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Preisdatenbank abonnierenRoyal Worcester Figures(2) including Old Country Ways, Coalport Figures(2) including Best Freinds & Visiting Days together with Staffordshire china, 19th Century Staffordshire cow creamer and a resin Yorkshire Terrier group and a 19th century portrait of a young child in blue dress, together with misc
Two trays of blue and white china to include: Staffordshire pottery dish with portrait of a lady, two Swansea Evans & Glasson plates, two small meat plates: one marked Cyprus to the bottom, the other oriental design, T.G Green & Co Ltd cylinder vase, Victoria ironstone sauceboat and a Copeland Spode 'Italian' pot etc. (2)(B.P. 21% + VAT)
Graham Ovenden (British, b.1943), 3/4 portrait of a girl wearing a cream dress, titled verso 'Camille', 'Pencil oil over prepared paper' and inscribed 'For Michael with love G.S.Ovenden', 35 x 25.4cm, frame 49.5 x 39.5cmThe Mike Hope collection.Graham Ovenden was a member of The Brotherhood of Ruralists, founded in Wellow in 1975. Other members included Graham and Ann Arnold, Peter Blake (of Pop Art fame), Jann Haworth and David Inshaw.Ok.
Wendy Murphy, British (b.1956) Portrait of a Lady, oil on canvas , unframed, 50.9 x 40.6cm; together with a pastel by the artist titled 'Blue Nude'; two (2)This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Sarah Biffin (1784-1850), watercolour, portrait of a boy, attributed by inscribed label verso, Drawn by Mrs Wright late Miss Biffin born without hands Liverpool March 26/42 (copied from back of picture), with early newspaper cutting, 9 x 12 cm. Note: Sarah Biffin was born without arms, hands or feet, but despite this severe disability, taught herself to paint by holding a brush between her teeth. As a young girl she toured the country with a travelling showman who exhibited her as a freak and genius. At the age of around 30 years she was released from her contract to him, and, sponsored by the Earl of Morton, was able to become an independent painter of miniature portraits. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)
ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA, (Seville, 1806 - Madrid, 1857)."Portrait of a Surprised Lady".Oil on canvas.Unsigned.Re-drawn and with a small blow.Measurements: 190 x 143 cm, 202 x 155 cm (frame).Antonio María Esquivel was the most representative and fruitful painter of the Sevillian romanticism, and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death and was orphaned and poor. At the age of seventeen he joined the absolutist cause of the Duke of Angoulême and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.
19th century Spanish school."Lady with a dog".Oil on canvas.Measurements: 108 x 78 cm., 133 x 104 cm. (frame).In this work we are offered an expressive portrait of a woman, represented half seated, with a dog by her side, and a background of what seems to be a garden at sunset. The young woman's clothes of delicate fabrics and embroidery, including lace and sequins, suggest that she is of the gentry or nobility. She is also adorned with various items of jewellery, particularly the necklace with which she plays innocently with her hand. A painting of great quality and workmanship, it plays with the light emanating from the young woman's skin, giving her even more importance and delicacy, while the garden is in shadow, creating a chiaroscuro that follows Italian models.In the 19th century in Europe, portraiture became the leading genre of painting par excellence, as a consequence of the new social structures that were established in the Western world during this century. As the ultimate expression of the transformation in the taste and mentality of the new clientele, and which emerged among the nobility and the wealthy gentry, portraiture took the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture was in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.
FERNANDO ÁLVAREZ DE SOTOMAYOR (Ferrol, La Coruña, 1875 - Madrid, 1960)."Portrait of a lady.Watercolour on paper.Signed in the lower right corner.Size: 90 x 60 cm, 103 x 73 cm (frame).The author has created a neutral and almost non-existent atmosphere that envelops the whole. Thus creating an image that oscillates between the modernity of the city and the costumbrista image and regional character provided by the dress of the woman portrayed. This type of scene was common in the production of the Galician artist, who used his fellow countrymen as the undisputed protagonists of his work, thus raising the values of nationalism and exalting the cultural idiosyncrasies of Galicia, in many cases symbolised by a female figure, as can be seen in this work, in the painting La Mariñana, which belongs to the BBVA collection.Fernando Álvarez de Sotomayor studied at the Royal Augustinian College of El Escorial and then tried his hand at various careers before finally devoting himself to painting. He began his artistic training as a pupil of Manuel Domínguez, with whom he collaborated in the decoration of the staircase and an office of the Ministry of Agriculture in Madrid. In 1899 he obtained a grant to further his studies at the Spanish Academy in Rome, where he became thoroughly acquainted with the Renaissance and Baroque painting of the Florentine, Roman and Venetian schools. He subsequently travelled to Holland, where he discovered the painting of Frans Hals, whose strong colouring and impastoed brushstrokes would mark his later works. His triumphs began in his youth, and in 1904 he won the second medal at the National Exhibition of Fine Arts, and the first two years later, in 1906. In 1908 he moved to Santiago de Chile to teach at the Chilean School of Fine Arts. He was director of that institution in 1911, and the so-called "Generation of 1913" or "Sotomayor Generation" grew up around him. During these years he continued to send works to official European exhibitions, being awarded a bronze medal in Liège and a gold medal in Munich in 1909. He was also awarded prizes at the International Exhibitions in Barcelona in 1907 and Buenos Aires in 1910, and was decorated at the National Exhibition in Madrid in 1912. He returned to Spain in 1918, after being appointed deputy director of the Prado Museum. Between 1921/22 and the advent of the Republic he held the post of director of that institution, regaining it after the Civil War. In 1922 he was appointed a member of the San Fernando Royal Academy and in 1929 he was given a separate room at the Barcelona International Exhibition. He was also chamber painter to King Alfonso XIII during the last years of his reign. After the war Sotomayor was awarded the Juan March Prize (1956), and after his death important tributes were paid to him, such as the retrospective exhibition held at the Palacio de Velázquez del Retiro on the occasion of the centenary of his birth. Sotomayor is currently represented in the Museo del Prado, the Museo Nacional Centro de Arte Reina Sofía, and other leading Spanish, European and American museums.
Spanish school, c. 1840."Portrait of Don José Zaldivar.Oil on canvas.Presents a period frame.It has restorations.Measurements: 21,5 x 16 cm; 31 x 26 cm (frame).As in the rest of Europe, the portrait became in the 19th century the leading genre par excellence in Spanish painting, as a consequence of the new social structures that were established in the western world during this century, embodying the maximum expression of the transformation of the taste and mentality of the new clientele, which emerged between the nobility and the wealthy high bourgeoisie, who would take the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture was in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.
AGUSTÍN SEGURA IGLESIA (Tarifa, 1900- Madrid, 1988)."Portrait of a lady", 1945.Oil on canvas.Signed and dated in the lower right corner.Measurements: 81 x 65 cm; 93 x 77 cm (frame).Trained at the Royal Academy of Fine Arts in Seville, Agustín Segura won several medals at the Fine Arts Exhibitions. His favourite genre is portraiture, although he cultivates other genres "and not without fortune" as Juan Antonio Gaya Nuño says, such as landscape and still life. His work can currently be found in collections in London, Brussels, Lisbon, Milan and Paris, among many others. The Municipal Museum of Chiclana de la Frontera has a permanent room with a select collection of paintings by Agustín Segura. Portraits of the mayors of Madrid from the time of the 2nd Republic can be found in the Casa de Cisneros in Madrid. The Valeriano Salas Museum in Béjar has a painting on display that the painter gave to the Béjar Town Council. The Museo del Ejército, the Museo Centro de Arte Reina Sofía and the Museo de Historia de Madrid have paintings by Agustín Segura in storage.
FEDERICO DE MADRAZO Y KUNTZ (Rome, 1815 - Madrid, 1894)."Portrait of a Lady, 1842.Pencil on paper.Signed and dated in the lower right corner.Size: 28 x 22,5 cm; 34,5 x 28,5 cm (frame).Son of the neoclassical painter José de Madrazo, he studied at the school of Alberto Lista, in Madrid, and at the Royal Academy of Fine Arts of San Fernando. A precocious painter, he became an academician of merit at San Fernando at the age of sixteen. In 1832 he went on a scholarship to Paris to study painting with Ingres, his father's friend. There he acquired a romantic style in the French manner. In 1840 he continued his training in Rome, where he came into contact with the Nazarenes and, in particular, with Overbeck, which strengthened his drawing skills, already important in his style thanks to what he had learned from his father and Ingres. Two years later he returned to Spain, having become a painter of great prestige, much sought after as a portraitist by the Madrid aristocracy. He was the court painter to Queen Isabella II and was the great official portraitist of the time. His portraits were characterised by the simplicity and naturalness of his models, and by a distant serenity, intimately linked to Romantic sentiment. He was also director of the Museo del Prado, a post he held, albeit on an interrupted basis, for thirty years until his death. He also directed the San Fernando Royal Academy of Fine Arts. He had a brilliant career as a history painter and, especially, as a portraitist, achieving great prestige in the artistic circles not only of Madrid but also of Paris and Rome. His production evolved from a painting dominated by purism of line and painstaking detail towards a more fluid and spontaneous technique, with greater expressive depth. He is represented in the Museo del Prado, the Museo Nacional del Palacio de Versalles, the Museo de Bellas Artes in Bilbao, the Fundación Lázaro Galdiano and the Museo Romántico in Madrid, among others.
Circle of EUGENIO LUCAS VELAZQUEZ (Madrid, 1817 - 1870), mid-19th century."El chispero".Oil on canvas.Information papers on the subject depicted are attached to the back of the painting: "a man from the lower town of Madrid. On the 2nd of May they were fighters at the Puerta del Sol. This personage put on the warrior's jacket of a fallen Frenchman".Measurements: 40 x 31,5 cm; 53 x 44 cm (frame).This is an ennobling portrait of a popular figure from nineteenth-century Madrid. Specifically, as we read in the informative text on the back, the intention is to represent an intrepid chispero who, after taking part in the uprising against the Napoleonic forces, has defiantly donned a Napoleonic hat. This is an indirect reference to the uprising of 2 May (Madrid, 1808). In terms of technique, we can see the proximity of Eugenio Lucas's models in the manner of resolving the chiaroscuro and in the expressive vivacity. The rough, thick-lipped face is nevertheless softened by the limpid glow of the iris and the goodness that radiates from the countenance.Mentioned since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in Neoclassicism at the San Fernando Academy, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point for developing his own imaginative personal painting of fantastic visions and unleashed passions, in the purest Romantic style. He also took his subject matter from Goya and painted scenes of the Inquisition, witches' Sabbaths, pilgrimages and bullfights. In 1850 he also painted the ceiling of the Royal Theatre in Madrid, which no longer exists, and later he was appointed honorary chamber painter and knight of the order of Charles III by Queen Isabella II. As a true Romantic, he made several trips, including stays in Italy, Morocco and Paris. His works are characterised by the use of a spirited brushstroke and an unhurried execution, without any concern for drawing, with a dense, impastoed material of great chromatic richness and the presence of strong chiaroscuro. He achieved great success as a genre painter and as a painter of fantastic and sinister scenes, although he was also an excellent landscape and portrait painter. His work is well represented in the Prado Museum, and also in other centres such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum in New York and the Goya Museum in Castres (France).
ROMEO VILLALVA TABUENA (Philippines, 1921- Mexico, 2015).Untitled.Mixed media (oil and sand) and canvas.Slight restorations barely perceptible.Signed in the lower central area.Size: 34 x 23 cm; 48 x 37,5 cm (frame).Child portrait in which the author presents the bust of a young girl who turns her face diverting the spectator's attention. The forms have been synthesised into pure geometric lines and flat fields of colour that make up this portrait. However, the tonalities and the effect of the sand in the composition distance it from the rigidity of geometry, giving it a naïve and innocent finish, which was common in Tabuena's works, an example of which is the "Portrait of a Girl with pink bows", painted by the author in 1964 and which is very similar to the present work.In 1955, Tabuena settled in Mexico, although he retained his Filipino citizenship. During this period he painted the mural Filipiniana at the Philippine Embassy in Washington, D.C. In 1965, he participated in the Eighth São Paulo Art Biennial as an official Filipino artist and as an art commissioner from the Philippines. The Honolulu Museum of Art has his painting Carabao, which is typical of the artist's animal paintings. His major works include: Art Expo in New York City; Solo exhibition at Gallerie Bleue in Manila, Philippines Solo exhibition at the Palacio de Bellas Artes in Mexico City; participation in the VII Bienal de São Paulo as official Filipino artist and Philippine art commissioner, and at the Tere Haas Gallery in Mexico City; Instituto de Bellas Artes in San Miguel de Allende, Mexico; and 10-year retrospective exhibition at the Art Gallery of the Philippines with the publication of illustrative monographs. He also participated in the exhibition El Nigromante at the Mexican Institute of Fine Arts in celebration of 30 years of artistic life in Mexico, and in October 1995, a major exhibition sponsored by the Instituto de Bellas Artes, Centro Cultural Ignacio for his 40 years of residence and dedication to the artistic life of Mexico was held at the Mexican artists' colony in Guanajuato. A similar exhibition in his honour was launched in November 1996 in Mexico in cooperation with the Embassy of the Philippines.Throughout his career he has been awarded several prizes and mentions, among them the Golden Centaur Award of the Accademia Italia, Master of Painting honoris cause of the International Seminar of Modern Art, Bannierre Europeanne des Artes, and Medaglia al Mérito of the International Parliament.
FRANCISCO DOMINGO MARQUÉS (Valencia, 1842 - Madrid, 1920)."Musician".Oil on panel.Signed and dated in the lower right corner.With wax seal on the back.Measurements: 12,5 x 10 cm; 36,5 x 33,5 cm (frame).Domingo Marqués began his training at the School of Fine Arts of San Carlos in Valencia and in the workshop of Rafael Montesinos, who instilled in him his deep admiration for Ribera. In 1864 he moved to Madrid with the aim of furthering his studies at the Royal Academy of San Fernando in Madrid, and in 1868 he obtained the coveted pension for Rome. In 1866 he had already been awarded a third medal at the National Exhibition in Madrid for his painting "Un lance en el siglo XVII", and the following year a gold medal for the same work at the Valencian Regional Exhibition, merits which helped him to obtain the pension for Italy. In Rome he attended the studio of Eduardo Rosales and became acquainted with Mariano Fortuny, whose posthumous portrait he painted in 1884. His first work as a scholarship holder, "El último día de Sagunto" ("The Last Day of Sagunto"), was sent to the Regional Exhibition in Valencia in 1869 and to the National Exhibition in 1871, together with the painting "Santa Clara", which won him the first medal. His second work, "Portrait of Manuel Ruiz Zorilla", was completed in Valencia, in his famous studio in La Gallera, which had become the centre of Valencian artistic life. For a year he taught at the San Carlos School of Fine Arts, with the Benlliure brothers as his pupils. In 1871, when he did not return from Rome, the Diputación decided to withdraw his pension. It was then that Domingo settled in Madrid, where he decorated the palaces of Portugalete and Fernán Núñez. In 1875 he moved to Paris, where he devoted himself almost exclusively to producing exquisitely executed anecdotal paintings, such as Un alto en la montería ("A Halt in the Hunt", 1901). These works are executed in a meticulous, colourful style and display a certain Impressionist influence. In 1914, on the outbreak of the First World War, he returned to Spain and settled again in Madrid, gaining official recognition. He entered the San Fernando Academy of Fine Arts in 1917 and was the subject of a public tribute in Valencia the following year. Domingo's mature style is heir to the naturalistic tradition of the Baroque, and his brushstroke breaks down pictorial matter to focus his interest on colour and light. He is represented in the Prado Museum, the Fine Arts Museums of Valencia, Malaga and Asturias, the Hispanic Society and the Metropolitan in New York and the Lázaro Galdiano in Madrid, among many others.
JAUME PLENSA (Barcelona, 1955)."Man, I", 1983.Mixed media on paper.Attached certificate issued by the author.This work was exhibited at the Jordi Pascual gallery (Barcelona), in 2017.The glass is broken, but it does not affect the work.Signed and dated in the lower area.Measurements: 107 x 39 cm; 118 x 50 cm (frame).Adjectives such as automatic, gestural and explicit are concentrated in this scene, in which the author has conceived the portrait of a human figure. It is set up as a totem before the viewer. A primitive spirit, born of matter, scraped, manipulated and expressive. Used as a medium to convey unique experiences. This work belongs to the first stage of the artistic career of Plensa, who began to exhibit in 1980. In it he constructs the keys to what would later become his most famous works, the representation of the human figure, a reflection on identity and the interaction between man and space.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.
JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986)."Female portrait.Oil on canvas.Signed in the lower right corner.Measurements: 72 x 53 cm; 90 x 71 cm (frame).Born into a very religious family, Mallol Suazo trained at the La Lonja School in Barcelona, where he was a disciple of Félix Mestres and Ramón Calsina between 1929 and 1935. He was a draughtsman as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx", magazines with which he had been collaborating since his student years. A congenital deformity in his feet, which made it difficult for him to walk, prevented him from developing his landscape themes, as he was unable to move around to copy from life. He therefore turned to other themes, such as still life and portraiture. The first exhibition of his work was held at the Barcelona Contemporary Art Salon in 1936, months before the outbreak of the Civil War. That same year he was awarded a prize at the Barcelona Spring Exhibition. The war forced his family to disperse, but Mallol remained in Barcelona, where he devoted himself entirely to painting and in 1938 won the Nonell Prize for Painting, awarded by the Tardor gallery. In 1945 he became a member of the group of artists at the Sala Parés, a gallery where he met the collector Josep Omar Gelpi, who became his art dealer from then on. Considered one of the most promising young Catalan painters, in 1953 he took part in the National Exhibition of Fine Arts in Barcelona with a nude. Mallol Suazo is represented in the National Art Museum of Catalonia, the Museum of Valls, the Deu Font Museum in El Vendrell, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important collections such as those of Caixa Terrassa, Caixa de Catalunya, Marta María Millet and Modest Rodríguez Cruells.
Interior Design - Three original painted canvases including - A large 20th century oil on canvas, After David Jacques Louis' portrait titled Comtesse Daru, 110cm high x 104cm wide;After The Master, a 20th century oil on canvas copy of Rembrandt's portrait of Jan Six, unframed 95cm w x 88cm h; A large decorative 20th century oil on canvas, After John Singleton Copley's portrait of Nathaniel Sparhawk, 120cm high x 89cm w (3)
MIXED SMALL SILVER, EPNS & COLLECTABLES GROUP - the silver includes an embossed bowl tea caddy spoon, London 1829, maker T Cox, Savory, 9cms L, oval portrait frame with easel back, 16.5 x 11cms, child's cased spoon and fork set, circular silver salt and one napkin ring with engine turn decoration, various Birmingham hallmarks, further single napkin ring with engine turn decoration, Chester 1929 and a set of six teaspoons, Chester 1927, maker The Chester Electroplate Company, 6.5ozt gross weighable, EPNS ware includes a Walker & Hall teapot with bright cut decoration, oak cased set of six fish knives and forks with bone handles and an EPNS jam spoon, the collectables include a brown tie with gilt Girl Guide badge attached
H.M.Queen Elizabeth II large signed 1953 presentation portrait photograph by Dorothy Wilding. Her Late Majesty wearing a diamond diadem, necklace and bracelet and the Order of The Garter, signed in ink on mount 'Elizabeth R 1953' in glazed frame 81 x 61cm overall.Good original condition . Brown stain mark around border from previous framing- see extra images
Portrait miniature on card of a 17th century gentleman, named verso as 'Probably Joseph Howe of St Bartholomew by the Change Master of the Spectacle Makers Company 1673, died 1706, copied by Roger E. Fry from a miniature in the possession of Rev. A E Dalton' (possibly Roger Elliot Fry 1866-1934) 5cm high, in glazed papier mâché frame
H.R.H. Prince Albert Duke of York (later H.M.King George VI) signed 1934 presentation portrait photograph by Bertram Park. The Duke wearing a lounge suit signed in border in ink 'Albert 1934' and signed by the photographer. In original Bertram Park studio folder and packaging with presentation letter from the Comptroller of the Dukes household.
Of Charles Darwin interest: Historic and illuminating Darwin family photograph album, believed to have been the possession of Emma Darwin (1808-1896). The Victorian tooled leather album with brass clasp, retailed by Parkins & Gotto, 27 & 28 Oxford St., London, total size 15 x 25cm. Housing a total of 81 sepia photographs of members of the extended Darwin family and circle, many with pencil identification to the mounts believed to be in the hand of Emma Darwin. The photographs in page order as follows: Page 1 - William Erasmus Darwin (1839-1914), Henrietta Emma Darwin (1843-1927), Page 2 - unidentified seated woman titled 'F W' probably one of the Wedgwoods, Charles Darwin, Page 3 - Elizabeth Darwin (1847-1926), Francis Darwin (1848-1925), Page 4 - 'H W' possibly Hope Wedgwood (1844-1935), 'E W' possibly Emma Darwin's sister Sarah Elizabeth Wedgwood (1793-1880), Page 5 - double portrait of two children, probably Horace Darwin (1851-1928) and Leonard Darwin (1850-1943), George Howard Darwin (1845-1912), Page 6 - Millicent Lethbridge, Edmund Langton (1841-1875) (Emma Darwin's nephew), Page 7 - Jessie Huxley (1856-1927), Marian Huxley (1859-1887), Page 8 - Leonard Darwin (1850-1943), Margaret Wedgwood (1843-1937) (mother of Ralph Vaughan Williams), Page 9 - mother and child group 'Cicerly & Cecil' who are Cecily Mary Wedgwood (1837–1917) and her nephew Cecil Wedgwood (1863-1915), unidentified young woman 'Betsy', Page 10 - woman titled 'Mrs Huxley', Mrs Hooker (1851-1874) (Joseph Dalton Hooker’s first wife, Frances Harriet Henslow), Page 11 - Girl with doll titled 'G Bridgeman', possibly Georgina Emily Mary Bridgeman (1863-9), daughter of John Robert Orlando Bridgeman and his wife Marianne Caroline Clive, 'Mrs Bunbury', probably Millicent Lethbridge's mother, Page 12, Jessie Huxley (1856-1927), seated woman titled 'Mrs Brodie', probably Eliza Mary Brodie Innes (1820-1909), Page 13, 'Mrs Galton' probably Francis Galton’s mother, Frances Anne Violetta Darwin (1783–1874), Mme. Haeckel (Anna Sethe, first wife of zoologist Ernst Haeckel who died in 1864, Haeckel sent a photograph - probably this photograph, in a letter to Charles Darwin dated 10th August 1864), Page 14, 'Rosamund Lyell', niece of Charles Lyle (1797-1875), Nettie Huxley (1863-1940), Page 15, Leonard Huxley (1860-1933), Rachel Huxley (1862-1934), Page 16, infant Cecil Wedgwood (1863-1916), Mary Hawkshaw (d.1863, mother of Cecil Wedgwood), Page 17, photo of an unnamed baby, Margaret Wedgwood (1843-1947), Page 18, George Howard Darwin (1845-1912), William Erasmus Darwin (1839-1915), Page 19, unidentified family pet dog, 'John Wedgwood' (possibly John Darwin Wedgwood, 1840-1870), Page 20, unidentified young woman, 'Capt. C Darwin' (possibly Sacheverel Charles Darwin 1844-1900), Page 21, authors William Makepeace Thackeray (1811-1863), George Macdonald (1824-1905), Page 22, group shot of Maria Fedorovna and Alexander Alexandrovitch (later Tsar Alexander III of Russia), family group titled 'P & P Louis of Hesse' Prince and Princess Louis of Hesse, Page 23, Princess Louise, Duchess of Argyl (1848-1939), Prince and Princess Christian (of Schleswig-Holstein), Page 24, Queen Alexandra (probably Alexandra of Denmark 1844-1925), opera singer Jenny Lind (1820-1887), Page 25, Mme. De Sismondi (1819-1853) (Emma Darwin's aunt), Miss Bateman (probably the actress Kate Bateman 1842-1917), Page 26, 'Q. of Wurttemburg' presumably Sophie of Wurttemburg, Queen of Netherlands (1818-1877), cleric, religious reformer and mathematician Bishop Colenso (1814-1887), Page 27, Queen Victoria (with infant), Queen Alexandra (1844-1925), Page 28, Mrs Romanes (1856-1878), Hensleigh Wedgwood (1801-1891), Page 29, 'Little Haeckels' (a letter from Ernst Haeckel to Charles Darwin dated 8 October 1873 is sent with a photograph of the scientist's two eldest children - presumably this photograph), 'Miss Woolner' (probably relative of Thomas Woolner), Page 30, Amy Lubbock (1857-1877), unnamed Gentleman but possibly Charles Darwin's manservant Joseph Parslow (1812-1898), Page 31, unidentified gentleman named as 'W. Creasy', George Howard Darwin (1845-1912), Page 32, Elizabeth Darwin (1847-1926), 'E D' probably Emma Darwin (1808-1896), Page 33, unidentified young woman, half length portrait of a young woman bearing resemblance to Henrietta Emma Darwin (1843-1927), Page 34, unidentified woman, 'T Burgess, marine of Beagle' Thomas Burgess (b. 1810), inscribed verso ‘Marine on board The Beagle’, dated Ap. 75), Page 35, Dick Atkins (Francis Darwin 's nephew), 'LD' possibly Leonard Darwin (1850-1943), Page 36, unidentified woman seated at a desk, 'LD' possibly Leonard Darwin (1850-1943), Page 37, Charles Darwin, Joseph Parslow (1812-1898) Charles Darwin's manservant (possibly the first identified image of Joseph Parslow, a significant figure in Charles Darwin's life), Page 38, Lady Lyell (Mary Elizabeth Lyell, geologist and concologist who assisted Darwin, 1808-1873), Ralph (Vaughan) Williams (1872-1958) as a child, Page 39, Bernard Darwin (1876-1961) (first grandson to Emma and Charles Darwin), 'Namesake of CD in Hamburg', photograph is inscribed verso 'Darwin Beger, Hamburg, 8th Feb.ry 1879', a letter sent to Charles Darwin from Karl Beger, dated 12th February 1879 reads 'Dear Sir, My wife and I, beg to present you our very best wishes for your birthday, and hope that it may return always in health and happiness. Enclosed the photograph of our little Darwin. He is now two years old, and a very good, intelligent, and thoroughly healthy child. He speaks already and takes his meals without help.In the upper chaw he has got 5. cutting-teeth instead of 4., but they stand regularly and ar⟨e⟩ as nice and good as could be. Dear Sir, | Your most obedient servant | F. T. C. Beger & wife.' presumably this is the photograph discussed in the letter, Page 40, child named as Ethel Pattrick (1875/6-94), she was the daughter of the Darwins’ governess, Camilla Ludwig, unidentified woman named as Mrs Nash, Page 41, unidentified child named as Otto Patrick. Provenance: From the Estate of George Erasmus Darwin (1927-2017), the previous history is unknown, but likely by family descent. The pencil inscriptions bear close resemblance to known examples of Emma Darwin's hand and the contents, range and dateline of the album would support the assertion that she compiled the album, which would suggest a provenance: Emma to George Howard Darwin to William Robert Darwin to George Erasmus Darwin. Other Darwin family albums are known, including others apparently also annotated by Emma Darwin, but our research has found nothing comparable in terms of size, range or volume and this lot may represent the principle extant Darwin family album.We would like to thank the staff of The Darwin Correspondence Project and Down House for their helpful assistance with the identification of photographs in this collection. Images of reverse of photos are in catalogue orderPlease note VAT is not payable on this lot
Of Charles Darwin Interest: Exceptional Victorian album of carte de visite photographic portrait cards of Charles Darwin, from the collection of Henrietta Emma Litchfield (1843-1927), daughter of Charles Darwin. The album by London Stereoscopic Photographic Company with tooled green leather binding and brass clasp, inscribed to frontpiece – 'R. B. Litchfield, (Henrietta's husband Richard Buckley Litchfield (1832-1903) 4 Bryanston Street, Portman Square, W. / please do not take these out of this book', housing nineteen carte de visite portraits, each inscribed with Henrietta Litchfield's name to rear, to include: Early card by Maull & Polyblank, circa 1855; Oval portrait card, signed in ink – ‘Ch. Darwin’; Portrait posed to sinister, by Elliott & Fry, circa 1874; Half-length portrait by O. G. Rejlander, circa 1871; Late card by Dr. Wallich, signed in pen – ‘Ch. Darwin’; Portrait posed to sinister, by Elliott & Fry, circa 1874, signed – ‘Ch. Darwin’; Portrait posed slightly to sinister, by Elliott & Fry, circa 1874, signed in pen – ‘Ch. Darwin’; Portrait posed slightly to sinister, by Elliott & Fry, circa 1874, signed in pen – ‘Ch. Darwin’; Portrait posed to dexter, by Julia Margaret Cameron, circa 1868, signed in pen - 'Ch. Darwin’; Unidentified carte de visite portrait in profile to dexter; Two similar cards, by Oscar Rejlander, signed by photographer verso, circa 1871; Carte de visite portrait, circa 1868, inscribed in ink ‘From life, registered copyright Julia Margaret Cameron’, with gilt border; Unidentified card with framed oval portrait, possibly by late 1860s; Unidentified card with framed oval portrait, named verso ‘Late Wiseman’; Portrait posed to dexter, by Julia Margaret Cameron, circa 1868 – 1869, with printed details; Portrait by Dr. Wallich, signed in pen – ‘Ch. Darwin’; Portrait in profile to dexter, by Ernest Edwards, circa 1866; Portrait posed half-length, seated on desk chair, by Oscar Rejlander, photographic details in pen verso.Provenance: From the Estate of George Erasmus Darwin, (1927-2017) great grandson of Charles and Emma Darwin, the previous history is unknown, but likely by family descent. A related album was auctioned at Christie’s, London, 8th October 2014, lot 63, sold for £30,000. That also contained 19 Carte de visite cards, but included various family subjects including Charles and Emma Darwin, their daughter Henrietta Emma Litchfield (1843-1927), her husband Richard Buckley Litchfield (1832-1903), George Howard Darwin (1845-1912) and various other unidentified subjects. Like the present lot, the album included a pen inscription by Richard Buckley Litchfield. The inscription was dated 17 November 1879 and was dedicated to Anne Griffiths, who at the time of the Christie's sale hadn't been identified. NB: Charles Darwin's profound interest in photography is well documented, he not only used photographs in his research, but also freely exchanged carte de visite portraits to friends and colleagues through letters. His friend the botanist Joseph Dalton Hooker termed Darwin’s exchange of photographic images as his 'carte correspondence'. This was an important tool for Darwin to cement his international scientific network, photographic portraiture was also fundamental to establishing Charles Darwin as a celebrity. He is believed to have sat for photographs on 18 separate occasions resulting in 32 different poses. Henrietta was the Darwins' third daughter, but their second daughter Mary died in infancy and after the death of Henrietta's sister Annie at age ten, seven year Henrietta became the eldest daughter. Her bond to her father was very strong and she assisted him in his work including editing 'The Descent of Man', his biography of Erasmus Darwin and his Autobiography, removing several contentious passages. It seems likely that this wonderful album was Henrietta's keepsake with which to remember her dear father byPlease note VAT is not applicable on this lot
Impressive 19th English School oil on canvas portrait of the Royal Herald George Harrison Rogers-Harrison FSA (1805-1880), Windsor Herald and first Chairman of the Prudentual Mutual Assurance Investment and Loan Association, wearing Court uniform, in frame 140cm x 114cm.Provenance: sold by these rooms in 2001, formerly on loan from the sitter's family to The College of Arms.
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