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283287 Los(e)/Seite
Los 224
Manner of Isaac Oliver Portrait of Queen Elizabeth I (1533-1603)inscribed 'Elisabeta D. G. Angliae Ch. V. Sichen fecit' (lower left and right)pen and ink with touches of watercolour on laid paper28 x 18cmProvenance:Walter Brandt and by descent to his grandsonThe present composition is closely based on a drawing of Elizabeth I attributed to Isaac Oliver in the Royal Collection. Since the present image is in reverse of the original design, it most likely derives from a later engraving of this subject.Believed to be 19th centuryDiagonal fold top left corner. Light toning and discolouration to the paper. Slightly loose in its frame. Framed 44 x 33cm
Los 226
George Morland (British, 1763-1804) Portrait of a seated lady known as Louisawatercolour over pencil on watermarked laid paper, unframed30 x 24.5cm; together withAfter George MorlandPortrait of a Girl in a Gardenpen and ink with watercolour on paper, unframed27.5 x 18.5cm (2)Provenance:The first - Christie's, London, 23rd March 1956, lot 69, as 'John Raphael Smith', when sold to Walter Brandt,Thence by descent to his grandsonPortrait of a Girl in a Garden is a copy after George Morland's oil painting dated circa 1786-1788, which is now at the Yale Center for British Art, Connecticut, US.
Los 238
After Rembrandt Portrait of the artist aged 34oil on canvas90 x 68.5cmAfter the original by Rembrandt in the National Gallery, London.19th century copyframed 107.5 x 86cmThe painting is executed in oil on a canvas support which has been lined. The lining has affected the painting causing an uneven surface texture. The paint layers are stable and secure. The varnish is dull and has become brittle with white hazing occurring along the age cracks in some areas. Areas of overpaint are mainly located in the background. There is a thick layer of surface dirt present.
Los 241
Austrian School, circa 1800 Portrait of Saint Teresa of Ávilaoil on canvas, oval 59 x 49cmThe painting is executed in oil on a coarse weave linen canvas which has been lined. The picture is in plane and the canvas tension is good. The paint layer is stable and secure but has suffered from some loss and wear in the past. There are scattered areas of overpaint across the surface. The varnish has slightly yellowed but is glossy and even. 72.5 x 62.5cm framed
Los 284
§ Klaus Philipp (German, b. 1932) Portrait of Sheikh Mohammed's Soviet Star (USA)signed and dated 'Philipp / 88/89' (lower left) and inscribed with title (lower right)oil on canvas39 x 49cm; together with a limited edition lithograph of Soviet Star, 38 x 45.5cm (2)Soviet Star (1984-2014) was an American-bred thoroughbred racehorse and sire. He was sired by Nureyev and was sold as a yearling to Sheikh Mohammed for $310,000. The painting is executed in oil on a linen canvas support which is unlined. The support and paint layers are in a good condition overall. There is a diagonal line of deformation to the painting, probably caused by impact from the reverse and only noticeable in certain lighting conditions. The varnish is clear, even and glossy with a light layer of surface dust.
Los 285
Follower of John Boultbee Portrait of the hunter Weasel in a wooded landscape, circa 1805inscribed with the horse's lineage and biography (on a pamphlet attached to the reverse)oil on canvas58.5 x 68.5cmWeasel was a brown colt by Son of Herod bred in 1790 from the famous Harpur Crewe stud at Calke Abbey in Derbyshire. He ran once at Derby on 15th August 1793 when he bolted and never ran again. He was sold at Tattersalls in November 1795 and thereafter used as a hunter.The painting is executed in oil on a linen support which has been lined. There are minor deformations to the canvas but overall it has good tension and is in plane. The thinly applied paint layers are stable but have suffered from wear in the past. Areas of overpaint have been applied to cover wear and are reasonably well matched to the original. The varnish is semi-glossy and even with a light layer of surface dirt present. Framed 73.5 x 84cmThe pamphlet on the reverse states:“Weasel He was bred by Sir Henry Harpur in the year 1790 - / His Dam was got by Snap, Her Dam by (Black ?), her grand Dam by / Old (Cade?), her great grand Dam by Old Partner, her great great / grand Dam by Bay Bolton, which …. was the Dam of the Duke / of Bolton’s Merry Andrew, and full sister to Lord Godolphin’s White / foot and Wryfoot, her great great great grand Dam by Darley / Arabian (Sire is the Devonshire Childers) great great great great / grand Dam by the Byerley Turk, great great great great great / grand Dam by (Place’s?) White Turk great great great great great great grand Dam by the Tripoli Barb out of a natural Barb horse. / This horse was sold at Tattersalls (sale?) on Monday 2nd Nov.r 1795 / His Sire Sir Henry Harpur’s Son of Herod. He was got by (Th…?) Herod / Dam by Snap which bred the two (Sharks?), Granddam by the ….. / Warwickshire (Wags?) Dam by Malborough, Brother to Babraham / and out of a natural Barb horse. Weasel was trained by Sir Henry Harpur and run once / at Derby when he bolted. He was afterwards taken out of training / and sold to the (Bros.?) Tho.s (Grosley?) who used him for years as a / Hunter and afterwards gave him to his relation E. (Croyall?) in / November 1797 who kept him till his Death. His qualification / and …… as a Hunter are so well known in Warwickshire / and Leicestershire that they……………..’ / This portrait was painted by (Lawrence?) in 1805 / and considered an excellent ….. Weasel ….is very ……………..14th March 1821.”
Los 306
§ Peter Biegel (British, 1913-1987) Waiting for the fox to bolt - with a self-portrait of the artist signed 'P.H. Biegel' (lower right); inscribed with the title along the bottom and 'Me on Florence' (in pencil upper right)ink and pencil on paper12.5 x 14cmProvenance:The artist's studio and thence by descent within the family24 x 25cm (framed)
Los 310
Rudolf Wilhelm August Lehmann (German/British, 1819-1905) Portrait of Mrs Jane Mary Stocks (née McEchran, d.1925) seated three-quarter length, in a black dress holding a peacock feather fan, resting her left arm on a stone balustrade, a sunset landscape beyondsigned with monogram (centre right) and dated ‘1879’ (centre left)oil on canvas 123 x 98.5cmProvenance:By descent from the sitter at Wood Hall, Hilgay, NorfolkThe sitter married Michael Stocks (1825-1895) in 1863 who was to acquire Wood Hall in 1878.Framed 162 x 136cmThe painting is executed in oil on a linen canvas support. The canvas is unlined and has an artists’ suppliers stamp fir Charles Roberson on the reverse. The back of the canvas has a priming layer. The canvas tension is slightly slack and there are minor undulations at the corners. The paint layer is generally in a stable condition. The thin grey paint in the sky has suffered from small areas of loss in line with the tops of the canvas weave. Under ultraviolet examination there are areas which appear dark in the skirts of the dress. In normal light these areas are slightly more matte than the surrounding areas, possibly reworking by the artist. Drying cracks have formed in some areas, which would have formed as the paint layers dried. The varnish is semi-glossy and even. There is a layer of surface dirt present including fly spots which are noticeable in the sitter’s face.
Los 311
§ Rose Dempster Bonnor (Welsh, 1875-1967) Portrait of Captain Charles Stafford Price-Davies, M. C. (1892-1959) of the King's Royal Rifle Corps, half-length in uniformsigned and dated 'Rose. Bonnor / 1920' (lower left)oil on canvas75 x 62cmProvenance:Presumably by descent from the sitter at Wood Hall, Hilgay, Norfolk after 1959Charles Stafford Price-Davies was the only son of Lieutenant-Colonel Stafford Davies Price-Davies (1866-1939) of Marrington Hall, Shropshire and Ethel Charlesworth (1872-1953). He was born in 1892 and educated at Eton and Sandhurst. During WWI, Price-Davies reached the rank of Captain and was awarded the Military Cross for his distinguished service. He commanded the 7th Royal Welsh Fusiliers from 1929 to 1937 and became Colonel in 1937. From 1939 to 1940 Price-Davies served as a Brigadier in the 115th Infantry Brigade. He held the court roles of Extra Equerry from 1935-42 and Comptroller to HRH the Duke of Connaught from 1940-2. He was awarded the medal of the Royal Victorian Order on 14th February 1942. According to the plaque affixed to the frame, this portrait was presented by the tenants of the sitter's Shropshire estates to him on his 21st birthday. As this portrait however is dated 1920, when the sitter would have been in his 28th year, this can perhaps be explained by the probability that he was at Sandhurst in 1913 and as war broke out the following July, he possibly went straight to the front and therefore could not sit to have his portrait taken until after the war had finished.Framed 92 x 79cmThe painting is executed in oil on a canvas support which has not been lined. The canvas tension is slack and there are minor undulations across the surface. The reverse of the painting is very dirty. The paint layers are in a good condition overall. There are localised areas of high gloss in the darkest paint passages where the artist has applied glaze layers to saturate the paint below. The varnish is even and semi-glossy. There is a layer of surface dirt present with white spots in the background.
Los 312
Circle of Philip Alexius de László (Hungarian, 1869-1937) Portrait of a lady, half length, possibly Ethel Price-Davies (1872-1953, née Charlesworth) seated, wearing a fur-trimmed cape and pearlsoil on canvas 90 x 70cmProvenance:Presumably by descent from the sitter at Wood Hall, Hilgay, NorfolkThe presumed sitter married in 1891 Stafford Davies Price-Davies (1866-1939) of Marrington Hall.Framed 108 x 87.5cmThe painting is executed in oil on a linen canvas support. The canvas is unlined and attached to the original stretcher. The canvas tension is slightly slack and there are minor undulations across the surface. The paint layers are in a good condition overall. In the sitter’s cheek there is an area of loss where the upper paint layer has flaked away from a lower layer. The surface is slightly compromised by the varnish which is patchy and uneven. Thicker areas of varnish have yellowed over time. There is an uneven layer of surface dirt present with dust and fibres.
Los 313
Circle of Henry William Pickersgill, RA (British, 1782-1875) Portrait of Major Richard Ellison (1807-1881) in uniform oil on canvas, oval73.5 x 60cmProvenance:By descent from the sitter to his granddaughter Charlotte Ellison, who married Michael Stocks (b. 1864) in 1888,Thence by descent at Wood Hall, Hilgay, NorfolkRichard Ellison (1807-1881) of Boultham Hall, Lincolnshire, was the son of Richard Ellison, MP of Sudbrooke Holme and Jane, daughter of William Maxwell. He was educated at Christ Church, Oxford. In 1830, he married Charlotte (1807-1891) daughter of Sir George Chetwynd, 2nd Baronet of Brocton (1739-1824). Upon his marriage, he was given by his father the estate of Boultham Hall. Ellison took public office as a Justice of the Peace and was a Major in the Royal North Lincoln Militia from 1836. He was promoted to Lieutenant Colonel in 1853. When the Lincoln Poor Law Union was established in 1836, Ellison was appointed its Guardian. He was a notable supporter of the local community and in 1840 following severe flooding in the area surrounding Boultham, he installed several steam pumps to alleviate the floods. We are grateful to Christopher Bryant for identifying the sitter's uniform.Framed 96 x 83cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is slack and there are undulations across the surface. The paint layers are in a good, stable condition overall. Prominent drying cracks have formed in the red paint passages. The varnish is clear and even with a light layer of surface dirt.
Los 314
English School, first quarter of the 19th century Portrait of Lieutenant Francis Scrimes Pilcher (c.1783-1838) of the 1st Regiment of Life Guardsoil on canvas76.5 x 63.5cmtogether with his commission to be a Cornet in the 24th Light Dragoons, dated 23rd January 1812, and his commission to the position of Barrack Master, dated 26th May 1827, signed by the 1st Marquess of Anglesey (3)Provenance:By descent from the sitter, great-great-great-great grandfather of the present ownerFrancis Scrimes Pilcher of Cobham, Kent exchanged into the 1st Life Guards from the 24th Light Dragoons on 12th March 1812. He fought in the Peninsular wars, at Vitoria (2013) and Toulouse (1814) and was promoted to Lieutenant on 3rd April 1815. He went onto half-pay on 13th December 1821. In 1827, he was appointed Barrack Master. Pilcher married on 5th October 1801 Ann, daughter of Revered Thomas Hole of Georgeham, Devon. We are grateful to Christopher Bryant for his assistance with this catalogue entry.The painting is executed in oil on a canvas support which has been lined. The canvas is in plane with good tension. There are a few localised areas damage to the paint layer. In areas the age cracking is slightly raised and there are scattered losses. Areas of overpaint are present around the damages and in the dark paint of the horse. Some of the textural variation in the paint is due to drying defects. The varnish is very darkened and discoloured. It no longer saturates the paint layers below, leaving a matte surface.
Los 315
Circle of John Hayls (British, 1600-1679) Portrait of Sir William Hovell of Hillington Kt. (c.1637-1669), half length, in a feigned ovalinscribed 'W.m Hovell Kt. / Hillington' (upper left and right)oil on canvas, unstretched, unframed69 x 57.5cmProvenance:By descent from the presumed sitter to the present ownerWilliam Hovell was knighted at Whitehall on 6th June 1660 and married on 5th April 1661 Ethelreda, daughter of Thomas Lilly. Their second daughter, Dorothy (d.1724) married circa 1682 Martin ffolkes (1640-1705) as his second wife.Lined.
Los 317
Manner of John Riley Portrait of a military commander, half length, in armour holding a batonoil on canvas, unframed47.5 x 39cmThe painting is executed in oil on a canvas support which has been lined. There are undulations across the surface and stretcher bar marks have formed following the edges of the wooden stretcher behind. The paint layer is stable but has suffered from losses in the past. The painting has been heavily restored with the face, hands and wig almost completely overpainted. The varnish is thick, glossy and yellowed.
Los 319
Joseph, chevalier de Saint-Michel (French, fl. 1756-1790) Portrait of a noblewoman, bust length, in pink edged with ermine signed and dated 'De St Michel / Pt 1776' (upper right)pastel on paper47 x 36cmProvenance:From the Private Collection of a Fellow of a Cambridge CollegeFramed 54.5 x 44cm
Los 320
Circle of Henry Pickering (British, 1720-1770) Portrait of a gentleman, half-length in grey, his right hand on his heartoil on canvas65 x 52cmProvenance:From the Private Collection of a Fellow of a Cambridge CollegeThe painting is executed in oil on a canvas support which has been lined. The thinly applied paint layers are stable and secure but have suffered from wear in the past. There are areas of overpaint in the sitter’s face which are well matched to the original. In the background there are large areas of restoration covering old damages. The varnish is matte and even.
Los 323
Attributed to Sir Martin Archer Shee, PRA (Irish, 1769-1850) Portrait of a lady in black dress with fichu bordered white collar, pink ribbon bow tied around neck oil on canvas68 x 57.5cmFramed 87.5 x 77cmThe painting is executed in oil on a linen canvas support which is unlined and has a tax export stamp at the lower edge, dating the canvas from between 1785-1831. An old damage at the lower left has been patched from the reverse and crudely repaired. There is a tear in the canvas at the lower right corner. The varnish layer is dull with no gloss and no longer adequately saturating the paint layers below. There appears to be brushy overpaint around the edges covering wear in the background. There is a layer of surface dirt present.
Los 324
Circle of Sir William Beechey, RA (British, 1753-1839) Portrait of a choir boyoil on canvas43 x 33cmFramed 58 x 48cmThe painting is executed in oil on a canvas support which has been lined. The paint layers are stable overall. There are areas of overpaint across the surface including the sitter’s face and hair. Some overpaint is slightly darkened. The varnish is uneven with a few matte areas.
Los 327
Anglo-Irish School, circa 1800 Portrait of a gentleman reading, believed to be Thomas Henry Sheridan (1786-1812) known as 'Persian Tom'oil on canvas25.5 x 20cmThomas Henry Sheridan was the younger son of Charles Francis Sheridan (1750-1806) and Letitia Christiana, daughter of Theophilus Bolton of Dublin. His father was a barrister and successful Irish politician, serving as Under-Secretary of War for Ireland, whilst his uncle was the famous playwright and theatrical manager, Richard Brinsley Sheridan (1751-1816). Through his cousin, he was also related to the Irish journalist and novelist, Joseph Thomas Sheridan Le Fanu (1814-1873) best known today as the father of the Victorian Irish ghost story. Sheridan served as a political assistant to Sir Harford Jones (1764-1847) HM Envoy Extraordinary and Minister Plenipotentiary to Persia, during his mission to Tehran in 1808-09. They sailed out of Bombay harbour for Persia on 12th September 1808 (see Sir Harford Jones Brydges, Bt., An Account of the Transactions of His Majesty's Mission to the Court of Persia: In the Years 1807-1811, 1834, p. 19). During his time in Persia, Sheridan kept a journal recording important events, such as the audience given to Sir Harford Jones by Fath-Ali, the Shah of Persia (1769-1834). Sir Harford Jones’ own account of his mission, published in 1834 is itself heavily dependent on Sheridan’s journal. Sheridan was subsequently posted to Tabriz as a public secretary to the British mission. A collection of letters pertaining to this posting is now in the British Library. Sheridan died unmarried in Shiraz on 6th September 1812 and was buried in the Armenian church of St Mary (see Denis Wright, ‘Burials and Memorials of the British in Persia’, in Iran, 1998, vol. 36, pp. 165-173, p. 168). In his will drawn up before his final journey to Bombay, now in the National Archives, his main concern before his death was to provide for his female relatives. In the notice of his premature death published the following year, he is said to have been “the flower of all the Sheridan family” and that “the wish nearest to his heart was, to make his mother and his sisters comfortable, and to place them in a state of independence” (see The Gentleman’s Magazine and Historical Chronicle from July to December 1813, vol. LXXXIII, part II, p. 234). Framed 38 x 33cmThe painting is executed in oil on a linen canvas support which has been lined. Stretcher bar marks are evident in the paint layers as a rectangle around the sitter’s face from a previous, larger stretcher. The thin paint layers are stable and secure but are slightly worn in some areas. Overpaint has been applied to reinforce the composition and is well matched to the original. The varnish is clear, even and semi-glossy.
Los 329
Circle of Mason Chamberlin, RA (British, 1727-1787) Portrait of a gentleman, half length, believed to be Charles Jennens (1700-1773) in brown, in a feigned ovaloil on canvas laid down to board, in a fine period carved and giltwood frame73.5 x 61cmProvenance: By descent from the presumed sitter to his sister Elizabeth Hanmer (1705-1777) through the male line of her only daughter Esther, Viscountess Curzon (d. 1764) and subsequently the Earls Howe at Gopsall Hall, Leicestershire until 1918,Sale on the premises at Gopsall Hall, Messrs. Trollope, 5th Day of Sale, 21st October 1918, presumably lot 1191, as 'Godfrey Kneller, A half-length portrait of a gentleman wearing a wig and light coat and vest, within an oval (canvas 29.5 x 24in)';By 1935 in a private collection (as by Kneller) - see illustrationSALEROOM NOTICE We are grateful to the present Earl Howe who has expressed doubt that this is in fact a portrait of Charles Jennens Junior (1700-1773). Instead, he proposes that it is more probably his father – also Charles (1662-1747) – pointing out on the one hand that the chin in the present portrait does not have the dimple that is seen in all the other portraits of Charles Junior. Also, the folds of skin below the chin are unlike Charles Jennens’ throat and neck in the image of him at about the same age by Mason Chamberlin in the Foundling Museum. Also, the present sitter’s nose is somewhat more ‘hooked’ than that of Jennens Junior. A further argument that this is more likely to be Charles Jennens Senior is that the longer wig and coat he is wearing are not of the 1770s which is what it would need to be if this is of Charles Jennens Junior at this age. Likewise, the frame of the present painting and which has every possibility to be the original, dates from the middle of the century and not the third quarter. As it is not known what Charles Jennens Senior looked like as no other portraits of him are known, the proposition it is him has to be conjecture, but the provenance of the picture, its date and the age of the sitter make it a very distinct possibility. Another perhaps more subjective reason that it is more probably the father and not the son, is that though he too was very wealthy - unlike his son who was flamboyant and generally richly attired in his known portraits - Jennens Senior was a country lawyer and Justice of the Peace and the more casual and modest appearance of the sitter in this painting is in keeping with what is known about Jennens Senior who is unlikely to have sat to a London portraitist anyway, hence the uncertain attribution here, which may point to an accomplished provincial painter. ORIGINAL CATALOGUE ENTRY We are grateful to Dr Brian Allen for proposing this is a portrait of Charles Jennens on the basis of the close facial resemblance to the 1771 Mason Chamberlin portrait of him (see below) which is supported by its descent at Gopsall until 1918 (see Provenance). Charles Jennens (1700-1773) was the grandson of Sir Humphrey Jennens (1629-1690) of Erdington in Warwickshire, who had made his fortune as an ironmaster. Jennens - whose father, also Charles (1662-1747) had married Elizabeth Burdett - was brought up at Gopsall Hall in Leicestershire which had been built in the Jacobean style. When a cousin William Jennens (1701-1798) died intestate he left in today’s money in excess of £250 million and Charles himself was to become one of the richest commoners in England. It was at Balliol College, Oxford where Jennens’ lifelong interest in literature and music was formed. Though a devout Protestant, he was unwilling to swear allegiance to the Hanoverians whilst the descendants of King James II were still alive and as a consequence, he never held any public office. Instead, he indulged his wide interests and used his vast wealth to form one of the best collections of Old Master and contemporary British paintings in Britain for the great Palladian mansion he rebuilt at Gopsall (demolished 1951). For his largesse and extravagance Jennens was known as Suleyman the Magnificent after the 16th century Ottoman sultan. It is however as a patron of music that Charles Jennens is best known today, particularly of Georg Friedrich Händel (1685-1759). Their friendship was such that they collaborated on libretti for many works, including Saul, Belshazzar, L’Allegro, il Penseroso ed il Moderato, but most notably Jennens wrote the text for the Messiah, first performed in Dublin in 1742. Jennens commissioned the great portrait of Händel by Thomas Hudson that like the present painting descended in the Curzon family, but has since 1968 been in the National Portrait Gallery, London. Jennens’ huge musical library including hundreds of manuscripts of Händel’s music was left to his first cousin once removed Heneage Finch, 3rd Earl of Aylesford (1715-1777) which is today preserved in the Watson Music Library in Manchester. Jennens also commenced the first critical edition of Shakespeare’s works and carried on an extensive correspondence with the classical scholar Edward Holdsworth (1684-1746) in whose memory he erected an Ionic temple at Gopsall. An old label (see illustration) still affixed to the reverse of the painting indicates that it seems to have remained at Gopsall with the descendants of the sitter’s sister until the sale of the house and estate in 1918 to Samuel James Waring. A sale of some of the contents took place at Gopsall over eleven days by Messrs. Trollope in October 1918. Only four other portraits of Jennens are known – one of him three-quarter length seated by Mason Chamberlin of 1771 now in the Gerald Coke Handel Collection at the Foundling Hospital Museum; one by Nathaniel Dance in a private collection; and one by Hudson of him three-quarter length standing that was sold in Sotheby’s in 1997 and is now in the Handel House Museum. The fourth and earliest, dated 1747 and also by Hudson, is in a private collection. The present work, probably of Jennens towards the end of his life circa 1765-70, is possibly the most informal and intimate of the known portraits of this extraordinary man and polymath to whom the world of music in particular is so indebted. At his death, his fortune and most of his property passed to his sister Elizabeth Hanmer (1705-1777) whose daughter Esther (d. 1764) married Assheton Curzon, 1st Viscount Curzon of Penn (1730-1820) on 21st February 1756. The painting is executed in oil on a canvas support which has been laid onto a piece of hardboard. The picture is well adhered and in plane. The paint layers are in a stable condition overall. There is a network of age cracks which are slightly raised, but sound. Overpaint is mainly located on old areas of damage in the background which have been crudely repaired. Residues of old varnish and dirt are present in the texture of the brushstrokes. The varnish is even and semi-glossy with a layer of dirt across the surface including fly spots. Framed 97 x 84cm
Los 331
Reginald Granville Eves, RA, RP (British, 1876-1941) Portrait of Major William Frederick Dick (1871-1938)signed 'R G Eves' (upper left)oil on canvas57 x 44.5cmtogether with a charcoal preparatory study signed and dated 1929 (2)William Frederick Dick of Josselyns served in the Royal Field Artillery and was promoted to Major in 1914. He married Dorothy Marion Ames in 1913. They lived at Little Horkesley Hall, near Colchester, which he purchased in 1917.Framed 81 x 69cmThe painting is executed in oil on a canvas support. The canvas is unlined and has an artists’ supplier stamp for Reeves and Son on the reverse. There are minor undulations across the surface and a build up of dust on the reverse. The paint layers are in a good, stable condition overall. The inside of the glass has deteriorated causing the mottled appearance to the work.
Los 531
Colonel Sir Richard George Ellison C.V.O., (1831-1908), Crimea medal group, with Sebastopol, Inkermann and Alma clasps (unnamed), Order of Medjidie, Turkish Crimea medal (unnamed), Sardinian Medal for Valour 1855-56 engraved to reverse 'Captain Richard George Ellison 47th Regt.', 1887 Jubilee medal and 1902 Coronation medal; lacking C.V.O. badge; with 7 miniatures; a signed portrait photograph dated 1903 (torn); his worn forage cap with attached note in contemporary ink 'R. G. Ellison 47th Regt. Shot through at the Battle of Inkermann'; a pair of gilt braid epaulettes, dress sword by Brown, Son and Long, with belt, two pairs of spurs by Maxwell, and hat feather plumesProvenance:Wood Hall, Hilgay, NorfolkColonel Sir Richard George Ellison acted as aide-de-camp to General Sir John Pennefather. He appears in a Crimea group photograph of officers by Roger Fenton. According to Battalion records, he fought with great determination and showed leadership. He was present at Alma, Inkermann, Sebastopol and the capture of Balaclava.After his return from the Crimea, he became High Sherriff in 1886, a Deputy Lieutenant of the county and a Justice of the Peace. He was also Colonel of the 2nd Volunteer Battalion of the Lincolnshire Regiment, was appointed Ensign of the Body Guard of Yeoman of the Guard and was knighted in 1907.
Los 532
A Crimean War medal group of three, and hand written diary, to Captain (later Major) Michael Stocks, Royal Dragoons, with clasps for Sebastopol, Inkermann and Balaklava; Turkish Crimea medal (named); and Order of the Medjidie badge named to reverse 'Major Stocks Royal Dragoons 1858'; with miniature medals, and a portrait miniature (probably an overpainted photograph) of Stocks wearing the medals, within a rosecut diamond frame with gilt back, dated 1861 to reverse, in original box. Together with his Crimea War diary, 1854-55, oblong 12mo, written in ink, bound in morocco leather, detailing the voyage from Liverpool, travel and everyday military life with events and actions, a second smaller size volume bound in from May 23rd 1855, to October 19th 1855, ending 'and so closes the diary of Michael Stocks..., Captain Royal Dragoons'. Also a Russian pressed metal medallion with old note 'This medal was taken from the body of a dead Russian on the field of Inkerman the day after the Battle, by Major Stocks, Royal Dragoons, Crimea 1854' in leather boxProvenance:Wood Hall, Hilgay, NorfolkThe diary includes a description of events on the day of the 'Charge of the Light Brigade' on October 25th 1854. "..Thank God I am here to write this, we all as usual turned out half an hour before day break, and when it got light the guns on the advanced field works thrown up by the turks began to fire, an aide de camp came gallloping in to us to say we were to advance, as the enemy were approaching in large numbers, so on we went near the field works, the enemy still continued to move on & the round shot came into us (spent balls) but still with sufficient force to do damage, one ball came rolling down the hill straight where I stood, I saw it was coming right to me, so put the spurs into my horse and only just in time, for it went close behind me and broke the legs of two horses, the next took a long hop and hit a man on the head and he never moved more... The enemy had advanced.. took one of the hills from the turks... after a time up comes their cavalry part of which made a dash where the 93rd flanked by turks were waiting to receive them, and as soon as they saw them coming away went the turks leaving the 93rd to stand the brunt of it... and sent the Huzzars to the right, at the same time another body of cavalry came at us, the Greys - 6th were ordered to meet them... however they soon sent them off with a flea in their ear & our horse artillery opening on them quickened their pace, we then advanced to the top of the hill and saw their army in the valley ... it was near 12 o clock and all remained at status quo for a couple of hours, when an order from Lord Raglan was brought to Lucan to attack the enemy which he did by sending the light cavalry into the greatest trap that ever was made, we and the Greys advanced first and then somebody said let the light cavalry go on, and on they went ... to take some guns in front, we followed at a trot, they went at a gallop and we saw nothing more of them until we saw them coming back by ones and twos some mounted but mostly dis-mounted, such a smash never was seen , they were murdered it seems they got & took - killed the gunners at the guns but could not keep them, the infantry played on them and when they looked round they found their way stopped by cossacks, then they cut their way through and about 40 came back in a body, the French Cavalry came down at this time and cleared the opposite hills of the guns but for us now we got about three parts of the way and the shot & shells & bullets came down on us like hail, every second I expected to get one, when luckily Scarlett gave the word Halt. "
Los 538
Captain George Paget Ellison, 9th Lancers, Queen's South Africa medal, named, with Orange Free State, Relief of Kimberley, Modder River and Belmont clasps; silver framed with a portrait miniature and 1897 Jubilee medal. Also a duplicate miniature portrait and two portrait photographs.Together with Victory and War Medals to Lieutenant Michael George Stocks, Grenadier Guards, [grandson of Sir Richard Ellison], killed in action near Ypres, Nov. 1914, aged 21 years, with bronze memorial plaque and his coming of age illuminated scroll; and another WWI pair to 2nd Lieutenant E P Stocks. Provenance:Wood Hall, Hilgay, NorfolkGeorge Paget Ellison (b.1868) died at Kroonstad whilst on Lord Roberts' march to Victoria, June 1900, aged 31 years.
Los 21
Trade cards, Germany, Bergmann, Mexico 70, special album complete with all 96 cards '1X Fussball Weltmeisterschaft, Mexico 70' contains postcard size cards of the all the competing teams together with a selection of individual portrait cards featuring players from the competition inc. Pele, Moore, Charlton, Muller, Zoff etc (vg)
Los 366
ANTIQUARIAN BOOKS TO INCLUDE WILLIAM HALES - 'DISSERTATIONS ON THE PRINCIPAL PROPHECIES: representing the divine and the human character of Our Lord Jesus Christ', second edition printed for F. C. & J. Rivington, St. Paul's Churchyard 1808, John Bunyan - 'The Pilgrim's Progress' printed by Sowler & Russell, Hunt's-Bank, Manchester 1795, 'Milton's Paradise Lost' illustrated with Texts of Scripture by John Gillies, D. D., printed for J. F. & C. Rivington et al 1788 and 'The Lives Of The Antient Philosophers' lacking title page TOPOGRAPHICAL BOOKS ODD VOLUMES TO INCLUDE 'FINDEN'S LANDSCAPE & PORTRAIT ILLUSTRATIONS TO THE LIFE AND WORKS OF LORD BYRON' Vol. III, published by John Murray 1834, 'Yorkshire Past and Present', by Thomas Baines, Vol I published by Mackenzie, 'Lares and Penates: or, Cilicia and Its Governors...' by William Burckhardt Barker 1853, Alan Bell - 'Port of London' 1934, 'Birmingham and District, An Official Guide, September 1930 and Robert K. Dent - 'Old and New Birmingham', Houghton & Hammond, 1880 'A TREATISE ON PAINTING WRITTEN BY CENNINO CENNINI......translated by Mrs Merrifield', published by Edward Lumley 1844 together with Thomas Wright - 'The Romance of the Lace Pillow being the History of Lace-Making' two volumes, second edition 1924, 'Mrs Beeton's Book of Household Management' 1915 A/F
Los 375A
An antique diamond silver snuff box, the front of the box is set with an applied oval hand painted miniature portrait, surrounded by mixed old cut diamonds, mounted beneath a ruby, emerald and diamond set crown, with a mixed cut emerald at each corner, engraved 'AMATO E PERDUTO' translates from Italian to 'Loved and Lost'. The outer edge of the box is engraved with the astrological symbols on the short edges, with an angel with flower motifs along one long edge and a winged lion with fleur-de-lis motifs on the other. The inside lid of the box is engraved 'ADONAIS' Adonai is the plural of the Hebrew word Adon, which means lord or master. and 'MEMORIA IN OETERNA' meaning in Latin 'The Memory of Eternity', bearing hallmarks for Britannia silver, London, 1895, with makers mark J.H for Joseph Heming. Measures 80 x 57 x 27mmCondition Report: Gross weight approximately 148.60 gramsGilding worn on the boxOne emerald is missing from the front of the boxWorn condition
Los 138
A miniature portrait pendant brooch, oval hand painted portrait of a gentleman, with a yellow metal frame in the form of two coiled snakes with garnet eyes, in tested 15 ct, measures 6 x 5.7cm, with a brooch fitting and pendant loop, together with a pair of 15 ct cufflinksCondition Report: Gross weight approximately 36.03 grams
Los 116
'Jenny Jones', A Coloured Portrait print with music score, together with 'The Ladies of Llangollen' another 19th century coloured print. 33x19cm and 28x19cm Hogarth frames (2) (B.P. 21% + VAT) Ladies of Llangollen - minor stain to the frame bottom right hand corner.Jenny jones - foxing in places mainly to card frame - some in the print also.
Los 1026
Full title: French school: 'Portrait of Frederick V', oil on canvas, 19th C.Description:Work: 71 x 50 cmFrame: 85,5 x 60 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Los 1406
Full title: A walnut 'credence' case with portrait medallions, probably France, late 17th C. with later elementsDescription:H 149,5 x L 132,5 x D 51 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Los 1460
Full title: An English white marble medallion depicting the profile portrait of John Peyto Charles Shrubb, dated 1886Description:Dia 44 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Los 405
Full title: A polychromed and gilt wooden portrait bust of the English queen Victoria, 19th C.Description:H 39 x L 29 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Los 3050
Martyr, PeterDe Rebvs Oceanicis Et Novo Orbe, Decades Tres... Item Eivsdem De Babylonica Legatione Libri III et Item de Rebus Aethiopicis... Köln, Calenius & Quentel, 1574. 8° (17,5x11,5 cm). [24] Bl., 655 S., [15] Bl. Mit einigen dekorativen Holzschnitt- Initialen. Blindgeprägter Schweinslederbd. d. Zt. (datiert 1576) mit Portrait Maximilians II auf Vorderdeckel und hanschriftl. Rückentitel. - Vereinzelt minimal stockfleckig, wenige Unterstreich. und Notizen von alter Hand, insgesamt sehr gute Erhaltung.
Los 3058
Descartes, ReneTractatus de homine, et de formatione foetus. Quorum prior notis perpetuis Ludovico de la Forge, M.D. illustratur. Illustriert mit zahlreichen, meist anatomischen Textholzschnitten. Amsterdam, Blaeu, 1686. 39 Bl., 239 S. 8° (20,5x 16 cm). Halblederbd. des 19. Jh. - Einbd. etwas berieben und leicht bestossen, vereinzelt minimal fleckig und leicht gebräunt, mit eingekl. Portrait von Descartes auf Vorsatz, insgesamt sehr gute, saubere Erhaltung.
![Valverde, Juan deAnatome corporis humani...nunc primum a Michaele Colu[m]bo latine reddita. Mit gest. Titel und 46 gest. anat](https://cdn.globalauctionplatform.com/519a3bd6-153d-4b80-8810-aea500ea7152/17a6463f-4dde-4e4e-8ae3-aea9009f949a/468x382.jpg)
Los 3061
Valverde, Juan deAnatome corporis humani...nunc primum a Michaele Colu[m]bo latine reddita. Mit gest. Titel und 46 gest. anatomischen Tafeln, wovon 38 davon direkte Kopien nach Vesalius sind. Venedig, Giunti, 1589 [colophon 1588]. 4° (31x21,5 cm). Erste lateinische Ausgabe. 17 Bll., 340 S. [i.e. 339]. Halblederband des 19. Jh.- Es fehlt das gest. Portrait von Valverde. Durchgehend leicht fleckig, teilweise mit Feuchtigkeitsrand. Im Randbereich vereinzelte kleine Wurmgänge.
Los 3077
Goedaerdt, JanMetamorphosis et historia naturalis insectorum. Mit gestoch. Portrait, 2 kolor. gestoch. Wappenvignetten und zusammen 105 kolor. Kupfertafeln. Middelburg, Fierens, 1662- 1667. 12° (16x10,5 cm). Bände I-II (von 3). [16] Bl., 236 S. und [16] Bl., 259 S. 15,5 x 9,5 cm. Lederbde. d. Zt. mit goldgepr. Rücken. - Einbde etwas berieben und bestossen, Aussengelenke teils eingerissen, inwendig teilweise leicht gebräunt, insgesamt schöne altersgemässe Erhaltung.
Los 3534
Müller, Albert(Basel 1897–1926 Obino)"Portrait Anna III - Junge Frau". 1924. Holzschnitt. Unten rechts mit schwarzem Stempel: "Nachlass Albert Müller" und in Bleistift bezeichnet: "MK 9/a 284". Unten links mit Stempel nummeriert: "284". Plattengrösse 59,6x40,3 cm. Blattgrösse 63x43,8 cm. Gerahmt.- Blatt leicht gebräunt, leicht gewellt und mit Knitter. Ränder und Ecken bestossen. Mehrere, oberflächliche Fehlstellen. Verso abgeklebte Risse. Verso am oberen Rand an Passepartout montiert.
Los 1836
STAR WARS: THE EMPIRE STRIKES BACK (1980) - Howard Kazanjian Collection: Summer 1981 US Re-Release One-SheetA one-sheet from the promotion of the first US theatrical re-release of Irvin Kershner's Star Wars: The Empire Strikes Back in 1981. The poster features a pink and orange-hued Tom Jung illustration of Darth Vader (David Prowse) looming over several AT-ATs and the film's key characters with yellow block title lettering and silver borders. This poster is also notable for being the first domestic theatrical poster to feature a portrait of Master Yoda (Frank Oz), as Lucasfilm had intentionally hid him from earlier posters.This glossy, full-color one-sheet comes from the collection of producer Howard Kazanjian. "One Sheet-Empire Strikes Back-Rerelease Summer 81" is printed in the bottom margin. It exhibits some creasing from being rolled for storage. Dimensions: 41" x 27" (104.25 cm x 68.75 cm) Estimate: $300 - 500This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.
Los 526
BACK TO THE FUTURE PART II - Biffco Enterprises Cocktail NapkinA Biffco Enterprises cocktail napkin from Robert Zemeckis' sci-fi adventure sequel Back to the Future Part II. Marty McFly (Michael J. Fox) woke up in an altered reality to his mother, Lorraine (Lea Thompson), wiping his brow with a napkin embossed with her husband, Biff's (Thomas F. Wilson), face.This white paper napkin with pleated edges features the Biffco Enterprises graphic with Biff's portrait printed in black and gold on one side. It exhibits minor staining from production use and handling. Dimensions: 8.5" x 8.5" (21.75 cm x 21.75 cm) Estimate: $1,000 - 1,500This lot will be auctioned on Wednesday, June 22nd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Thursday, June 23rd; or Friday, June 24th.
Los 672
DISNEYLAND PARK - The Haunted Mansion "The Flying Dutchman" Transparency SetA "Flying Dutchman" transparency set from Disney's theme park attraction The Haunted Mansion. In an effect conceived for the ride's iconic portrait gallery, the painting of the Flying Dutchman appeared to transform from that of a sailing vessel traversing calm seas to one of a damaged ship with tattered sails amidst an intense storm. These transparencies date to the 1980s and 1990s.This lot consists of two dark translucent cels respectively featuring the two contrasting versions of the nautical scene that are revealed when backlit. The edges of each cel include printed corner markings and numbering as well as small notches. Dimensions: (each) 8" x 10" (20.5 cm x 25.5 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $3,000 - 5,000This lot will be auctioned on Wednesday, June 22nd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Thursday, June 23rd; or Friday, June 24th.
Los 110
DUEL IN THE SUN - Lewt McCanles' (Gregory Peck) Hat with Drawing and PhotographLewt McCanles' (Gregory Peck) hat with a drawing and photograph from King Vidor's classic western Duel in the Sun. McCanles wore his signature cowboy hat throughout the film as he wooed Mestiza orphan Pearl Chavez (Jennifer Jones).This lot originated with a crew member gifted the hat by Peck. It consists of a brown felt cowboy hat with a tan leather band and matching suede ties woven through the brim; a hand-illustrated portrait of McCanles signed by W.S. Bylityplis and mounted behind glass in a brown wooden frame; and a printed black-and-white 11" x 14" (28 cm x 35.75 cm) promotional still labeled "S.A.S.S. 8" in the bottom corner.The hat is hand-marked "1" and "32" on the interior with a "VCI" stamp at center and a faded wardrobe label, now reading only "Costumes Incorporated," stenciled to the side. While it retains its signature creased crown and lightly curved brim, the felt is torn and stained in several places from excessive use, with thread and leather lining on the interior largely missing or loose. The picture is also torn in places and the portrait's frame exhibits minor chipping. Dimensions (drawing): 26" x 20.5" x 1" (66 cm x 52.25 cm x 2.5 cm) Estimate: $4,000 - 6,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
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