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Los 2111
CIRCLE OF HENRY THOMAS ALKEN (1785-1851) PAIR OF PORTRAITS OF TWO OF JOHN BOWES' DERBY WINNERS "COTHERSTONE" AND "MUNDIG" Pair of portraits of Derby winners "Cotherstone" & "Mundig" owned by John Bowes (1811-1885) and trained by John Scott, sold together with a portrait of Issac Walker, head groomsman at the Streatlam stud from 1833 to 1872Oil on metal in horseshoe framesPortrait of Issac Walker, oil on board, 26cm x 19.5cm (3)Horse portraits each 12.5cm x 13cmQty: 3Private CollectionOwned by John Bowes, the famous art collector, thoroughbred racehorse owner and founder of the Bowes Museum, Barnard Castle, Mundig was the Derby winner in 1835, ridden by William Scott and trained by John Scott. Cotherstone won the 1843 Derby by two lengths and the 2000 Guineas, again ridden by Wiliam Scott and trained by John Scott. John Bowes had four Derby winners, making him one of the most successful breeders. The other two paintings from the set, identically presented, are held by and on view at the Bowes Museum in Barnard Castle and sold together with a portrait of Isaac Walker, the head groomsman at Streatlam Stud 1833-1872, following in from his father. He sadly drowned in 1872.
Los 2132
JACOB KRAMER (1892-1962) PORTRAIT OF A LADY IN RIDING HAT ‡ SignedOil on canvas laid to board53cm x 46cmDear John,The Kramer (one of two in the sale) is in good condition, oil on canvas board. some spots of old retouching mainly evident to sitters left shoulder, hair and bottom centre. wear to edges from framing.Best|Ro
Los 150
Rodin, Auguste (1840-1917) Bronze portrait bust of Victor Hugo Buste de Victor Hugo, dit 'à l'Illustre Maître' An early twentieth century bronze model of a bust of Victor Hugo entitled 'Bust to the illustrious Master' by Auguste Rodin (French, 1840-1917). This bronze was produced using the lost wax process at the Montagutelli Foundry, Paris, circa 1912. Prior to casting is was signed in the wax 'A. Rodin'. It has a dark brown patina with golden undertones. Provenance: Estrada Collection, Buenos AiresExhibition:The Paris Salon of 1884.Palais des Beaux Arts, Brussels, 1930 (variant).'Rodin et le Ecrivains de son temps', Musee Rodin, Paris, 23 June-18 October, 1976 (variant).'Victor Hugo', Kunsthaus, Zurich, 4 June - 23 August 1987, cat. no. 70 (variant).'Rodin: 150th Anniversary of his Birth', Museum of art, Miyagi; Museum of Contemporary Art, Sapporo; Museum of Modern Art, Ibaragi; cat. no. S-45, 25 August - 9 December, 1990 (variant).'Auguste Rodin (1840-1917) Meishuguan, Beijing; Exhibition Center, Shanghai; Museum of Fine Art, Hong Kong; Fine Arts Museum, Tapei; 1993 (variant).'Rodin', Municipal Museum of Art, Reykavik, no. 61, 23 October - 12 December 1993 (variant).'Rodin et la Belgique', Palais des Beaux Arts, Charleroi, 7 September - 14 December, 1997.'Victor Hugo vu par Rodin', Musee des Beaux Arts et d'Archeologie, Besancon, no. 25, 4 October 2002 - 27 January 2003 (variant).'D'Ombre et de Marbre. Hugo face a Rodin', Maison de Victor Hugo, Paris, 17 October 2003 - 1 February 2004 (variant).'Rodin y la revolucion de la escultura. De Camille Claudel a Giacometti', Caixaforum, Barcelona, cat. no. 8, 29 October 2004 - 27 February 2005 (variant).‘Rodin et son Contemporains’, July 6th to September 9th 2017, McArthurGlen Provence, Miramas (this actual cast).‘Monumental Inspiration - Rodin and Beyond’, October 2nd to November 17th 2017, Sladmore Gallery, London, illustrated cat. no. 1 (this actual cast).Fiddian Green, Rodin and the Elgin Marbles - Classical Inspiration, April 25th to May 18th 2018, Sladmore Gallery, London (this actual cast).Dimensions: 23 in. (H) x 11. in (W) Literature: 'The Bronzes of Rodin. Catalogue of works in the Musée Rodin', by Antoinette Le Normand-Romain, Paris, 2007, page 432-433.'Rodin the Shape of Genius', by Ruth Butler, 1993, pages 172-178.'Rodin's Art. The Rodin Collection Iris and B. Gerald Cantor Center for Visual Arts Stanford University, Albert E. Elsen, with Rosalyn Frankel Jamison, 2003, pages 293 - 296.Dimensions: (With base) 23 in. (H) x 10 in. (W) (Without base) 17 in. (H) x 10 in. (W)
Los 33
Attributed John Riley (1646-1691) Portrait of Prince George of Denmark (1653-1708) Oil on canvas In a gilded sunderland frame John Riley emerged as leading court portraitist during the period between the death of Peter Lely in 1680 and the ascendency of Godfrey Kneller, with whom he was appointed joint Principal Painter to William III and Mary II in 1688. Prince George of Denmark was the younger brother of Christian V of Denmark. He married Queen Anne in 1683 and was described by the diarist John Evelyn as having ‘the Danish Countenance, blound; a young man of few words, seemed somewhat heavy; but reported Valient’. Here Prince George is shown in semi-classical costume, wearing a breastplate with the ribbon of the Garter and holding a baton. This military image was appropriate to his position as Lord High Admiral and generalissimo of land and sea forces, to which he was appointed on his wife's accession in 1702. Dimensions: (frame) 61 in. (H) x 47 in. (W) (canvas) 47 in. (H) x 37 in. (W)
Los 34
William Chare Portrait of Robert Pierrepont, 1st Earl of Kingston-upon-Hull C. 1618 Oil on Canvas In a carved and gilded English frame The well-known Pierrepont family of the United States are direct descendants of the Pierrepont’s of Holme Pierrepont Hall, Nottinghamshire, England. The family and their descendants have lived at the hall since 1280. The first Pierrepont to be granted a title was Sir Robert Pierrepont, a loyal soldier of King Charles I, who went from the titles of Baron Pierrepont and Viscount Newark becoming the Earl of Kingston-upon-Hull in 1628. Provenance: Collection of the 1st Earl of Cork (1566-1643) By Descent in the family to the 12th Earl of Cork (1873-1967) Thence given to his Godson, Somerset De Chair (1911-1995) By Descent in the family until the present date Dimensions: 37 in. (H) X 32 in. (W)
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Property of a Gentleman Circle of Thomas Lawrence (1769-1830) Portrait of George IV (1822) Oil on board Gilded frame Label verso: 'THE ONLY MANUFACTORY FOR GENUINE FLEMISH GROUNDS ON PANEL AND MILLEBOARDS, Patronised by Sir Thos. Lawrence, President of the Royal Academy, ESTABLISHED 1795, BY R. DAVY, COLOURMAN TO ARTISTS, 83, Newman Street, London. Improbed Oil Grounds, On Panel and Millboards, to any tint or texture, with every requisite for Oil Painting of the best quality' Dimensions: (Frame) 17.75 in. (H) x 15 in. (W) (Board) 12 in. (H) x 9 in. (W)
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Property of the Hon. Nicholas Napier Williams, Edwin (1782-1855) Portrait of Lieutenant General Sir Charles James Napier with his favourite Arab charger Red Rover 1853 Signed and dated lower left 'Edwin Williams 1853' Oil on canvas The eldest of four famous brothers in whom the Duke of Wellington took a great interest, Charles Napier had an exemplary military career. He is best known as the Conqueror of Sind in 1843, for which he was made a GCB. He is also remembered as a gifted administrator for his work as Resident for Cephaloniá. The marble statue of him in St Paul's Cathedral bears the inscription, 'A prescient general, a beneficent governor, a just man'. The fact that the majority of the subscribers to the statue of him in the south-west corner of Trafalgar Square were private soldiers is also testimony of his popularity in the Army. Towards the end he desired that his charger, Red Rover, should be brought to his bedside, that he might caress him once more: but the horse was frightened and would not approach; so, with a sigh of disappointment, Napier turned round and begged his wife to take care of its comfort. Dimensions: 36 in. (H) x 25 in. (W)
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Circle of Cornelius Janssens van Ceulen (Johnson (1593-1661) Portrait of Mary Villiers, Countess of Buckingham, née Beaumont (1570-1632) is perhaps best known as the mother of the royal favourite Sir George Villiers, 1st Duke of Buckingham. She was the daughter of Anthony Beaumont of Glenfield, Leicestershire, a direct descendant of Henry de Beaumont, and his wife Anne Armstrong, daughter of Thomas Armstrong of Corby Oil on panel With old Ackermann's label verso 'C7477' Provenance: Ackermann and Johnson; sold to Sir Christopher Ondaatje Dimensions: 30.75 in. (H) x 23 in. (W)
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Property of Hon. Nicholas Napier Catherine Read (1723-1778) Portrait of Lady Sarah Lennox dressed as Congreve's 'The Mourning Bride' Pastel on paper Read was born in the early 18th century, and is most known for her work as a portrait-painter. She was for some years a fashionable artist in London, working in oils, crayons, and miniature. From 1760 she exhibited almost annually with either the Incorporated Society of Artists, the Free Society of Artist, or the Royal Academy, sending chiefly portraits of ladies and children of the aristocracy, which she painted with much grace and refinement. She received her education from Maurice Quentin De La Tour. Her work was shown by the Free Society (1761-1768) and the Society of Artists (1760-1772), of which she became an honorary member in 1769 along with the two other female pastel artists, Mary Benwell and Mary Black, in response to the Royal Academy accepting Angelica Kauffman and Mary Moser into their respective fold. Lady Sarah Lennox, daughter of the second Duke of Richmond and Sarah Cadogan. Sarah was the most notorious of the four Lennox sisters. The Mourning Bride is a tragedy written by William Congreve and premiered in 1697 in Lincoln's Inn. Dimensions: (Frame) 36 in. (H) x 29.5 in. (W) (Paper) 29 in. (H) x 22 in. (W)
Los 71
Property of Sir Christopher Ondaatje Bonjour, Portrait of a young lady, a free person of colour Oil on canvas Inscribed, lower left BONJOUR 1852 Label verso: 'Jean Baptiste Bonjour Swiss B1801 D1882 / Art education commenced under Noy [?] / Visited Rome Venıce Nıce Germany Native countries / Portrait painter' Dimensions: (Frame) 21.5 in. (H) x 18.6 in. (W) (Canvas) 17.4 in. (H) x 14.2 in. (W)
Los 72
Property of a lady English School Portrait of Charles II when a baby Later inscribed lower right: 'K. Charles II' Oil on canvas Provenance: Probably Robert Carey, 1st Earl of Monmouth (1560-1639);thence by descent to his granddaughter, Lady Martha Carey, who married Charles, 2nd Earl of Middleton;by descent to her daughter, Lady Elizabeth Middleton, wife of William Spelman (the picture is mentioned in her will dated 2nd November 1745);thence by descent until offered for sale, London, Sotheby's, 9th June 1998, lot 1;London, Sotheby's, 8th July 2010, Lot 222, Old Master and British Paintings Day Sale, bt. 85,250 GBPLiterature: K. Gibson, Best Belov'd Kings, The Iconography of Charles II, unpublished ph.D.Thesis, 1997, no. 2 Catalogue Note: Charles was born at St. James's Palace on 29th May, 1630, shortly before midday. On hearing that his wife, Queen Henrietta Maria, had given birth to a fine healthy son, the King mounted his horse and rode into the City to give thanks to God. Being given all the attention worthy of a future King, the baby flourished, leading the Queen to comment in a letter to her old governess, Madame St. George in Spetember 1630: 'He is so fat and so tall that he is taken for a year old and he is only four months; his teeth are already beginning to come'. She added: 'I will send you his portrait as soon as he is a little fairer, for at present he is so dark that I am ashamed of him'. Charles was, however, never to lose his dark complexion, earning himself the sobriquet 'the black boy'. Sir Robert Carey, from whom this painting probably descended, was closely involved with the Royal household. At the Court of James I his wife was appointed mistress of the Robes to the Queen and they both had the charge of the young Duke of York, later King Charles I, who was consequently brought up together with the Carey children. Upon the future Charles I becoming Prince of Wales Sir Robert was appointed his Chamberlain, and remained attached to him until his death in 1639. This sensitive portrait was painted in October when the young Prince was four months old. As with a similar version now in the National Portrait Gallery, the Prince is shown propped up on a cushion as if on his Chair of State. Dimensions: 49.75 in. (H) x 40.75 in. (W)
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Circle of Johann Zoffany (1733-1810) Portrait of Lancelot (Capability) Brown Dated, lower left: 1775 Oil on canvas Lancelot Brown (1715-1783), more commonly known as Capability Brown, was an English gardener and landscape architect, who remains the most famous figure in the history of the English landscape garden style. He is remembered as "the last of the great English 18th-century artists to be accorded his due" and "England's greatest gardener". Dimensions: (Frame) 51 in. (H) x 40.5 in. (W) (Canvas) 46 in. (H) x 36 in. (W)
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Ngoye (Côte d'Ivoire, né en 1980)Sans titre, (série Faces)2021signé 'Ngoye' en bas à droitehuile sur toilesigned 'Ngoye' lower rightoil on canvas 100 x 100 cm.39 3/8 x 39 3/8 in.Footnotes:ProvenanceGalerie Melbye-KonanCollection privée, AllemagneNgoye (Kouamé Jean Ngoran), diplômé de l'École nationale des Beaux-Arts en 2006, est un des artistes les plus percutants de la nouvelle scène ivoirienne. Les thèmes principaux de ses compositions néo-expressionnistes, quasiment abstraites, sont les phénomènes psychologiques et les dégénérescences liées au respect arbitraire des mœurs et des comportements sociaux.Ngoye compte Vincent Van Gogh, Pablo Picasso et Francis Bacon parmi ses sources d'inspiration, épousant l'approche avant-gardiste du remodelage constant, de la déconstruction et de la réorganisation des éléments de ses toiles. Dans une démarche de révélation intime du moi intérieur des sujets qu'il représente, les visages ne sont souvent pas reconnaissables. Les figures masquées se fondent les unes dans les autres, formant un tout universel. L'esthétique des masques occupe Ngoye depuis le commencement de ses expérimentations artistiques. Dans ses œuvres, ils sont une expression de méfiance, la métaphore d'un isolement et de l'obstruction de ses propres émotions face au monde.'Ces masques que nous portons cachent ce qui se trouve derrière eux : notre véritable identité. Car nous vivons dans une certaine méfiance. Depuis mon enfance, j'ai vécu tellement de crises, cette douleur pendant les guerres, les épidémies et encore aujourd'hui pendant le Covid : des crises qui nous épuisent et nous stressent. C'est la raison pour laquelle j'ai voulu explorer le monde qui se cache derrière la façade. C'est pourquoi j'ai commencé à peindre des masques et des visages. Ma tâche en tant qu'artiste est de montrer cela, mais aussi de tourner mon regard vers l'intérieur et de me demander qui je suis et comment je m'adapte à l'environnement changeant : est-ce que je reste celui que je pense être ?' (Ngoye, 2021)Ses œuvres font partie de collections privées et publiques renommées en Côte d'Ivoire ainsi que dans d'importantes collections en Allemagne, en Italie et en France. The Ivorian artist Ngoye (Kouamé Jean Ngoran) graduated from the École Nationale des Beaux-Arts in 2006 and impresses with his lively neo-expressionist compositions. The main themes of his works are hidden psychosocial phenomena and human dynamics. Ngoye's works can be found in renowned private and public collections in the Ivory Coast as well as in international collections in Germany, Italy and France. He also won the 47th Art Prize of the Société de Distribution d'eau en Côte d'Ivoire (SODECI).Ngoye counts Vincent Van Gogh, Pablo Picasso and Francis Bacon among his sources of inspiration, and his art follows their approach of reshaping, deconstructing and rearranging painted objects and figures. In his portrait works, the painter analyses the inner state of mind of people, it is sometimes so different from what is worn on the outside. The people portrayed are no longer recognizable, their mask-like faces fading into each other, almost forming a unity. The motif of masks has occupied Ngoye for a long time. They are not least an expression of mistrust, an isolation of one's own emotions from a hostile outside world.'These masks we wear hide what is behind them: the true identity. Because we live in a certain mistrust. Since my childhood I have experienced so many crises, this pain during wars, epidemics and even today during Covid: crises that drain us and stress us. That is the reason for me to explore the world behind the façade. That's why I started painting masks and faces. My task as an artist is to show this, but also to turn my gaze inward and ask myself who I am and how I adapt to the changing environment: am I staying who I think I am ?' (Ngoye, 2021)For further information on this lot please visit Bonhams.com
Los 116
Extremely rare and important poured wax Lucy Peck all original portrait doll of a young Queen Victoria, English circa 1900, the well moulded tinted wax shoulder head with deep blue glass eyes, moulded lids and finely painted feathered brows, open mouth with tinted lips and showing upper row of teeth, moulded ears and inserted light brown hair with original side plaits held by blue and black ribbon rosettes and with black glass bead and ribbon headdress, sloped shoulders to cloth body with individually posed poured wax lower arms with well defined moulded hands, legs with moulded toes, wearing original magnificently detailed blue plaid pure silk of the shoulder dress with black velvet and lace detail, bustle to rear and matching jacket, underclothes and choker with original gold pendant incised VR (Victoria Regina), 29” (74cm) tall, body with stamp ‘ From Mrs Peck, The Doll’s House, 131 Regent Street’, (condition: excellent, museum quality). Lucy Peck who’s doll shop specialised in Royal portrait dolls including Queen Victoria as a young Lady, and are extremely rare to find, this example probably being one of the best to be offered for sale at auction.
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A good and early Almond eyed Portrait Jumeau bisque head Bebe doll, French circa 1880, the extremely pale bisque head with spiral blue glass paperweight eyes, finely painted lashes, shaded lids and arch feather brows, well moulded and painted closed mouth and pierced ears, cork pate and blonde shoulder length wig, on a good wood and composition eight-ball jointed body with fixed wrists and blue ‘Jumeau, Medaille D’or, Paris’ stamp to rear, wearing pale pink and blue dress with lace, underclothes, socks, white leather shoes and straw bonnet decorated with summer flowers, 14” (36cm) tall, (condition: head perfect, body usual wear).
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An important Flight, Barr and Barr Worcester armorial vase and cover, circa 1814-20Painted by Samuel Astles or Thomas Baxter, of plain baluster shape with a flat cover, the front of the vase and the centre of the cover both painted with the full arms of Best of Boxley, Kent, framed within circular panels of raised-paste gilding, reserved on a wide band of finely painted garden flowers, including several varieties of roses, full-blown dahlias and chrysanthemums, primroses, iris, lilac, tulips and cyclamen, the tightly packed flowers continuing all around the vase, borders of classical gold scrollwork and tracery at the neck and base, the cover with a similar frieze of flowers and a border of gold husks, 19cm high, full printed mark with Coventry St address (2)Footnotes:ProvenanceBonhams, 3 June 2015, lot 19Lord and Lady Flight CollectionThis remarkable vase is one of two identical pieces recorded. The companion vase and cover was sold by Phillips in September 1986 and is illustrated by John Sandon, Dictionary of Worcester Porcelain (1993), p.47. The flower painting is remarkably similar to the decoration around an important mug in the Museum of Royal Worcester decorated with a silhouette portrait of Thomas Baxter himself and dated 'Septr 1814'. While at Worcester from 1814-16, Baxter also taught china painting and among his many gifted pupils was the flower painter Samuel Astles. Signed plaques later exhibited by Astles at the Royal Academy show his virtuosity as a painter of intricate flower compositions and it is highly likely that, having learnt from Thomas Baxter, Samuel Astles was responsible for this remarkable set of armorial vases.The arms are those of the Best family of Boxley and Chatham, Kent. The family was mentioned in Boxley at the beginning of the 17th century where they were very successful brewers. James Best the younger (1755-1828) took over the company his father James had expanded, but had quite expensive tastes, being reprimanded in 1801 by their solicitors for using the brewery money extravagantly.For further information on this lot please visit Bonhams.com
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A very rare Dutch stipple-engraved light baluster goblet by Frans Greenwood, circa 1744The round funnel bowl decorated with a half-length portrait of a fishwife, her head slightly turned and with a downward gaze, wearing a low-cut bodice and a flat-topped wide-brimmed hat, holding a herring by its tail in her left hand, another fish on an oval platter with a wavy border resting on her lap beneath her right arm, a spray of flowering lilies in a jug behind a pail of herrings on a table to her right, on a densely stippled ground, the reverse signed 'Frans Greenwood fecit.' in diamond-point script, raised on a tall slender multi-knopped baluster stem, above a later replacement parcel-gilt foot chased with strapwork and foliate scrolls, 24.3cm highFootnotes:ProvenanceSotheby's, 3 June 1974, lot 116Viscount Newport, Earl of Bradford, Weston Park, Shifnal, Christie's, 4 June 1985, lot 30With Heide Hübner, Würzburg, 1986Mühleib Collection, Bonhams, 2 May 2013, lot 57Stephen Pohlmann CollectionLiteratureNoel Riley, 'Antique Glass in Shropshire', The Antique Dealer and Collectors Guide (June 1975), p.147, fig.5The Earl of Bradford, 'Making a Collection', The Antique Collector, Vol.56, No.6 (June 1985), pp.108-9, fig.1Frank Davis, 'Talking about Salerooms', Country Life, Vol.178 (July 1985), p.215, fig.1David Watts, 'Glass', in Elizabeth Drury (ed.), Antiques (1986), p.87Frans Smit, Frans Greenwood (1988), p.151-2, no.44.1, figs.97 and 99Frans Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.121, no.Dc.3ExhibitedWeston Park, Shifnal, 198331. Deutsche Kunst- und Antiquitäten-Messe, Haus der Kunst, Munich, 1986Frans Greenwood (1680-1763) was a Dordrecht merchant of English extraction, born in Rotterdam. An amateur artist, poet and glass engraver, he is traditionally credited as being the first artist to experiment with stipple engraving in the early 1720s and the first engraver to produce a whole picture on a glass in the technique. The techniques he developed had a profound influence on the work of a number of other glass engravers in Dordrecht, including Aert Schouman, making him one of the most important glass artists of his time.The herring industry or 'Groote Visscherij' (Great Fishery) played a very important role in the Dutch economy and the fishwives of Scheveningen were a favourite subject of Greenwood. They traditionally wore hats with flattened tops to accommodate the fish baskets they carried on their heads, with the wide brim offering protection against resulting drips. The poet Jacob Cats published a poem 'On a woman from Schevenigen carrying a basket of fish on her head' as early as 1654.The scene on the present lot is paralleled by an almost identical portrait of a fishwife against a different background, signed by Greenwood and dated 1744. This is in the Huis van Gijn in Dordrecht, illustrated and discussed alongside the present goblet by Smit (1988), pp.151-3, no.44.2, figs.98 and 100. Another goblet but with a different portrait of a fishwife, signed by Greenwood and dated 1742, was in the Anton Dreesman Collection sold by Sotheby's on 3 June 1974, lot 115 and again by Christie's in Amsterdam on 16 April 2002, lot 1279. This is illustrated and discussed by Smit (1988), pp.146-7, no.42.1, fig.90.All three glasses unusually depict a fishwife holding a herring by its tail. This is echoed in several contemporary Dutch Old Master portraits of women selling herrings by artists including Gerrit Dou (1613-1675), Godfried Schalcken (1643-1706) and Carel de Moor (1656-1738). In Dutch painting this is sometimes interpreted as a demonstration of promiscuity, but the lilies shown behind her traditionally symbolise purity and it is clear from Greenwood's poetry that he held fisherwomen and the fishing industry as whole in particularly high regard. Interestingly, one of the Directors of the Dutch East India Company, Pauls Schepers, bequeathed a 'haringwijfje' goblet to his second Cousin Gerard Schepers in the mid-18th century, which may refer to either the present goblet or the example from the Dreesman Collection, see Smit (1988), pp.146-7.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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The Wynnstay Cup: an important Jacobite engraved ceremonial goblet, circa 1759-60Of generous slightly flared bucket shape, decorated with a six-petalled rose and one closed bud crossed with a thistle, inscribed around the rim 'The CONFEDERATE HUNT, Lady Win Wynne, Lady Parramount' [sic], the reverse with the names of the Lady Patronesses from 1754 to 1758, above the political slogan 'Hark Wenman & Dashwood/ Sr Watn & the Old Interest/ for Ever', raised on the remnants of a single-series opaque twist stem containing a generous solid multi-ply corkscrew, set into a replacement tin-plate stem and foot with embossed decoration, 21.8cm highFootnotes:ProvenanceLord Harlech Collection, Glyn Cywarch, Bonhams, 29 March 2017, lot 117Stephen Pohlmann CollectionOf the many Jacobite clubs and societies that flourished in the middle of the 18th century, perhaps the best known is The Cycle Club, also known as The Cycle of the White Rose. This was founded by Sir Watkin Williams Wynn of Wynnstay, who was a prominent Jacobite supporter. The Cycle Club met at the Eagle in Wrexham and later at Wynnstay, its members all living within a fifteen-mile radius. Although Sir Watkin Williams Wynn died in 1749, the head of the family continued in the role of Patron, while his wife was the Lady Patroness of the Cycle Club.The Confederate Hunt was a separate club probably affiliated with the Cycle Club. This goblet commemorates the election of Sir Watkin's second wife Frances as Lady Paramount of The Confederate Hunt. This Lady Williams Wynn, the 3rd Baronet's widow, was born Frances Shakerley and she was therefore a member of one of the other Jacobite families mentioned on the goblet. In Jacobite clubs the Lady Patroness was usually an unmarried lady of the neighbourhood. The Patroness, sometimes accompanied by a lady guest, was the only female member allowed to attend club dinners. The Lady Patronesses listed on this glass are Miss Mytton - 1754, Miss Owen - 1755, Miss Shakerly [sic] - 1756, Miss Williams - 1757 and Miss Nelly Owen - 1758. Hartshorne noted that the Tarporley Hunt, another Jacobite Society, also had Lady Patronesses and that in 1762 members drank claret from 'collar glasses' which were supposed to have held a bottle.The many Jacobite clubs, including The Confederate Hunt, are discussed by F Peter Lole, 'A Digest of the Jacobite Clubs', Royal Stuart Society Paper LV (1999). In a nod to secrecy, this goblet refers to the Jacobite cause as 'the Old Interest', in this case by way of a reference to The Old Interest Society, another Jacobite club that was involved in the parliamentary election in Oxfordshire in 1754. According to Lole, it was reported that The Old Interest Society used glasses engraved with the Tartan Portrait of Prince Charles. A decade or more after the Jacobite uprising, most Jacobite clubs supported the Cause in little more than name. Their meetings were political gatherings held in support of the Tories and to oppose the Whigs. This goblet refers to Messrs Wenman and Dashwood who, in 1754, had been the Tory candidates for Oxfordshire. Both were returned as MPs but lost their seats on a Whig petition. This Dashwood was a cousin of Sir Francis Dashwood, who became Chancellor and was notorious as the begetter of The Hell Fire Club.Three other 'Confederate Hunt' goblets are recorded, all with bowls of the same generous proportions. One is now in the Museum of London (inv. no.34.139/313) and came from the Garton and Hamilton Clements Collections, via Cecil Davis and a Sotheby's sale on 15 May 1930, lot 150. It is illustrated by Grant Francis, Old English Drinking Glasses (1926), pl.LXXIX. Another from the W Jackson Collection is described by Hartshorne, Old English Glasses (1897), p.313 and was sold by Sotheby's on 15 September 1992, lot 43 where it was acquired by the National Museum of Wales. The third was recently discovered and sold by Bonhams on 23 June 2021, lot 1.It is interesting to note that the other known examples have all been broken through the stem and, save for the example sold by Bonhams in 2021 in which the stem was completely removed, each was preserved at the time with a crude repair. The use of tin-plate on the present lot suggests these repairs were carried out locally, following what must have been a particularly riotous club meeting. At Glyn Cywarch this particular goblet was known as 'The Wynnstay Cup'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 71
An interesting commemorative opaque twist wine glass of theatrical interest, circa 1770The decoration later, the generous ogee bowl engraved with a half-length profile portrait of the Welsh actress Sarah Siddons, her right arm raised to her chin, within a formal scrollwork and beaded frame, the reverse with a floral spray within an oval scroll cartouche, flanked by rectangular panels containing swags pendant from florets, on a double-series stem containing a nine-ply spiral band around a solid corkscrew tape, over a conical foot, 16.5cm highFootnotes:ProvenanceSotheby's, 26 May 1981, lot 50With Asprey, October 1985Christie's, 18 November 2008, lot 43Graham Vivian CollectionStephen Pohlmann CollectionLiteratureL M Bickerton, Eighteenth Century English Drinking Glasses (1986), p.293, no.937Sarah Siddons (1755-1831) was Britain's leading tragic actress, a contemporary of David Garrick and most famous for her portrayal of Lady Macbeth. She won her first success in the role of Belvidera in 1774 and had obtained celebrity status by the mid-1780s. She was famously painted by Sir Joshua Reynolds in 1784 in her role as the 'Tragic Muse'. Several engraved glasses with related portraits are recorded and the attribution of these to Mrs Siddons is discussed by Arthur Churchill, Glass Notes, no.16 (1956), pp.19-20. Siddons rose to fame after the period in which this glass was made, suggesting that the engraving is later, perhaps undertaken at the Pugh Glasshouse in Dublin by an engraver such as Franz Tieze. An identical glass from the Rose Collection was sold by Sotheby's on 6 March 1978, lot 58 and another is illustrated by E Barrington Haynes, Glass Through the Ages (1959), pl.83d. A detail of the same glass is illustrated by Arthur Churchill, p.19, fig.22.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 1715
China interest - M'Leod (John), Voyage of His Majesty's Ship Alceste, along the Coast of Corea, to the Island of Lewchew, second edition, pub. John Murray, London 1818, engraved portrait frontispiece, five hand-coloured aquatint plates, contemp. tan half calf with marbled boards and end papers, rubbed, spine slightly sunned, foxing and browning, some slight creasing, 8vo. Rubbed, spine slightly sunned, foxing and browning, some slight creasing.
Los 1721
The Spectator - 1729, six volumes, vols II, III, V, VI, VII and VIII, contemp. tan full gilt panelled calf, heavily rubbed and one with stains, losses to labels, one cracking at top of spine, some spotting, toning and light creases, one with contemp. ink ownership inscription to title; together with The British Essayists, with Prefaces Biographical, Historical and Critical, Rev. Lionel Thomas Berguer, 18 of 45 vols, London 1823, for T. & J. Allman, four with engraved portrait frontis., contemp. brown half calf with marbled boards, rubbed, light spotting and toning, all 16mo. (24) - The Spectator: heavily rubbed and one with stains, losses to labels, one cracking at top of spine, some spotting, toning and light creases, one with contemp. ink ownership inscription to title. - British Essayists: rubbed, light spotting and toning, good overall.
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