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283284 Los(e)/Seite
Los 976
{François Desportes. 1661 Champignelles - 1743 Paris. Studierte in Paris. War 1695-96 in Warschau für den Hof tätig. Kehrte 1696 auf Geheiß von Ludwig XIV. nach Frankreich zurück, wo er eine Wohnung im Louvre erhielt und als "peintre d'animaux" in die Académie Royale aufgenommen wurde. Es folgten zahlreiche Aufträge für den König (fünf Werke für die Ménagerie von Versailles, Portraits der Jagdhunde des Königs) und den Hochadel.} Rechts unten monogrammiert. Portrait zweier Affen. Auf einem Mauervorsprung sitzende Meerkatze (Hutaffe) mit gebleckten Zähnen, danaben ein Weißbüscheläffchen, das mit Kohlblättern hantiert. Seitlich Türöffung und Kette. Changierender Hintergrund. Meisterliche Charakterisierung. Öl/Lwd. 76 x 68 cm. R
Los 1161
{Peter Paul Joseph Noel. 1789 Waulsort-sur-Meuse - 1822 Sosoye. Schüler von E.J. Lion in Dinant, W.J. Herreyns in Antwerpen und Swebach in Paris. War tätig in Brüssel, London, Amsterdam und Den Haag.} Rs. unter der Rentoilierung sign. und 1816 dat. Klebezettel, bet. "Portrait of an Artist". Öl/Lwd. 81 x 65 cm. R
Los 104
Defoe, Daniel. The Life and Strange Surprising Adventures of Robinson Crusoe of York, Mariner, in two volumes, new edition with copperplate engravings by Thomas Stothard, London: John Stockdale, 1790. Large octavo, worn tree calf. Complete with all 17 plates, as called for, including an engraved frontispiece & vignette title to each volume, and a portrait of Defoe facing The Life. Includes subscriber list and advertisements, 389pp. & 456pp. Internally clean & bright, protective tissue-guards present for most plates, some light cockling to paper, some pale spotting in places (more pronounced at titles & plates/tissue-guards); bindings tight & square with cracking & wear to the calf at spine and corners/edges (2)
Los 105
Dugdale, William. The Baronage of England, Tome the First, London: Thomas Newcomb, 1675. Comprising title printed in red & black, dedication page, 8pp. preface & errata, 790pp. (including five folding tables), 2pp. index. Quarto, full contemporary calf with raised bands and oxblood morocco title label lettered in gilt. Contents well-preserved & bright, early owner inscription on title, a few pages with slight wear to edges (not affecting text), a short tear on index leaf, one folding table with two short tears, calf binding strong, worn with loss to leather at corners/edges, page numbering jumps from 476 to 497 [Ppp2] to Sss1. Together with Memoires de Phillippe de Commines, in four volumes, London: Rollin, 1747, including engraved frontispiece, head-pieces, and portrait of Commines, contents appear good & bright, bindings worn, sold as found with all faults (5)
Los 162
Lynch, J. G. B. Prominent Pugilists of To-Day, first edition, London: Max Goschen, 1914. Octavo, publisher's illustrated cloth, frontispiece portrait of Bombardier Wells. Contents with toning, some pages with wear, contemporary owner inscription dated 1914, cloth with some general discolouration & marks. Scarce
Los 262
Postcards. A well-filled Edwardian album containing approx. 600-700 postcards, to include an early cartoon portrait of Winston Churchill (Pearl Series, postmarked 1905); real photographic eclipse of the sun, 30 August 1905, photographed by A. H. Pitcher; more than 50 Heraldic Series & similar postcards; GB & European resorts (including Alpine); two rp cards of battleships; several rp royal portraits in relief; three rp interior views of Levens Hall; seven chromolithographic royal portraits by Stewart & Woolf, Prussia; general art & greetings; GB & Europe topographical views & ecclesiastical architecture, plus a small quantity of loose postcards including rp WW1 and objects in V&A Museum, together with a collection of vintage matchboxes and a velvet doll
Los 75
Holy Bible with Book of Common Prayer, London: John Bill, Christopher Barker, Thomas Newcomb, and Henry Hills, Printers to the Kings Most Excellent Majesty, 1678. Including separate title pages for Book of Common Prayer, Old Testament, New Testament, and Psalms, all dated 1678. Illustrated with numerous copper-engraved plates, including a frontispiece portrait of King Charles II facing title of Common Prayer. Bearing owner inscriptions of Philip & Mary Boteler, Bath, 1878, 'Bought at Pickerings, originally from Prior Park' [Neo-Palladian house designed by John Wood the Elder for Ralph Allen, notable for reforming the British postal system]. Quarto, pages ruled in red. Contents good with general toning from age, some old paper repairs in places, occasional pale spots & marks in places, a few heavier marks with slight loss, sympathetically rebound in half-calf with marbled boards & endpapers, not collated, sold as found with all faults
Los 79
Culpeper, Nicholas. Culpeper's Last Legacy, fifth impression, London: Robert Harford, 1676-77, contemporary calf, 276pp. plus index, followed by several sections with the pages numbered 1-60 with 15pp. publisher's catalogue, copper-engraved portrait frontispiece,p. 109 has loss to text at top edge with some pages loose & proud, pages holding but handled & marked in places, top board detached, collated complete
![Les Miserables, cinema programme [c.1913], including cast, orchestra, plot, and list of matinees around the UK at venues owne](https://cdn.globalauctionplatform.com/c84c49b7-4547-47dd-9e7a-af2c015356cf/7ea7e9cf-0e60-4c29-86d0-af2e011d06d4/468x382.jpg)
Los 92
Les Miserables, cinema programme [c.1913], including cast, orchestra, plot, and list of matinees around the UK at venues owned by the Provincial Cinematograph Theatres, Limited. Octavo, 16pp., publisher's paper wrappers (priced one penny) with portrait of Victor Hugo, eight illustrations within the text of characters & scenes. Generally well-preserved & bright considering its ephemeral nature, occasional light handling marks, slight wear & loss to paper covers, later inscription on cover
Los 168
A Victorian portrait miniature on porcelain depicting a gentleman, late 19th century, signed "F. Till", 8.5cm high, set to a purple velvet frame with easel stand, 14cm high overall, with a tondeau miniature oil study of a man on horse with dog beside, 9cm diameter, tondeau framed, 20cm diameter overall (2)
Los 251
JAMES BOND INTEREST: Fleming (Ian), ON HER MAJESTY'S SECRET SERVICE, first edition, first printing, black cloth boards, embossed white "ski trail" to front cover, embossed silver title initials to spine, plain white endpapers, original Richard Chopping DJ, unclipped price 16s net, front flap with introductory text, rear flap with Fleming portrait and list of titles down to The Spy Who Loved Me (1962), rear panel with four reviews, Jonathan Cape, London 1963 CONDITION REPORT:DJ - Small tear approximately 10mm long to bottom right corner, with creasing in the same area. Chips to top and bottom of spine. The odd small blemish to cover art. Some age related darkening of spine with consequent fading of title and some loss to background detail. Some darkening to top edge of back cover with further wear and blemishes.Book - Small bumps to front corners, minor shelf wear to lower edges. Wear to top and bottom edges of spine. General shelf wear and minor scuffs to boards. Foxing to block, particularly top and front edges, with some seepage of foxing to interior page edges. Some darkening to pages.
Los 45
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3107 'Series 7', design 1955.Chromed tubular steel frame. Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 46,5 cm (seat height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.
Los 47
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of six chairs model 3207 'Series 7', design 1955.Chromed tubular steel frame.Recently professionally reupholstered in cognac coloured aniline leather.Fritz Hansen Publisher.Measurements: 76/46,5 cm (height).Aniline leather is made of high-quality rawhide. As a rule, the leather has a completely natural surface, on which all natural markings are visible. This helps to bring out the unique character of the leather. The aniline leather changes over time through use and the effects of light, and quickly develops a patina of great natural beauty.The FH 3107 chair, designed in 1955 by Arne Jacobsen and belonging to Series 7, is by far the best-selling chair in the history of the Fritz Hansen company, and perhaps also in the history of furniture. The moulded seat is an evolution of the Ant Chair, an earlier design by the same creator, and its laminated structure represents the culmination of this construction technique. In fact, the visionary Jacobsen exploited the possibilities of laminate to the full to achieve the perfection of an iconic form.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction and then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the EggChair and Swan armchairs, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers PietHein and Poul Kjaerholm.
Los 53
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Armchair "The Swan", original model 3320, design 1957-58.Upholstered in "Elegance" leather.Four-spoke aluminium swivel base."Brown label 2021.Serial number engraved on the frame.Slight marks of use.Measurements: 78/40 cm (height).The Swan chair was designed in 1957-58 by Arne Jacobsen to decorate the Royal Hotel in Copenhagen. It was edited by the Danish firm Fritz Hansen. It soon became a symbol of modern design. Among Arne Jacobsen's other designs for the SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design all over the world.The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave moulded polyurethane shell with fibreglass reinforcement, which has been covered with an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time.Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.
Los 351
IRISH SCHOOL 18TH CENTURYPortrait of a Lady in a blue silk gown, half-length, within a feigned oval Oil on canvas, 77 x 63.5cmCondition Report: Good overall condition Some spots of overpainting throughout Relined Portrait within a larger feigned ovalLower later stretcher line visible Frame in good condition See our website for images of back of the painting
Los 356
IRISH SCHOOL,C.1720Portrait of Lord Athenry, three-quarter length Oil on canvas, 124 x 100cn Label versoIn contmeporary carved giltwood frameThe de Berminghams took part in the original Norman occupation of Ireland in the 12th Century. Thereafter they remained a prominent Hiberno-Norman fmaily occupying some of the highest offices of State. Their fortunes declined with their adherance to the Catholic faith and their support for the Stewart monarchy. They were related to most of the Irish nobility who took up the Jacobite cause.The present lot depicts Francis, 14th Baron Athenry who conformed to the official religion in an attempt to regain remnants of the family estates. He married Lady Mary Nugent daughter of the Earl of Westmeath and Margaret Bellew. His son was created Earl of Louth but thereafter all the titles went into abeyance. Richard St George of Tyrone House made an attempt to reclaim them through his wife by holding that the original and obscure patent of nobility allowed descent through the female line. A portrait of Lord Athenry (possibly this one) is recorded as hanging in the dining room at Tyrone.Condition Report: Good overall conditionStretcher visible to the outer corner Presentable condition, spots of over painting throughput Small spots of flaking Some pronounced craquelure and cuppingContained within a carved wood and gilt frame See our website for images of the back
Los 371
THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting
Los 412
FRANCIS ROBERT WEST (C.1749 - 1809)Half-length portrait, of Mrs Fulke Greville, (c.1724-1789) née Frances Macartney, Black chalk with red pastel highlights on paper, 22.5 cm diameter Contained in a George III carved and giltwood frame with sanded gilt insertProvenance: the sitter, and by descent to her daughter Frances Anne (1748-1818) who married John, later 1st Baron Crewe (1742-1829); John, 2nd Baron Crewe (1772-1835); Hungerford, 3rd Baron Crewe FSA (1812-1893) who died unmarried, his heir being his sister whose son; Robert Offley Ashburton Milnes (later Crewe-Milnes) (1858-1945), 2nd Baron Haughton, Viceroy of Ireland, succeeded to the estates of his maternal uncle and was created Earl of Crewe (1895) and Marquess of Crewe (1911) and by descent to his youngest daughter Mary Evelyn Hungerford Crewe-Milnes, Duchess of Roxburghe (1915-2014), from whose estate acquired by the present ownerFrances Macartney (1727?-1789), one of the finest female Irish poets of the eighteenth century, was the fifth surviving child of James Macartney (1692-1770) MP for Longford and Granard, and Catherine Coote (d. 1731), niece of the 1st Earl of Bellamont. Her father, co-heir of the earls of Longford, inherited half of the Longford estate around Aungier Street in Dublin. Beautiful, and spirited (with Sarah Lennox she was celebrated in Horace Walpole’s 1746 poem, The Beauties), Frances was known for her witty verses and was part of the fast set revolving round Henry Fox. In 1747 she met Fulke Greville (1717-1806), of Wilbury in Wiltshire (more recently home to Miranda Iveagh), then one of the most accomplished young men in society and they eloped on 26 January 1748. Their daughter, Frances Anne (later, after her marriage to John Crewe, a famous Whig hostess and mistress of Sheridan) was christened on 28 November that year. After her marriage Frances ‘confined her writing to satirical and occasional ephemera for the amusement of the fashionable world, but her growing fame piqued her husband, who had assigned her to “the shade”, and she hid her work from him with the exception of her famous poem, the Ode to Indifference, written either in 1756 or in 1757 in Italy’ (Oxford, DNB). The poem, a critique of the cult of sensibility was extraordinary popular indeed, it ‘became as celebrated as Thomas Gray's Elegy’ (ibid). She also started, but never completed, a novel. Frances Greville's god-daughter, the novelist Frances Burney, described her as ‘pedantic, sarcastic, and supercilious’, and capable of alarming ‘the timid and braving the bold, to whom she allowed no quarter’. Hester Thrale, meanwhile, wrote to Dr Johnson that she had ‘a commanding manner & loud voice’ and ‘is said to have formed her manner upon yours’ (Letters of Samuel Johnson, 2.262) – this was not meant as a compliment.With the breakdown of her marriage, exacerbated by the husband’s chronic gambling, Frances moved home to Ireland from 1783 to 1788, under the protection of the Lennox sisters, the Duchess of Leinster and Lady Louisa Conolly (friends from childhood), and her cousins the Longfords of Pakenham Hall (now Tullynally). By 1788 the couple finally separated and she took a house in London where she died on 30 July the following year.Eldest son of Robert West, the influential Dublin artist and teacher, Francis Robert West’s style is distinctive and always charming, although his work is noticeably rare. His conversation pieces are neatly and accurately portrayed in black charcoal, often with a touch of red highlighting. Virtually all of his surviving works are in oval or circular format and he exhibited chalk portraits such as this at the Society of Artists’ shows in Dublin’s William Street.
Los 533
NATHANIEL HONE (1718-1784)Portrait of the Rev. William Sclater (1709-1778)Oil on canvas, 76 x 64cmProvenance: By descent from the sitter in the Sclater-Booth family, later Barons Basing This, one of the most engaging of all of Nathaniel Hone’s portraits, shows Rev. William Sclater (1709-1778), the Rector of St Mary-le-Bow, London. The portrait was reproduced in mezzotint by John Raphael Smith in 1777, the year it was painted, and it was almost certainly included in that summer’s exhibition at the Royal Academy. Hone’s exhibits drew a mixed critical reaction the Morning Chronicle for Monday 28 April 1777 addressed the issue of his palette, for which the artist was occasionally faulted, commenting that ‘Mr NATHANIEL HONE is a very good portrait painter but, as has been remarked of Mr Gainsborough, would be still better if the colouring of his faces was more natural’. Despite this reservation, the critic singled out his ‘portrait of a clergyman’ almost certainly the present work as ‘a very good picture’. This refined essay in black and white, offset by the sober red of the chair and light falling on his spectacles, refutes the critic’s attack on Hone for the hotness of his colours. Hone plays with the pictorial space with subtle, but still noticeable, virtuosity. Sclater’s knuckles project to, indeed seemingly almost beyond, the picture plane, Smith’s mezzotint responds even further to this element of the portrait by introducing an illusionistic play of light on the frame as the sitter seems to emerge from the painting’s space. Hone shows a genial, rather likeable, character with a noticeable sparkle in his eye and barely restrained smile, as it the sitter and artist had enjoyed the portrait process.Rev. William Sclater was born at Loughton, Essex, and was educated at Winchester and Oxford. He succeeded his father as Rector of Loughton in 1735, a position he held until his death. In 1750 he became lecturer at Christ Church, Newgate Street, and in 1769 was appointed Chaplain to the Lord Mayor, William Beckford, at whose marriage in 1756 he had officiated. In 1771 he was given the plum job as Rector of the famous city church of St. Mary-le-Bow on Cheapside. Rev. Sclater was killed not long after sitting for Hone ‘by the fall of a bag of caraway-seeds out of the slings as it was being hoisted into a grocer’s warehouse’. William Laffan, 2022
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A VICTORIAN SILVER GILT CLARET EWER, London c.1874, maker's mark of Bernard & Sons Ltd., with tall acanthus capped loop handle, above lozenge shaped lid, strigle neck, the ovoid body embossed in Mannerist Style with ribbon tied fruit swags and with four laurel trimmed blank cartouches interspersed with portrait medallions, on tall circular acanthus wrapped foot (c.38.5 troy oz). 39cm highCondition Report: Very good conditionNothing untoward to report
Los 569
JAMES GREY RHA (fl.1865-1884) John Doolin, Ringkeeper at the Wrestling, Phoenix ParkOil on board, 18.5 x 14.5cmInscribed 'The Smoker, purchased at Lord Powerscourt Auction, Bennetts Ormonde Quay 1894J.D. Spence label versoThis small work by James Grey, RHA, is a rare and highly evocative link to an era when outdoor wrestling in the Phoenix Park attracted huge crowds. It shows John Doolin who took the role of referee, or ‘ring keeper’, in the sometimes rough-and-ready bouts of wrestling which took place in the park. Doolin is shown in strict profile, his hat pulled tightly down to the nape of his neck and enjoying his pipe – the ‘smoke’ of the work’s title. Grey presents Doolin as a no-nonsense figure – his was a demanding role – and very much as a man of the (sporting) world who has seen it all. It is a rare portrait for the period of a humble Dubliner accorded respect and dignity and a welcome corrective to the caricatured portrayals of artists like Erskine Nicol and Charles Henry Cook. Showing how sport can transcend barriers of class and, we can presume, confession, it was almost certainly commissioned by a leading member of the ascendancy class, Viscount Powerscourt. The artist and other members of his family has close links with the Powerscourts, based on a shared loved of sport. James Grey was the son of Charles Grey (1808-1892) and brother of several artists including Edwin Landseer Grey and Alfred Grey. James exhibited at the Royal Hibernian Academy from 1865 to 1884 and at the Royal Academy in London on two occasions in the 1870s. Although, inexplicably, Strickland fails to mentioned it, he was elected HRHA and eventually HRA. He resided variously at addresses in Lower Gardiner, Mountjoy Square and Northumberland Avenue, Kingstown, and his exhibits included landscape and genre scenes.The painting was sold at ‘Lord Powerscourt’s sale, Bennetts Ormond Quay, [in] December 1894’ and the artist’s links to the Wingfields, Viscounts Powerscourt, go back to his father, Charles, who Strickland notes, ‘was taken up by Lord Londonderry and Lord Powerscourt and spent much of his time with them in the Scottish Highlands, where as a good rifle shot, a teller of stories and an amusing companion he was a useful and entertaining guest. Charles Grey painted a portrait of Mervyn 7th Viscount Powerscourt (1836-1904) which he exhibited in the RHA in 1863, and other works commissioned by Powerscourt reflect their love of field sports for example the Lost Stage, Glenisla (RHA 1859) and Charles’s son, James, clearly continued this profitable connection with the family. In 1869 he exhibited ‘The Hope of the Family’ which he noted in the catalogue was ‘the property of Viscount Powerscourt’ . Indeed a work by the elder Grey, Old Donald McLea, Forester of this Grace the Duke of Sutherland (RHA 1861), again described as belonging to Viscount Powerscourt, echoes this work by his son in its portrayal of another venerable sporting figure. Wrestling was immensely popular in early modern Ireland and transcended social and religious distinctions. The Phoenix Park, which had been opened to the public in 1746, was in the nineteenth century ‘Ireland’s Wrestling headquarters’. Contests were generally held in the park’s Seven Acre Field and also in the Polo Ground. The historian of wrestling in Ireland, Paul Ignatius Gunning, notes that there was no ring but that a fighting arena was formed by the circle of spectators. In 1877, Bram Stoker, the writer, who in his youth had been a distinguished amateur athlete at Trinity College, noted that the ring was controlled by a few ‘men of authority’, ringmasters such as John Doolin shown here who enforced rigid impartiality among the crowd. ‘The rationale behind this honour-code was that while local supporters might cheer their man “to the echo” the stranger was at a disadvantage’. As this account dates from just the year before Grey painted Doolin, no doubt he was one of the Phoenix Park ringmasters of whom the author of Draculas was thinking. Stoker recounts that sometimes Doolin and his colleagues had to deploy ‘exceeding violent’ methods, often wielding a whip. This was necessary as the large crowds gathered to watch bouts in the Phoenix Park could, on occasion, turn violent. In May 1835 after a wrestling match a group of a hundred men ran riot in Parkgate Street and faction fights with shillelaghs drawn often ensued. Sometimes the generally more humble attendees of the wrestling were joined by young swells from the Vice-Regal Lodge. The crowds so close to the home of the Queen’s representative sometimes provided a cause for alarm for the Castle authorities. Indeed, the crowds gathered for wrestling sometimes masked revolutionary assemblies of secret societies using the event for cover, while on one famous occasion in 1882, not long after Grey painted Doolin, the Lord Lieutenant mistook the assassins of the Chief Secretary for ‘the humbler classes’ involved in ‘horseplay or wrestling’. Despite these associations, wrestling was patronised by members of the Irish Ascendancy classes, such as Powerscourt, as well as visiting English officials based in the park. This portrayal of John Doolin offers something of a valedictory image, marking the end of this era of wrestling in the park. By this date Gaelic games had overtaken it,m and many other sporting activities, in popularity. Several former wrestlers like Liam McCarthy (1853-1928) becoming prominent in the GAA. An important document of Irish sporting history, this endearingly characterful profile prefigures other portrayals of those involved in Irish sports such as Seán Keating’s Tipperary Hurler and John Luke’s, The Tipster.
Los 589A
ATTRIBUTED GEORGE CHINNERY (1774 - 1852)Portrait of a Young Lady in an InteriorOil on canvas, 125 x 112cmCondition Report: In good presentable condition Relined, restored with some heavy overpainting to the chest and chin area The chest area has become off colour in contrast to the arms and face, other scattered spots of overpaint Frame is good No further attention necessary See additional images
Los 605
SIR GODFREY KNELLER (1646 - 1723)Portrait of Lady Mary Boyle nursing her son Charles, half length Oil on canvas, 82.5 x 65.4cm In fine period frame Provenance: By descent in the Boyle Family; Sale Christie's New York May 25th 2005, Lot 218, where sold $36,000This work by Kneller is a rare and unusual portrait for its period. While of course bearing allusions to the Madonna and Child and in particular the iconography of Nursing Madonna or Madonna Lactans, the artist has taken an interesting approach of depicting a young mother breastfeeding her infant son. The mother in question is the Lady Mary Boyle, wife of the Hon. Lt. Col Henry Boyle of Castlemartyr in Cork and daughter of the 1st Earl of Inchiquin. As woman in the upper echelons of society in the 17th century it would have been highly unlikely that she did in fact breast feed her own children. As was the common practice amongst the gentry, a wet nurse would have carried out the task for her. Depictions of breast feeding in earlier periods often presented the women in more ordinary clothes linking them to the symbol of the Madonna of Humility.In the 17th and 18th centuries paintings of breast-feeding women abound, suggesting that as a society it was considered a natural and important role of motherhood. The subject matter often derives from ancient texts or contemporary times including both a daughter breastfeeding her father in the Roman Charity story of Pero and Cimon to Jusepe de Ribera’s infamous painting of Magdalena Ventura or The Bearded Woman nursing her child.Yet they are rarely seen portraying women of this social class. Kneller has depicted Lady Mary with dignity, staring directly at the viewer, in her vibrant red gown and white lace headdress falling gracefully across her shoulders. It represents the idea of motherhood as the true calling for women and a celebration of that role. Of course, we do not know for certain if Lady Mary did enlist the services of wet nurses for her children but the painting may be a reflection of changing attitudes in society that encouraged this view of the exemplary mother figure providing nourishment to her child. We should not view this as moment of exposure for Lady Mary but rather as an expression of her love and devotion for her children. The child in the painting is her third son Charles, portrayed as healthy and sturdy baby, which at time of extremely high infant mortality, was cause, in and of itself, for much celebration. He did indeed survive to adulthood and went on to pursue a career in the Navy.Condition Report: In good overall condition Canvas has been lined The surface of the painting has light mould spots throughoutRestored to presentable conditionSpots over painting throughout Frame is goodSee additional images
Los 620
ATTRIBUTED TO RAMSAY RICHARD REINAGLE RA (1775 - 1862)Portrait of a Young Gentleman, full length, sitting by a rocky coastline with telescopeOil on board, 41 x 30.5cmCondition Report: The attribution is on stylistic grounds The pictures is in good overall condition Painted on millboard and appears to have been restored in the pastThere is some crazing but no cracks Ares of crazing have been in-filled throughout
Los 639
STRICKLAND LOWRY (1737-c.1785)Sarah and James Lewis of BelfastA pair, Oils on canvas. 76 x 63cm (30 x 24¾")Inscribed with sitter name and birth yearProvenance: By Family descent until 2015; Lane Fine Art, London; Private Collection, FranceThe Lewis family (and related families including the Leathes) were leading members of Belfast’s commercial and political elite for more than two centuries, providing the town with many sovereigns (mayors) and filling many other civic offices such as town clerk (see the Pedigree by Miss Lewis of Nettlefield, in the Town Book of the Corporation of Belfast, 1613-1816 (1897), p. 336.) James Lewis was born in 1717 the son of Charles Lewis from Hindwall, Radnorshire, who had settled in Ulster. He served as Burgess in 1761 and Sovereign in 1773 and 1777. He is shown here in a portrait by Strickland Lowry together with his wife Sarah (née Orr).Strickland Lowry was originally from Whitehaven in Cumbria, but made his career in Ireland from the 1760s: ‘he is considered to be the first artist of any significance to have produced portraits in Belfast in the latter half of the eighteenth century’ (Eileen Black, Art in Belfast, 1760-1880, Art Lovers or Philistines? Irish Academic Press: Dublin and Portland, Oregon, 2006, pp. 4-5). The charming portrait of Sarah Lewis is extremely close to the famous Bateson family conversation piece in the Ulster Museum, not only in the characteristic doll-like posture, but even down to costume details such as the pearl chokers and similarly-treated floral adornments
Los 645
MARCELLUS LAROON (1679 - 1772)Portrait of James MacArdell, holding a porte crayon, half-length Oil on canvas, 59.7 x 40cmProvenance: With Henri-Phillipe Crombe, Brussels Sabin Galleries 1962Literature: Robert Raines, 'Marcellus Laroon', Paul Mellon Foundation For British Art, p. 194 and referenced on p.111James MacArdell who was born in Cow Lane, Dublin (now Greek Street) was the most celebrated mezzotint engraver of the 18th century, whose services were eagerly sought by the most eminent artists of the day, including Sir Joshua Reynolds, who famously said of MacArdell 'By this man I shall be immortalised'
Los 796
LOUIS LEOPOLD BOILLY (FRENCH 1761 - 1845)Portrait of Auguste De Lamoignon Oil on canvas, oval, 21.5 x 17.75cmProvenance: With Christies, London (label verso)Auguste de Lamoignon was the son of Francois-Chrétien de Lamoignon (the Marquis of Basville) and Elisabeth Berryer (lineage printed verso).Boilly was one of France's most noted and prolific painters of the late 18th/early 19th centuries, known for his portraiture and genre scenes of Parisian life and society during the French Revolution and the French Empire.Condition Report: Very good general conditionCanvas has been lined and painting restored in recent years Probably within the last 20 years Craquelure is evident but really only noticeable in raking height
Los 39
A 19th century watercolour portrait of an unidentified army officer, wearing pill box hat, frogged astrakhan coat and gold lace edged shell jacket with buff cross belt, signed "Hoppner Meyer Pinxt", 15" x 19½". GC (some wear around the edges, small damp stain in one corner, and cleaned patch in field), in a modern black painted wood frame. £60-80
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