283325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283325 Los(e)/Seite
Los 475
QUEEN ELISABETH OF ROMANIA, A FAMILY GROUP PHOTOGRAPHIC PORTRAIT the Queen centrally posed in a sumptuous room next to a grand piano with other members of the Royal family also posed, the mounting card with pencil inscription in German and signed ‘Elizabeth’. Early 20th century. 41 x 47 cms
Los 331
Two late 19th/early 20th century watercolour portraits, one depicting Lady Percy as a child, daughter of Algernon 10th Early of Northumberland, from a group painting by Van Dyke, a painting that is now in the collection of the National Trust at Petworth House, both in ornate glazed gilt oval frames, unsigned, labels to verso, largest 19cm x 14cm, and a miniature portrait watercolour of women's head, inscribed 12.5cm x 9cm, glazed gilt frameLocation:
Los 202
VAN CLEEF & ARPELS: DIAMOND AND GEM-SET FLOWERSPRAY BROOCH, 1930SThe engraved and highly textured floral and foliate spray tied with a fluttering ribbon, decorated throughout with brilliant, old brilliant and single-cut diamonds, circular-cut rubies and sapphires, cabochon and sugarloaf emeralds, signed Van Cleef & Arpels, numbered 47796, engraved 'country of origin: France' length 8.4cmFootnotes:ProvenanceBelieved to have been purchased from 'Jewels and Watches, formerly from the Dwight D. and Mamie Eisenhower Collection: Property of the John S.D. Eisenhower Trust', Magnificent Jewels, Christie's New York, 6 December 2017, lot 49This jewel closely resembles the brooch worn by Margaret, Duchess of Argyll (1912-1933), in her portrait, exhibited at the Royal Academy in 1934, by Gerald Leslie Brockhurst. Brockhurst specialised in painting rich and famous society women of the 1930s and 40s – other sitters included Merle Oberon, Marlene Dietrich, Mrs Paul Mellon, Lady Doverdale and the Duchess of Windsor - and his polished style perfectly captured the glamour and sophistication of the era. Margaret, wearing a black gown with gold floral embroidery, possibly by Schiaparelli or Mainbocher, wears the brooch pinned upside down at the centre of her dress. During the 1930s, Margaret 'set a beauty standard that stood unchallenged' (The Tatler) with her green eyes and magnolia complexion. She would go on to become one of the most photographed women of the 20th century, an indomitable social figure of star status, who knew nearly everyone in the worlds of politics, society, theatre and film. She was frequently named in the world's best dressed lists and was a favourite subject of gossip columnists and known for hosting lavish parties. Her event for Paul Getty's 80th birthday was attended by King Umberto of Italy and Tricia Nixon, daughter of the American President.Born Ethel Margaret Whigham in 1912, of Scottish heritage, Margaret was the only child of self-made millionaire and one of the richest men of his day, George Whigham. Her childhood was spent in New York where she became friends with Woolworth heiress and 'poor little rich girl' Barbara Hutton (see lot 78) who later nearly became her sister-in-law. After her extravagant society debut and presentation at court, that she described as 'a whirl through wonderland', she wore a different couture gown, glittering with jewels, for every event she attended.Her rich and eligible suitors included Prince Aly Khan, millionaire aviator Glen Kidston, publishing heir Max Aitken and the Earl of Warwick. In 1933 she married tall and dashing American stockbroker and amateur golfer, Charles Sweeny, whose skill on the dancefloor was likened to Fred Astaire. Her spectacular dress and train were by Norman Hartnell and the wedding, attended by 2000 guests and many more gate crashers and onlookers, blocked traffic in London's Knightsbridge for over three hours. In 1951, Margaret married Ian Campbell, 11th Duke of Argyll. Their sensational and much-publicised divorce case from 1959 to 1963 was recently retold in the TV series 'A Very British Scandal' in which Margaret was played by Claire Foy. A newspaper article at her death in 1993 observed she 'bequeathed a legacy of intrigue and scandal worthy of Britain's naughtiest aristocrat.' Although the rendering of the brooch in the portrait differs slightly from the real piece in the arrangement of gems, this could be artistic licence; the jewel is an atypical Van Cleef & Arpels' design and therefore highly unusual. How it would have entered the collection of Dwight and Mamie Eisenhower is uncertain. It is conceivable it was either gifted or sold to the Eisenhowers during the early 1970s when the former President was Ambassador to Belgium. During this time Margaret sold several possessions privately and she certainly knew Eisenhower. The critic for the New York Times wrote when reviewing, 'Forget Not', her 1975 autobiography, 'everybody who was anybody from Barbara Hutton to 'Dickie', Earl Mountbatten to Somerset Maugham to Stavros Niarchos to President Eisenhower gets a cool appraising eye as the Duchess sweeps through the story of her life.' As Margaret wrote in later life, 'I had wealth, I had good looks. As a young woman I had been constantly photographed, written about, flattered, admired, included in the Ten Best-Dressed Women in the World list, and mentioned by Cole Porter in the words of his hit song 'You're the Top'. The top was what I was supposed to be. I had become a duchess and mistress of a historic castle. My daughter had married a duke. Life was apparently roses all the way.'Portrait of Margaret, Duchess of Argyll by Gerald Leslie Brockhurst (1890-1978) © Richard WoodwardFor further information on this lot please visit Bonhams.com
Los 233
Admiral Lord Nelson commemorative snuff box, the burr walnut circular box with tortoiseshell liner, the cover inset with a silvered metal portrait medallion marked 'P.W.F.' at truncation 72mm diameterProvenance:William Waldegrave, 1st Baron Radstock (1753-1825) and thence by descentWilliam Waldegrave, 1st Baron Radstock (1753-1825) was the second son of John Waldegrave, 3rd Earl Waldegrave. On entering the Royal Navy in 1766 at the age of 13, he rose quickly through the ranks, being given his first command in HMS Zephyr in 1775. He was promoted to the rank of Rear Admiral in 1794 and Vice Admiral in 1795. Following his involvement in the victory of the Battle of Cap St Vincent, 14th February 1797, he was awarded a baronetcy which he declined on the grounds that being the son of an earl already gave him a higher station. In May of that year, he was granted the governorship of the North American colony of Newfoundland where, apart from military and judicial matters, he was committed to relief of the poor - setting up a fund to which he was personally a generous benefactor. On his return to England in 1800, he was created an Irish peer - 1st Baron Radstock, of Castletown in the Queen’s County.
Los 24
Portrait silhouette of Dirk ten Cate (1741-1822) and another thought to be of his wife Margaretha Vervelt;together with English School, late 18th centuryPortrait silhouette of Polly Hardcastle (née Holt; 1762-1796)and another of a lady with a bonnettwo inscribed to the reverseall painted on paper8.7 x 7cm; 8.3 x 6.6cm; 8.7 x 6.2cm (4)
Los 25
Ten portrait silhouettes of the Brown familyone inscribed 'Mrs Brown' and two 'Tho.s Brown' eight with labels for 'J Miers Leeds' (to the reverse)painted on plaster and framed as one8.5 x 7cm each; 63 x 78cm framedEach silhouette is fixed within its own frame that has been mounted within a larger modern frame - see photos. There is general surface dirt throughout each silhouette and some of the frames show signs of minor damage. Some of the silhouettes have visible cracking to the painted surface.
Los 344A
Twelve Life-Sized Heads:Thomas Frye Self-portrait (Ipse); Young woman wearing dark hat and holding a closed fan; Young man holding candlestick; Man wearing cloak; Man wearing turban; Old man wearing velvet cap; Man leaning on right elbow; Young man with book and candlestick; Old woman leaning on crutch; Young woman with cap and necklace; Young girl wearing feather in her hair; Man wearing turban, leaning on bookmezzotints on laid paper, published Hatton Garden, London, 176052.5 x 38.5cmpaper laid on linen and stretches time and water staining to all with some slight worm holes mainly confined to margins of Man wearing turban and Man wearing turban, leaning on book, tear and some loss to candle stick and left of candlestick to Young man holding candlestick; Man wearing turban, leaning on book not laid on linen and stretcher62 x 48cm framed
Los 56
Portrait of a girl in contemplationsigned 'Fritz Paulsen' (lower right)oil on canvas19 x 14cm30.5 x 25cm framedThe painting is executed in oil on a canvas support which is unlined. The painting is attached to a wooden stretcher with a horizontal cross bar. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. The varnish is thin, even and clear. There are few small touches of overpaint in the sitter’s face. The varnish has a light layer of surface dirt present.
![Portrait study of Ahmad Khaninscribed 'Cabool [Kabul] Horse Merchant, 5th August 1861' watercolour and pencil on paper17.2 x](https://cdn.globalauctionplatform.com/c57420b6-671b-4fa0-9117-af04010b187c/69c11daf-6a9e-4e67-a646-af0f00fba34c/468x382.jpg)
Los 61
Portrait study of Ahmad Khaninscribed 'Cabool [Kabul] Horse Merchant, 5th August 1861' watercolour and pencil on paper17.2 x 11.5cm; together withA portrait by another hand thought to be of Mohammad Abdulla, assassin of Judge John Paxton Norman, Calcutta, 1871watercolour on paper, oval12 x 9.5cm (2)Ahmad Khan horse merchant - Undulations across the paper. Appears to be stuck down. Not examined out of frame. Mohammad Abdulla - foxing spots. Little discoloured and appears faded. Not examined out of frame.
Los 74
Portrait of Saint Isidore the Farmer oil on canvas98 x 68.5cm Saint Isidore the Farmer, also known as the Labourer, was a farmworker born circa 1070 in Madrid. He spent most of his life in the service of Juan de Vargas on his farm near Madrid. Known for his piety towards the poor, he was canonized by Pope Gregory XV along with Saint Ignatius of Loyola, Francis Xavier and Teresa of Ávila in 1622. He is widely venerated as the patron saint of farmers, peasants, day labourers and agriculture. His feast day is celebrated on 15th May.The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layer has a network of age cracks, some of which have slightly raised edges. Overall, the paint layer is currently stable but has suffered from loss in the past. There is extensive overpaint across the surface, mainly located in the lower half. In areas the overpaint has slightly darkened, but overall it is well matched to the original. The varnish layer is slightly uneven and discoloured with dark patches across the surface.107 x 77cm framed
Los 76
Portrait said to be of Beatrice Cenci (1577-1599)signed 'G. Mazzolini' (lower right)oil on canvas59.5 x 48cmAfter the original long attributed to Guido Reni in the Palazzo Barberini in Rome.Framed 79 x 67cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is poor and there are general undulations across the surface. The paint layer is in a good, stable condition overall. There are localised areas of overpaint covering old damages. The varnish is clear, even and glossy. There is a dirt layer on the front and reverse of the painting.
Los 77
Portrait of a lady, full length, in a pink dress and blue shawl, in a landscapeoil on canvas66 x 46cmFramed 83.5 x 62.5cmOil on canvas which has been lined. The canvas is in plane and the paint layer is stable. Areas of overpaint are present in the background, applied in a wholesale and brushy manner but the appearance of the painting is good. The varnish is even and glossy.
Los 78
Portrait of a gentleman, three-quarter length, in a blue, richly embroidered coat, wearing the insignia of the Order of the Bath, a landscape beyondsigned and dated 'J.s Millar pinx.t 1789' (to the reverse)oil on copper, unframed35.5 x 27.5cmProvenance:Sotheby's Chester, 7th March 1991, lot 4309The painting is executed in oil on a copper support. The copper has a slight, gentle bend across the centre. The paint layers have suffered from losses, mainly located around the edge of the picture. The painting has a varnish layer which is degraded, becoming dull and darkened. There are numerous scuffs and scratches across the surface. There is a light layer of surface dirt present.
Los 80
Portrait of the artist seated three-quarter length, holding a folio resting on a stone pedestal, beside an easel oil on canvas laid on board123 x 90cmProvenance:Christie's, London, 28th October 1998, lot 260The sitter is wearing the medal of Frederick, King of Sweden given to him by Frederick I whilst he was in Stockholm in 1730-31, prior to his departure for Vienna.The prime original of this portrait by van Meytens (inv. no. NMGrh 1936) is now in the Nationalmuseum in Sweden.Framed 151 x 120.5cmThe painting is executed in oil on a canvas support which has been laid onto a large sheet of hardboard. The hardboard support has an elaborate cradle devise on the reverse to keep the painting in plane. The paint layers are in a good, stable condition overall. There are areas of overpaint across the surface, some of which have slightly darkened, but are generally well matched to the original. The varnish layer is even, glossy and slightly yellowed. There is a layer of surface dirt present and a few scuffs and scratches.
Los 82
Portrait of a young lady, wearing a ruff, lace cap, embroidered black satin bodice, coral bracelet and white gloves held in her right handsigned and inscribed 'Aetatis 21 An.o 1632/ W. vander Vliet. fecit' (left of centre)oil on panel67 x 54cmWillem van der Vliet began his career as a history painter but became renowned principally for his portraits which are rare. He joined the Delft painters’ guild in 1615 and trained with Michiel Jansz. van Mierevelt (1566-1641). Vliet was certainly painting portraits by 1625 (Portrait of Burgomaster and his wife in the Amiens Museum) though other portraits by him are dated 1631 (London National Gallery) 1636 (Paris, The Louvre) 1638 (Amsterdam, Rijksmuseum) and 1640 (Utrecht). Although little is known about his life, he gained enough acclaim in his lifetime to be included in Dirck van Bleyswijck’s Beschryvinge der Stadt Delft [Description of the City of Delft] published in 1667.Framed 79 x 67cmThe painting is executed in oil on a wooden support. The panel is formed from three boards in vertical alignment with the widest board at the centre. A cradle has been fitted to the reverse of the panel to reinforce the joins and keep the painting flat. The cradle appears quite recent in the painting's history. There is slightly raised paint following the lines of the panel joins. The paint layer is stable overall with a few small localised losses, for example below the inscription. The varnish layer is semi-glossy, clear and even. There are some areas of overpaint across the surface which have a slightly matte and gritty texture. There is a light layer of surface dirt present.
Los 83
Portrait of a lady in black with a lace cap and ruffinscribed 'Aeta: 58. A.o 1622' (upper right)oil on panel61 x 54cmProvenance:Stockholms Auktionsverk, Sweden, 2nd December 1992, lot 5584, as Attributed to Werner van den Valckert54 x 77cm (framed)The painting is executed in oil on a wooden panel support. The panel is formed from two boards in vertical alignment which are in a good condition overall and in plane. The paint layers are thinly applied in many areas and the vertical woodgrain of the panel is evident in the texture. The paint layers are stable overall. The varnish is clear, even and semi-matte. There are areas of overpaint across the surface which are finely applied and well matched to the original. There is a light layer of surface dirt present.
Los 84
Portrait of a gentleman, head and shoulders, with shoulder length hair and a blue shawl, in a feigned ovaloil on canvas66 x 50cmPossibly by a British artist working in France after the Revolution.84.5 x 68cm framedThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are stable and secure. There are raised lines of paint running horizontally across the paint surface, possibly caused by the painting being rolled or folded in the past. The overpaint covering the horizontal lines in the sitter’s face have lightened over time. Other areas of overpaint are well matched to the original and locally applied. The varnish is uneven with matte patches in the background. There is a light layer of surface dirt present.
Los 85
Portrait of Richard Paul Jodrell (1745-1831) in a black coat against a red curtaininscribed 'Portrait of Richard Paul Jodrell Esqr. / of Portland Place &c. A. D. 1810 / Born Nov 14th / O.S. 1745 painted by Browne / and died Jan. 26th / 1831, having been in possession of his paternal estate 80 years' (on an old label to the reverse)oil on canvas 74 x 62cmProvenance:Christie's, London, 12th November 1998, lot 66The sitter, a classical scholar and dramatist, was the eldest son of Paul Jodrell of Duffield, Derbyshire, solicitor-general to Frederick, Prince of Wales and his wife Elizabeth, daughter of Richard Warner of North Elmham, Norfolk. He was educated at Eton and Oxford, elected a Fellow of the Royal Society in 1772 and of the Society of Antiquaries in 1784. In 1772, he married his second cousin Vertue (d. 1806) eldest daughter and co-heiress of Edward Hase, of Salle, Norfolk and niece of John Hase, later Sir John Lombe, 1st Bt, with whom he had five sons and two daughters. He was a friend of Dr Samuel Johnson and in 1790 was elected Member of Parliament for Seaford, Sussex. He suffered from mental impairment for the last ten years of his life and died in Portland Place.The present portrait is known from an engraving by Charles T. Heath Heath after Mather Brown which was published in 1820. A portrait of this sitter by Thomas Gainsborough from the 1770s is now in the Frick Collection, New York. The painting is executed in oil on a canvas support which appears to be unlined. The canvas tension is good and the picture is generally in plane. At the lower left corner are diagonal stress cracks in the paint layer which has led to raised paint and losses. The rest of the of the paint layer is stable. There are areas of overpaint cover cracks and abrasion to the paint layer. The varnish is slightly uneven but clear. There is a light layer of surface dirt present.Framed 90 x 78cm
Los 86
Portrait of Charles Chadwick (1753-1829) half length, in brown, wearing a mortar board and gown, a view of Emmanuel College, Cambridge beyondsigned and dated 'J. Downman / Pinxt / 1779' (lower right)oil on copper23.3 x 19.4cmProvenance:By descent in the family of the sitter until an unknown date;The Rev. Henry Madan Pratt, MP, JP (1856-1934) Southern House, Cheltenham;His sale, Christie’s London, 23rd May 1930, lot 144 (26gns to Jones);H Burton-Jones, London;Mrs K Gifford Scott,Her sale, Sotheby’s London, 14th March 1984, lot 54 (£5,280),When acquired by Spink, London;Anonymous sale, Christie's London, 8th July 2016, lot 185, When acquired by the present ownerThe present portrait was painted during the brief period when Downman resided in Cambridge. He reputedly set up his easel in college gardens to attract custom (see G C Williamson, John Downman ARA High Life and Works, London, 1907, p. xiv).The sitter, son of Colonel John Chadwick (1720-1800) of Healey Hall, was admitted to Emmanuel College in 1771. He is shown here outside the long facade of Emmanuel College where he had his lodgings, the new college building which was still being completed when he was there. He was later admitted to the Middle Temple in 1775 and attained his Bachelor of Law in 1778, he already being JP for the West Riding of Yorkshire from 1775. He was the same for Lancashire from 1785 and for Staffordshire from 1792 having succeeded to the family estates at Mavesyn Ridware in Staffordshire in 1784; Callow in Derbyshire and New Hall in Warwickshire in 1793 and to that of Healey Hall in Lancashire in 1800. He served also as a Deputy Lieutenant for Lancashire from 1777 and for Staffordshire from 1796. In 1788, he married Frances Green of Leventhorpe Hall in Yorkshire. In 1803, he went to reside at New Hall, his Warwickshire estate. He became a member of the Antiquarian Society in 1807 and after the fire at Emmanuel College in 1811, he contributed a substantial sum towards its rebuilding.The Chadwick family had a long association with Emmanuel College. The sitter’s kinsman, Charles Chadwick (d. 1627) was Chaplain to Queen Elizabeth I, James I and Thomas Howard, Earl of Suffolk, and was among the first three Fellows at Emmanuel College at its founding in 1584 where he became President in 1588 (see Remains, Historical and Literary, Connected with the Palatine Counties of Lancaster and Chester, Published by the Chetham Society, vol. XXXI, 1853, p. 183).A preparatory chalk drawing of 1778 of this sitter is in Downman's sketchbooks in the Fitzwilliam Museum (inv. no. 1894, Downman Sketchbooks from Butleigh Court, Second Series, vol. IV, no. 2). This portrait was almost certainly from its date commissioned from Downman to commemorate Chadwick receiving his law degree.We are grateful to Amanda Goode, Archivist at the Emmanuel College, for her assistance with this catalogue entry.The painting is executed in oil on an oval copper support. The support and paint layers are in a good, stable condition overall. The paint layer has a slightly mottled surface, visible in the upper half which is due to application of the paint layer as well as the interaction between the oil and copper support. There are a few localised areas of retouching which are generally well matched to the original. The varnish is clear and even.
Los 87
Portrait of a gentleman, half-length, in a red coat with a blue sash, holding a batonsigned and dated 'AD Therbusch / de Lisiewski / peintre du Roy / de France / 1771' (lower right)oil on canvas78 x 62.5cmProvenance:Christie's, London, 28th October 1998, lot 269Anna Dorothea Therbusch, born Lisiewska, initially trained as a painter under her father, Georg Lisiewski (1674-1751) a Berlin portrait painter of Polish stock. In 1761, she left Berlin for Stuttgart to paint at the court of Carl Eugen, Duke of Württemberg, before moving to Paris in 1765. She was elected a member of the Académie Royale in 1767. Therbusch befriended the art critic and philosopher, Denis Diderot, who favoured her work and she lived with him and other artists in Paris until 1769 when she returned to Berlin. She later became court painter to Frederick II of Prussia.The painting is executed in oil on canvas support. The canvas appears to be unlined but has been heavily impregnated with wax on the reverse. There is a large double patch on the reverse of the painting securing an old damage. The paint layers are stable overall. There is extensive restoration in the sitter’s face and a few other localised areas of overpaint in the background and red jacket. The varnish layer is thick, glossy and even. There is a light layer of surface dirt present.Framed 90 x 74.5cm
Los 89
Portrait of Joseph Brotherton MP (1783-1857) three-quarter length, in black, holding a documentinscribed with the names of the sitter and artist on an old label (to the reverse)oil on canvas90 x 69.5cm;together with a cartoon taken from Punch titled 'Mrs. Brotherton Putting the House of Commons to Bed!' (2)Joseph Brotherton was appointed minister for the new Bible Christian Church, Salford, in 1817 and held the position for the rest of his life. One of the core teachings of the Church was not to eat meat and Joseph and his wife Martha were strict vegetarians. In 1847, he held a meeting that established the Vegetarian Society. Additionally, following the Reform Act of 1832, Joseph was elected the first Member of Parliament for Salford and held the position over the course of five successive elections. He was a great parliamentarian and pushed for better factory reforms and advocated for the provision of public walks, gardens, museums and libraries. Due to Brotherton’s efforts, Salford became the first municipal authority to provide a free lending library, museum, and art gallery. He is also today widely considered to have been the first vegetarian Member of Parliament.The present portrait was engraved in mezzotint by Samuel William Reynolds Jr. and published in 1836.Framed 120.5 x 100cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The darker passages of paint have an uneven texture with islands of raised paint. This is probably a result of the artist’s choice of materials and would have formed as the paint layers dried. The paint layers are stable overall. There are areas of overpaint across the surface which are generally well matched to the surface. The varnish is clear, even and semi-matte. There is a light layer of surface dirt present.
Los 90
Portrait of a gentleman, half-length, seated, in black jacket and black neck tieoil on canvas89 x 69cm121 x 99.5cm framedThe painting is executed in oil on a canvas support which is unlined. The canvas tension is slack and there are minor undulations along the top and bottom edges. At the lower left corner is a tear to the canvas which has been patched from the reverse. Above this is a small puncture to the canvas with associated paint loss. The paint layer has a prominent network of age cracks and some wrinkling across the surface. The wrinkling is partly caused by the drying of the paint layers, but also by the canvas which appears to be a response to changes in humidity. In some areas the wrinkling has led to small losses in the paint layers. The varnish layer has slightly yellowed with age but is even and semi-glossy overall. There is a dirt layer which has been partly imbibed by the varnish, causing the age cracks in lighter areas to appear dark.
Los 91
Portrait of The Right Honourable Mark Lemon Romer, Baron Romer, PC (1866-1944)signed and dated "J Crealock / 1933" (lower left)oil on canvas125 x 100cmBorn in Crawley, Sussex, Romer was the son of Sir Robert Romer and Bettey, née Lemon, daughter of Mark Lemon the founding editor of Punch. Following his early education at Rugby, Romer went to Trinity Hall, Cambridge where he read mathematics. He was called to the Bar in 1890 and was made King's Council in 1906.Romer was appointed to the Chancery Division of the High Court in 1922 and received the customary knighthood the same year. In 1929, he was made a Lord Justice of Appeal and sworn into the Privy Council. He was appointed a Lord of Appeal in Ordinary in 1938 and was made a life peer with the title Baron Romer, of New Romney in the County of Kent.The painting is executed in oil on canvas support which is unlined. The canvas tension is slack and there are general undulations across the surface and deformations following the tacks at the edges of the painting. There is a puncture to the canvas at the upper right corner. The paint layers are in a good condition overall. There is a thin varnish layer which is slightly yellowed but generally even and acceptable. There is a layer of surface dirt including white accretions. There are a few scuffs to the surface. 145 x 118cm framed
Los 125
Pocket watch accessories, to include sterling silver pocket watch chain, white metal pocket watch chain, woven hair pocket watch chain, sterling silver pocket watch pendant/brooch in the for of a tied bow, white metal pocket watch pendant/brooch in the form of a fleur de lys, turquoise enamel decorated brooch with clip end and hanging miniature portrait frame (6)
Los 228
English School circa 1860.A Young Child holding a Doll, watercolour, oval,10.5 x 8.6 cm, frame 22.1 x 18.2cm ; together with a selection of Portrait Miniatures and Silhouettes by various hands including works ascribed to John Field ;J.Miers; and others; variously painted on card or plaster, (9)These are sold together with a reproduction portrait miniature of a Lady; and and a Portrait Miniature of a Lady, c.1810 , on glass (extensively cracked) a/f.Girl with Doll- with general surface paper browning, otherwise in reasonable condition; the miniatures in mixed condition (from Fair to Good), some with surface browning
Loading...-
283325 Los(e)/Seite