in named Central Chancery envelope, together with 10 Downing Street and Central Chancery letters regarding the award and investiture; copies of the recipient’s Application and Testimonials for the positions of Chief Constable of both Ayrshire ands Fife (both applications unsuccessful); a large photograph of the members of the Chief Constables (Scotland) Association 1945; a portrait photograph of the recipient; and other ephemera.
Los 194
§ Andrew Beer (1862-1954) Portrait of the racing pigeon Thoughtless signed 'Andrew Beer' (lower left); and inscribed 'Flew Rennes, won 1st Marennes, 17th Federation. Vel. 617. Ellesmere Port H.S./ Also Special Prize. Oil Painting of Winner of Marennes race. 1923. The property of H. Felgate.' (along the bottom)oil on canvas29.5 x 39.5cm The painting is executed in oil on a fine weave linen canvas. The edges of the canvas have been glued onto the stretcher, but the canvas has not been lined. The canvas tension is slightly slack and there are general undulations across the surface. There are sharp deformation along the lower edge caused by debris trapped between the lower stretcher bar and the canvas. Stretcher bar marks have formed in the paint layers following the wooden frame behind. At the upper left corner is an area of raised cracking in the paint layer. At the right hand side is a deep scuff or impact to the paint layer which has abraded the surface. Overall, the paint layer is stable and secure. There is a thin layer of varnish which is slightly yellowed but acceptable.51 x 61cm framed
Los 195
British Provincial School, circa 1900 Portrait of the fighting cock The Prince of Windsorinscribed with the name and 'Champion of Cockpit. 89. Property of John Wakeham' (along the bottom)oil on board26 x 19.5cmtogether with;C R Stock, 19th CenturyA set of six cockfighting scenesaquatints published by W C Lee, proofs21 x 24cm32 x 26cm & 23 x 27 framedThe fighting cock:There is surface dirt throughout. There are some minor areas of flaking in the lower left quadrant and between the cock's legs. There is a thick tar-like residue surface stain running horizontally across the centre of the painting, approx 1" in diameter. Small bubble underneath the paint in the top centre. There is no warping to the board and generally, the paint layer appears to be in a stable condition with no visible signs of repair.
Los 201
Archibald Thorburn (1860-1935) Wildfowl at Sea - Mallard & Pintailsigned and dated 'A. Thorburn/ 1930' (lower left)watercolour on paper27 x 36.5cmProvenance:The Moorland Gallery, London by 1974, when acquired by the parents of the present ownerExhibited:London, The Moorland Gallery, Archibald Thorburn - Artist and Illustrator, 5th-21st December 1974, no.63A COLLECTION OF WATERCOLOURS (LOTS 201-204) BY ARCHIBALD THORBURN (1860-1935)Archibald Thorburn is widely regarded as the finest and most popular ornithological painter of his generation. By the age of 30, he had established a reputation for being the best in Britain and become renowned for his remarkably accurate depictions of wildlife, which he preferred to sketch out in the wild, and which were devoid of the sentimentality that dominated much naturalistic painting during this period. Born in Lasswade near Edinburgh, the fifth son of Robert Thorburn (1818-1885), portrait miniaturist to Queen Victoria, Thorburn received his early artistic training from his father and first exhibited at the Royal Academy at the age of 20. He was encouraged to study anatomy and sketch classical statuary in pursuit of scientific accuracy, and he briefly attended The St John’s Wood School of Art in London. Upon the death of his father in 1885, he sought the guidance of the German naturalist painter Joseph Wolf whose influence is evident across Thorburn’s work. Thorburn’s first major commission was the illustration of 144 colour plates for Walter Swaysland’s series Familiar Wild Birds which was produced in 1882 and became a huge success. However, it was not until Thorburn was commissioned to illustrate Lord Lilford’s extraordinarily wide-ranging publication Coloured Figures of the Birds of the British Islands, for which he produced some 268 illustrations between 1885-98, that his reputation as a great painter of ornithological subject matter was assured. Following Thorburn’s move to London in 1885, he made regular sketching tours around Britain. In 1889, he visited the Forest of Gaick in Inverness-shire, which became the setting for almost all his depictions of ptarmigan and red deer. Thorburn's Scottish watercolours are considered some of his finest works and are known today for their ability to capture a sense of time and place as well as the changing seasons and weather. In 1902, Thorburn moved to High Leybourne, near Hascombe, Surrey, where he spent the rest of his life. There he settled into a routine of sketching on his morning walk and then working up these sketches into finished compositions back in his studio. Thorburn produced numerous illustrations for sporting and natural history books, including five of his own, and befriended eminent bird illustrators such as George Edward Lodge. In 1899, he designed the first Christmas card for the Royal Society for the Protection of Birds, of which he was elected a Vice-President in 1927.44.5 x 53.5cm framed. Not examined out of frame.
Los 206
Attributed to Mary Beale (1633-1699) Portrait of a gentleman, erroneously believed to be Sir John Coventry (1636-1685) half-length, in a painted stone cartoucheoil on canvas74 x 60cmProvenance:By family tradition by descent at Croome Court in the collection of the Earls of Coventry,Thence to Lady Peggy Coventry,Her daughter Mrs Michael Watson until offered at Christie's, London, 26th June 1959, lot 98, as Sir P. Lely [where said to have come from the estate of Mrs Kathleen Hancock (b. 1871, née Coventry, herself a descendant of the 6th Earl)] when bought back by the family,Chillesford Lodge, SuffolkThe sitter is more probably the Hon. John Coventry (1654-1687) later 4th Baron Coventry of Aylesborough.The painting is executed in oil on a canvas support which has been lined. The canvas tension is good, the picture is in plane and the paint layers are stable and secure. Localised areas of retouching are well matched to the original. The varnish is clear and semi-matte. There is a layer of surface dirt present with insect droppings across the surface.
Los 207
Attributed to Mary Beale (1633-1699) Portrait of a gentleman, erroneously believed to be The Hon. Henry Coventry (1618-1686), half-length, in a painted stone cartoucheoil on canvas74 x 60cmProvenance:By family tradition by descent at Croome Court in the collection of the Earls of Coventry,Thence to Lady Peggy Coventry,Her daughter Mrs Michael Watson until offered at Christie's, London, 26th June 1959, lot 98, as Mary Beale [where said to have come from the estate of Mrs Kathleen Hancock (b. 1871, née Coventry, herself a descendant of the 6th Earl)] when bought back by the family,Chillesford Lodge, SuffolkThe sitter from his age cannot be a man born in 1618. It is more probable this is a portrait of the Hon. Thomas Coventry (circa 1662-1710), later 2nd Earl of Coventry.The painting is executed in oil on a linen canvas support which has been lined. The canvas tension is good and the picture is in plane apart from a deformation along the lower edge caused by debris trapped behind the canvas. The paint layers are in a good stable condition overall. There are passages of overpaint which are reinforcing some areas of the composition, such as the sitter’s hair, but this does not appear to be extensive. Some of the overpaint has slightly darkened with age but is acceptable. The varnish is dull and matte with a layer of dirt and insect droppings on the surface.
Los 209
Follower of Sir Joshua Reynolds Portrait of a girl with a milk bowloil on canvas, in a late 18th century carved and giltwood frame73 x 61cmProvenance:Chillesford Lodge, SuffolkThe painting is executed in oil on a linen canvas support which has been lined. The picture is in plane and the canvas tension is stiff. An old tear above the sitter’s head has been repaired. There is active flaking occurring in the area of the sitter’s hair with scattered losses. Overpaint is present in this area suggesting it is a historical issue. There are other areas of overpaint across the surface that are slightly mismatched to the original. The varnish has yellowed with age and is no longer adequately saturating the darker paint passages.
Los 211
Follower of Frans Pourbus the Younger Portrait of a noblewoman, said to be Helena de Sonzogni, standing three-quarter length, in a white, floral and gold decorated dress, beside a table, before a red curtaininscribed 'HELENA / FILIA SPECTABILIS / D[O]NI IVLIJ DE SONZONIO / VXOR / INTEGER[MI] D[O]NI IOSEPH / DE MALVETIJS / 1615' (upper left) and charged with a coat of arms of the Malvezzi of Verona impaling the Sonzogni, surmounted with a coronetoil on canvas117.5 x 84cmProvenance:According to a label on the reverse, Frederick, 4th Marquess of Londonderry (1805-1872) by 1858, whose wife, Lady Elizabeth Frances Charlotte Jocelyn (1813-1884) was widow of Richard, 6th Viscount Powerscourt (1815-1844), Her son, Mervyn, 7th Viscount Powerscourt (1836-1904),By descent at Powerscourt House, County Wicklow, Ireland, when sold with the house and some contents to Ralph Slazenger in 1961,At Powerscourt until their sale on the premises, Christie's, 24th and 25th September 1984, lot 4, as 'Follower of Frans Pourbus'Literature:Mervyn, 7th Viscount Powerscourt, A Description and History of Powerscourt, 1903, p. 26, as in the Library as 'Coello', where said to be from the Bernal collection (see Note).According to the Powerscourt guide in 1903 (see Literature) this portrait came from the collection of Ralph Bernal, sold at Christie's, London, on 5th March-30th April 1855. Though it is recorded that the 4th Marquess of Londonderry (see Provenance) was buying paintings at that sale, the catalogue description for lot 898 (8th day of sale) which is the only possible candidate, does not quite correspond with the present portrait; further, lot 898 in the Bernal sale is recorded as having been purchased by a Francis Barchard Esq., and not by Lord Londonderry, as are other lots in the sale. It would seem probable, therefore, that the 7th Viscount Powerscourt in his guide of 1903 assumed his stepfather had purchased this portrait at the 1855 Bernal sale. The sitter in the present portrait is presumably a daughter of Giulio de Sonzogni. Her family, Sonzogni, originated in Zogno in the Brembana Valley in Lombardy. According to the inscription, the sitter married Giuseppe Malvezzi, a member of an ancient noble family from Verona. However, the painter of this picture has reversed the arms as the husband should occupy the dexter side of the shield and the wife, the sinister. From the date and the style of the portrait, it can perhaps be assumed that it was painted in Mantua by a resident artist influenced by Frans Pourbus the Younger who had been court painter to the Gonzaga family there from 1600 to 1609. From this we can presume the sitter was herself at the Gonzaga court in Mantua, where she almost certainly would have met her husband from nearby Verona.We are grateful to Dr Annemarie Jordan Gschwend, Senior Research Scholar at Centro de Humanidades, Zurich & Lisbon, and Alan Chamberlain for their assistance with this catalogue entry.The painting is executed in oil on a canvas support which has been lined. The lining canvas is very fine compared to the original support and is now starting to fail along the edges with small tears forming. Overall, the canvas tension is adequate and the picture is in plane. The paint layers are stable and secure. Despite being lined, areas of impasto are crisp and well defined. There are a few old losses located in the dress. Small areas of overpaint are scattered across the surface and are reasonably matched to the original. The varnish is yellowed and dull with a layer of surface dirt present.Framed 132 x 98.5cm
Los 213
Circle of Michael Dahl (1659-1743) Portrait of lady, half-length, in a blue wrap, believed to be Edith Hodges (née Estcourt, d. 1717) of Shipton Moyne, Gloucestershireinscribed 'Mrs Edith Hodges / Daughter of Tho.s Estcourt / A. D. 1690' (upper right)oil on canvas74 x 61cmThe painting is executed in oil on a linen canvas support, it is unclear if the painting has been lined or not as the reverse is covered. The canvas tension is good and the picture is in plane. There is a tear in the canvas in the sitter’s neck. The area has extensive, darkened overpaint covering historic damage. Other small tears have been repaired and overpainted. In the lighter passages the paint layer has an uneven surface with small lumps. This appears to be caused by degradation of the paint layer, possibly exacerbated by lining. The varnish layer is uneven and yellowed with age. There is a layer of surface dirt present.Framed 92 x 78.5cm
Los 215
Attributed to R Haskins (fl. 1735-1745) Two portrait miniatures of ladieseach monogrammed '(R/P?) H' and dated respectively '1737' / '1740' (centre left)plumbago on vellum, unframed11.7 x 9.5cm; 12 x 9.8cmBoth unframed and on vellum. Light wrinkling to the support. Little staining around the edges of one and to the bottom edge of the other.
![Jean-Étienne Liotard (1702-1789) Portrait of Gaspard de Péleran (d. 1747 Smyrna [Izmir], Turkey), bust-length, wearing a navy](https://cdn.globalauctionplatform.com/f6c106a0-923d-467f-b73d-af4f01125b2c/d9e29188-c032-42ca-a65f-af62010de31c/468x382.jpg)
Los 218
Jean-Étienne Liotard (1702-1789) Portrait of Gaspard de Péleran (d. 1747 Smyrna [Izmir], Turkey), bust-length, wearing a navy blue coat with gold embroidered trim and white stock, circa 1738enamel on copper, oval4.5 x 3.8cmProvenance: By repute Italian family of noble descent, Biel, Switzerland, until circa 1980; Private collectionBest known for his delicate pastel drawings, Jean-Étienne Liotard (1702-1789) initially studied miniature and enamel painting in his native Geneva, producing his first dated work in enamel in 1722, before turning his attention to pastels. The present portrait is one of only approximately thirty known enamel miniatures by Liotard and thus a rare example of his mastery of the enamelling technique.The sitter, Gaspard de Péleran (d. 1747 Smyrna [Izmir], Turkey) was a diplomat and French consul in Smyrna between 1731 and his death in 1747. He was the son of Pierre Armand de Péleran, French consul in Aleppo, and his wife Anne Victoire Fornetti (b. Constantinople 1667-1747), daughter of Jean-Baptiste Fornetti (1618-1694) drogman – the official interpreter of the Ambassador at the Constantinople French legation. A red and black chalk drawing of this sitter by Liotard is at the Louvre (see illustration below), which shows him lounging on a Turkish divan and wearing a similar coat as seen in the present miniature, with an identical distinctive design of gold lace. This drawing along with its pendant of his wife, Marie Boyer (1710-1786), whom he had married in 1732, are amongst 30 drawings that Liotard executed during his stay in Turkey between 1738 and 1742.In 1738, Liotard embarked on an expedition to Constantinople upon the invitation of William, Lord Ponsonby, later 2nd Earl of Bessborough and John Montagu, 4th Earl of Sandwich. They sailed from Naples on 3rd April 1738 and having passed by a number of Mediterranean islands, they stopped to spend a few weeks in Smyrna (today’s Izmir). It was almost certainly here, that Liotard would have encountered Gaspard de Péleran, who was the French consul there at the time, and who also appears to be Liotard’s first known sitter upon his arrival in the Ottoman lands. Following his stay in Smyrna, Liotard finally arrived at Constantinople in August 1738, where he settled for four years and painted numerous diplomats, wealthy merchants and locals. Intrigued by the native dress, Liotard himself adopted the custom of dressing as a Turk and grew a luxuriant beard, which earned him the nickname ‘The Turkish Painter’. Amongst his sitters in Constantinople was John Manners, Marquess of Granby (1721-1770) whose likeness Liotard captured both in pastel and in enamel. Alongside the present miniature of Péleran, the portrait of the Marquess of Granby is the only other known enamel from Liotard’s Turkish period.The present lot is being sold with a letter of authentication from the late Prof. Dr Marcel Roethlisberger, author of Liotard’s catalogue raisonné, published in 2008. Having examined this miniature in person in 2019, Prof. Dr Roethlisberger confirmed the attribution to Liotard and dated it to circa 1738, quite reasonably imagining it, like the Louvre drawing, was done whilst Liotard had stopped in Smyrna en route for Constantinople. If not actually painted in Smyrna, Roethlisberger postulated that it might have been done in Constantinople during Liotard’s time there as Péleran would not only at times have gone there from Smyrna to consult with his Ambassador to the Ottoman court, but almost certainly would have visited his widowed mother who died there, in the city where she was born, in 1747, five years after Liotard had left.Framed 4.8 x 4.1cm. Examined out of frame. Little surface dirt under glass. Good condition overall. Some scuffing to the reverse of the frame.
Los 221
Circle of Thomas Hickey (1741-1824) Portrait of a child, half-length, in whiteoil on canvas29 x 23.5 cmThe painting is executed in oil on a canvas support which has been lined. The canvas is in plane and has good tension. The paint layers are in a very good, stable condition. There are localised areas of old overpaint in the background which appear slightly dark. The varnish layer is clear, even and glossy.35 x 29.5cm framed
Los 224
Alessandro Cittadini (1820-1877) Portrait miniature of a young lady, bust-length, in a blue dresssigned and dated 'Cittadini 58' (lower right)watercolour on ivory6 x 4.5cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate Ref. No. 89R3GR6Y.
Los 183
A framed montage of George IV related items to include a muslin handkerchief stamped with the small crown/GR/1824, a monotone portrait of the king, his signature and a wax impression of his private seal bearing the first version of the national anthem, 'God Save Our Good King George', 48 x 56cm, framed and glazed.
Los 516
ROYAL DOULTON; a Kingsware treacle glazed teapot, 'The Cup that Cheers.', with portrait of an elderly lady drinking tea, with hallmarked silver spout and rim to the lid, height 15cm, together with a character jug 'Simon Cellarer', an 'Under the Greenwood Tree' series plate and a plate depicting birds amongst leaves, no D4546 (4).
Los 29
Great Britain Royal Mail Books 1994-2007 (6) including 1994 HRH The Prince of Wales with SH 1810-1814 u/m set x2, National Trust Images with SG 1868-1872 u/m set, 1992 limited edition "Snowdon shepherd" signed by artist Keith Bowen with SG 1587-1591, 2007 revised edition of QEII portrait stamps and 2002 QEII Jubilee portrait stamp book.
Loading...-
283287 Los(e)/Seite