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283287 Los(e)/Seite
Los 1170
A collection of camera filters and lenses, to include a cased set of three Kodak filters for colour, sky, and portrait, a smaller single filter in leather case, three further boxed filters, and two leather wallet housed filters, a Adon patent lens, signed J.H. Dallmeyer, in leather case, a Kodak film tank and box, etc.
Los 3100
DAVID W. HADDON, RBA (FL 1884-1914); a pair of oils on board, portrait of an elderly lady and gentleman, each signed, 17 x 13.5cm, framed and glazed (2). Additional InformationBoth with some craquelure to the paint. Both with minor wear to the boards of the image at the edge. The female portrait with a mark to the background, situated to the right hand side of the forehead of the sitter. Images generally bright, frames with minor wear.
Los 3119
AFTER CHARLES SILLEN LIDDERDALE; oil on canvas, portrait of a maiden with corn, initialled lower right, 57 x 43cm, in later foliate frame.Additional InformationThere is an old repair to the canvas to the darker area to the left hand side of the bonnet. The canvas sags in parts and has many hairline cracks to the paint throughout and there is some flaking in the paint lower right. Some attention will be needed. Frame with general wear.
Los 3126
19TH CENTURY ENGLISH SCHOOL; oil on canvas, portrait of a gentleman, unsigned, 59.5 x 49.5cm, framed. Additional InformationThe canvas has been cleaned and relined. Small loss to the paint upper right corner and the canvas may have originally been of a larger size. The frame is not original.
Los 3128A
LESZEK MUSZYNSKI (POLISH, 1923-2012); oil on canvas, 'Portrait of the Garden and the Gardener', signed and titled verso, 73 x 90cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Los 3261
A 19th century French Louis XV gilt metal and Sèvres style porcelain mounted mantel clock, the painted floral dial with Roman numerals against a blue ground, below a portrait oval, with movement striking on a bell, on domed base, height 31cm. Additional InformationWe cannot guarantee that the clock is in full working order. No key or pendulum. The case with general age wear, tarnishing, and some green paint to the left hand side. The porcelain mounts with some rubbing to the gilding and the domed mount to the top of the base section appears to have a layer of dirt which should clean away.
Los 2256
An early 19th century oval portrait miniature set in yellow metal brooch/pendant frame, the portrait depicting a young man wearing high white collar and cravat, unsigned, the miniature 52 x 41mm.Additional InformationThis has a pin and a ring loop attachment. It is unmarked, There is a glazed compartment to the reverse. Slightly misshapen rim. A few surface scratches.
Los 64
ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."La folle au chapeau. Paris, 1948.Oil on canvas.Signed in the lower right corner.Titled on the back.Attached is a photograph of the artist's Parisian studio, in which this painting appears together with Pedro Flores (Paris, January 1948).Measurements: 61 x 50 cm; 75 x 64 cm (frame).Clavé's work developed along two lines, one of which was more conceptual and experimental, while the other remained within the limits of figuration, although it was a completely avant-garde figuration. This portrait belongs to the second line, endowed with an inner strength that subjugates us: through the voluntary roughness of the brushstroke and the boldness of the colours, Clavé conveys the fragile and vulnerable psychology of "the madwoman". Large eyes that seem to have wept, the curled hand on her lip, the grotesque headdress... all contribute to silently moving the viewer.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as papier froissé. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to Clavé that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
Los 576
DAVID WYNNE OBE (1926-2014); A BRONZE PORTRAIT BUST OF LORD BADEN-POWELLCast with a signature DAVID WYNNE and numbered 6/6, mounted on a tapering black marble plinth, engraved ‘CHIEF SCOUT OF THE WORLD’ and to the opposing side ‘LORD BADEN-POWELL OF GILWELL’, 91cm highDuring his prodigious career as a sculptor, David Wynne attracted a number of prestigious patrons, from The Beatles to Prince Charles, together with notable landmark sculptures, including the Boy with a Dolphin (1974) on the Chelsea Embankment to the central section of the Queen Elizabeth Gate, Hyde Park, made to commemorate the Queen Mother’s 90th birthday in 1990. Robert Baden-Powell (1857-1941), was the the founder of the Scout Movement, having become a national hero during in the Boer War 1899-1900 and writing the Guide to Scouting for the military. This was later published in 1908 and the inspirational force for young boys and later girls. Condition report: A few small chips to the bottom edges of the base. Some verdi gris in areas to the patinated neck tie - as can be seen from the images. Recesses with dirt and dust, as to be expected.
Los 590
SAMUEL SHELLEY: A PORTRAIT MINIATURE OF A YOUNG LADYCirca 1790Her hair curled, wearing a white dress, oval on ivory, 6.8x5.3cm, in a gold coloured metal frameThis item has been registered as except from the Ivory Act with APHA.Condition report:Minor surface dirt and marks consistent with age but not examined out of the frame. The frame with scratches to the front and back; nibbles to the bottom front where it meets the glass, which no longer fits flush to the frame the whole way around.
Los 673
A GROUP OF FIFTEEN FRAMED SILHOUETTES ON PAPER AND VARIOUS OTHERSEarly 19th Century and laterMost framed with gilt-brass mounts, some silhouettes with highlights, the largest, 17cm; Together with four ebonised frames; two loose portrait miniatures on paper; another on paper of a landscape in circular ebonised frame; a reverse glass painted portrait group and another framed portrait of lady in a headdress; and a silk work embroidered oval panel, framed, 22.5cm high (a quantity)
Los 1251
A SEVRES STYLE CUP AND COVER (3)Late 19th centuryEnamelled with pink roses, the cover with gilt fruit finial, blue painted marks, 10cm high; also a Sevres style blue ground and `jewelled' coffee cup, painted with a titled portrait, `M elle de Sombreuil', painted marks, 7cm highCup and cover- small shallow chip to underside rim of the cover. Minor wear to the gilding.Coffee cup- some wear to the gilding. Minor losses to the `jewelling'
Los 1403
A SILVER MOUNTED DESK CALENDAR AND ELEVEN MATCHBOX SLEEVES (12)The desk calendar frame, the hallmark rubbed, the matchbox slides including one by Liberty & Co, Birmingham 1922, another plain example Birmingham 1938, a small matchbox sleeve decorated with a gadrooned border detailed Cartier Sterling and a Victorian example raised on four spherical feet, Birmingham 1892, combined weight of ten sleeves 298 gms, also a plated sleeve decorated with an Art Nouveau portrait of a lady
Los 1509
A FOREIGN DISH AND A FOREIGN BOWL (2)The twin handled shaped oval dish decorated with the portrait of a gentleman wearing armour in the 17th century taste, probably Dutch, length top to bottom 12cm, the bowl decorated with sprays of bamboo and blackberries, possibly Japanese, diameter 12cm, combined weight 269 gms
Los 1593
VARIOUS SILVER MOUNTED AND PLATED WARES (11)Comprising; a silver mounted mahogany bottle coaster, London 1994, a pair of silver plated bottle coasters and another bottle coaster, a 19th century Sheffield plated dome, engraved with a family crest and coronet, 22cm wide, a silver plated toast rack, modelled with swans and having a portrait bust finial, 19cm high, a pair of three-branch candelabra tops, detailed 'Sterling Weighted' and a three-piece carving set (11)
Los 1763
A 9CT GOLD AND SHELL CAMEO RING AND THREE FURTHER RINGS (4)The shell cameo ring carved as the portrait of a lady, ring size M and a half, a 9ct gold ring, star set with a circular cut garnet, ring size N, a 9ct gold and oval black onyx signet style ring, with floral decoration to the shoulders, ring size Q and a gold and black onyx rectangular ring, detailed 9 CT, applied with an initial, ring size T, gross combined weight 11.6 gms
Los 1797
A 9CT GOLD OVAL HINGED BANGLE AND FURTHER MOSTLY COSTUME JEWELLERY (QTY)The oval hinged bangle Birmingham 1910, gross weight 8.1 gms, a Victorian oval cornelian brooch, a Victorian oval pendant locket, decorated with a portrait of a lady, a Christian Lacroix costume brooch, detailed Made in France, various costume jewellery and a few further items
Los 1827
A COLLECTION OF JEWELLERY (11)Comprising; a Victorian drop shaped jet pendant, fitted with a portrait of a lady, a pair of Sterling gilt and cultured pearl earclips, designed as fans, a matching pendant necklace, a pair of reconstituted amber drop shaped earrings, a silver initial P pendant, a pendant designed as a terrier, a silver mounted rotating pendant fob seal, a silver aeroplane pendant with a neckchain, one matching cufflink and two pairs of silver cufflinks, detailed Gucci
Los 1847
A GOLD AND SARDONYX CAMEO RINGCarved as a bearded portrait, mark indistinct, ring size W, gross weight 24 gmsCondition Report.The cameo; the carving is of a rather basic quality, the gold mount is a little crudely joined from the shank to the back of the mount of the cameo, traces of mark looks as though there is part of a 5 and CT (possibly originally read 15 CT), there are a few surface nicks and marks to the gold work, rather poor finish where the outside of the shank meets the back of the cameo.Size of cameo 23mm x 17.5mmApart from quality, the ring is in good condition.
Los 503
HENRY JACOB BURCH (BRITISH, 1763-1834) (3)Portrait of John Wedderburn of Auchterhouse (1798-1839); and a companion of his wife, Lady Helen (1798-1868)each signed and dated 'H Burch 1826' (lower right)watercolour heightened with white21.5 x 18cmtogether with a further companion portrait of John Wedderburn's father, also called John (1743-1820), signed and dated 'H Burch 1826' (lower right), watercolour heightened with white, 21.5 x 18cm(3)
Los 504
ENGLISH SCHOOL, 19TH CENTURY (2)Portrait miniature of a gentleman wearing a black coat, thought to be Henry Burdon; and a companion portrait miniature of a lady, thought to be Mrs Henry Burdon, a pairwatercolour heightened with bodycoloureach 10.5 x 8cmeach in an elaborate gilt metal frame and contained within a velvet lined fitted case with easel stand(2)
Los 507
JEAN-FRANCK BAUDOIN (FRENCH, 1870-1961)Portrait of Monsieur Peraultsigned 'J F Baudoin' (lower right)oil on canvas65 x 54cmARRCondition reportThe canvas is lined. Appears generally good and ready to hang.Inspection under UV reveals some small areas of retouching and some well executed infilling to face.
Los 784
The fine mid-19th century childhood Dolls' House of Katherine Jeffray (1841-1929), an important English simulated stone painted wooden dolls' house, on detachable wooden stand with four turned legs terminating in lacquered brass castors, the breakfront three-bay façade with two storeys, the central key-lockable wood-grained four-panelled front door with brass knob, opening, with concealed hook releasing to open the whole front of the house, the door framed by pilastered Tuscan portico and painted glass Adam-style semi-circular fanlight above, roof pediment, five large twelve-light windows to the front and two to each end, grey-painted tiled pitched roof, trough gutter, stone painted chimney at each end with two angled upper sections, two flues to each chimney, the front opening to the left of the front door in two parts to reveal four large rooms with original decoration and furnishings, the ground floor on the left, kitchen with wooden fitted blackened range, burgundy, black and cream plaid wallpaper, painted paper marblised ceiling paper, blue and brown patterned glazed cotton chintz curtains, rush-effect embossed oil-cloth floor, a tin spit with 'clockwork' bottle jack on stand with drip tray, basting spoon and skimming spoon, Evans & Cartwright painted tinplate - yellow rush seat chair, yellow log basket and green kettle, six tin graduated meat covers, two copper kettles, six pewter platters with embossed food and a similar basket, a wooden birdcage with yellow feather canary and two Grödnerthal female servants (one missing legs); to the right on the ground floor, dining room with grey marblised wood fireplace with black Evans & Cartwright tinplate embossed surround with gilt-painted grate and fender, green and red wavy water simulated silk wallpaper, a pair of blue and white printed cotton patterned curtains with pelmet, silk blue rosette and white fringing, marblised painted paper ceiling, painted grey floor with teal silk velvet fitted carpet printed with pink roses, a pair of Evans & Cartwright painted wood-grained tinplate console tables in manner of William Kent, a simulated 'tortoiseshell' covered card gilt paper trimmed bookcase bon-bon or sewing box in the form of a glazed bookcase, a working pewter urn of spherical form with brown spirit-wash, a mahogany tilt-top circular table, a gentleman Grödnerthal doll in white jacket with a blue zig-zag line decoration, red waistcoat, cotton shirt and black britches, a lady Grödnerthal doll, a china shoulder-head doll, skirt made into a pin-cushion, in cream evening dress with train, five blown stemmed wine glasses, a gilt painted wooden clock in dome, a Waltershausen work-table and green paper covered circular box with various card discs with applied printed images, probably a game; the first floor left, sitting room with Siena marblised painted wood fireplace with black painted tinplate Evans & Cartwright embossed surround and gilt-painted grate and fender, red, black and cream plaid wallpaper, burgundy, pink and cream printed pattern curtains with pelmet and white fringing, painted marblised paper ceiling, blue and brown cotton chintz fitted carpet, a large Waltershausen Biedermeier style bureau with mirrored niche, a German eleven piece chromolithographed wood grain and inlay paper covered suite of furniture with purple velvet upholstery including sofa, unusual elaborate floor standing clock, square piano and six chairs, four currently in the dining room (one chair missing two legs), a china shoulder head doll with jointed wooden body, china limbs and green dress with lace trim, five Grödnerthal children (various limbs missing), Murano glass vases under glass domes, one with original glass roses (some damage), a turned painted wooden tea set on tray and a stack of handwritten calling cards for 'Miss Jeffray'; and the top floor right, bedroom with deep and light pink wavy stripe simulated water silk wallpaper, grey painted marblised fireplace with black painted tinplate Evans & Cartwright embossed surround with gilt painted grate and fender, painted marblised paper ceiling, grey, burgundy, pink and cream printed cotton curtains with pelmet and white fringing, a teal silk velvet fitted carpet printed with pink roses, grey and white printed cotton bed curtains with white fringing hung on left wall, an Evans & Cartwright painted tinplate washstand with green tinplate jug and basin and a toilet mirror, an interesting set of nine Biedermeier style blonde wood furniture with black ink decoration comprising sleigh bed, day bed, two tables, chest of drawers and four chairs, a china shoulder head doll with jointed wooden body, china limbs and green dress (missing one china leg) a washstand with bone shaving brush, cut throat razor, two nit combs and strap, a home-made card and pink silk half-tester bed, a German pink painted tinplate three piece bath set, two gilt metal leaf shaped chamber sticks, two bottles of Patchouly oil (for clear skin) and a bottle of Ambroisie; two small beds with tiny Grödnerthal babies and seven calling cards, two printed for Gnr Tom Thumb and five handwritten for Aunt Henrietta, Aunt Mary, Aunt Elisa and Aunt Caroline (who were Katherine's aunts on her mother's side) and a Miss Whitehead --57½in. (146cm.) high x 39½in. (100.5cm.) wide x 19in. (48.5cm.) deep (slight damage to house, crack down right hand side and top front left window broken, some slight damage to contents); and sold with an original painted portrait of Katherine Jeffray circa 1864 (aged 23) in gilt frame in leather carrying case --8¾in. (22cm.) height of image --16¾in. (42.5cm.) x 14¾in. (37.5cm.) size of case (case worn) Provenance - this house and contents have come directly down a female line of the family from Katherine; the house appeared on the BBC Antiques Roadshow in Dorking in 1998 and Homes & Antiques magazine in December 1998. Family tree - Grandparents Paternal - James Jeffray 1759-1848 was a Professor and born in Aberdeen, his wife was Margaret Lockhart 1775-1864 born in Stirling, Grandparents Maternal - Thomas Millar (Preston), 1767-1840 and his wife Catherine May, 1775-1844, Parents - Rev Lockhart William Jeffray, rector at Aldford, Cheshire (1815-1862) and Catherine Millar (1809-1900) born in Preston, Catherine Millar’s siblings - Anne Marshall (1800), Elisa Horrocks (1804), Thomas (1811-1865) married Henrietta Pitt (Winckley Preston), Mary Cairns (1812) and Henry (1813) married Caroline Robbins (Thistleton), Katherine Jeffray who owned the dolls' house was born in 1841 and died in 1927.Married Archibald Hamilton, 29th May 1867 at St Mary’s, Windermere.Children - Alexander Cairns Hamilton (1878-1928), Lilihs, Elsie (1869-1960) and Stella (1872-1955)
Los 946
A rare early 19th century printed cotton handkerchief or banner Golden Maxims - Robert Raikes - The Founder of Sunday Schools, printed in pink featuring Robert Raikes portrait, a school boy and girl in each top corner, Rules of Behaviour down left side and Hymn for Sabbath Schools down the right, in the middle a long procession of children, with a teacher, snaking up a hill to a church, embroidered bottom right Ann x Pollards —24in. (61cm.) x 17¼in.(44cm.) (faded and 10in repaired tear along top left with loss of girl's face)
Los 949
A John Wallis Historical Cards Exhibiting the History of England, thirty-two cards from William I to George II, hand coloured portrait roundel, with card sleeve, printed for John Wallis, No.16 Ludgate Street, London, ink 32 in corner of label, probably early 1800s (possibly missing George III) - SOLD NOT SUBJECT TO RETURN
Los 109
The Thompson Wine Glass: a highly important Beilby enamelled crested wine glass, circa 1769The ogee bowl with a slightly deceptive base, painted with the crest of the Thompson family in purple, white and yellow, an arm in armour embowed quarterly or and azure, holding in the gauntlet proper a broken lance of the first, on a ribbon wreath supported by a scrollwork bracket and flanked by foliage in opaque white, the reverse with a branch of fruiting vine, faint traces of gilding to the rim edge, on a double-series opaque twist stem containing a multi-ply corkscrew within two pairs eight-ply spiral bands, over a conical foot, 15cm highFootnotes:ProvenancePeter Lazarus CollectionSotheby's, 21 November 2006, lot 68Chris Crabtree Collection, Bonhams, 19 May 2010, lot 46Darell Thompson-Schwab CollectionLiteratureJames Rush, A Beilby Odyssey (1987), p.131, no.94ExhibitedBristol Museum and Art GalleryL'Association Internationale pour l'Histoire du Verre Exhibition, Ashmolean Museum, Oxford, 1979, no.44The Decorated Glasses of William and Mary Beilby, Laing Art Gallery, Newcastle-upon-Tyne, 1980, no.68The crest on this exceptional glass has been previously attributed to Stephen Thompson (1699-1763) of Kirby Hall in Little Ouseburn, North Yorkshire. However, he died without issue in 1763 and this perhaps just predates this glass. Upon his death title passed to his brother John Thompson (1701-1773). John's eldest son and heir Henry Thompson (1743-1814) married Mary Spence (1750-1843) on 30 January 1769 and it is likely that this glass was commissioned from the Beilby workshop to celebrate the occasion. To the wealthy, titled Thompson family Mary brought her own considerable inheritance as the only child of Thomas Spence of Harts Hall, Suffolk. Indeed, it is now known that Beilby glasses such as this were commissioned to celebrate marriages, with the most notable perhaps being the set of armorial Marriage Glasses made for the marriage of Jane and Crosier Surtees in September 1769, sold by Bonhams on 23 June 2021, lots 9-12.Whilst other Beilby crested and armorial wine glasses are known to have been made in sets, the present glass would appear to be the only example recorded bearing the Thompson crest. A portrait of Mary as Rachel at the Well by the American artist Benjamin West hangs in the Chrysler Museum of Art (inv. no.71.720). Interestingly, Henry Thompson's great-granduncle was Jonas Thompson (1608-1648) of Killerby in Yorkshire, who had married Frances Beilby (born about 1610) of Killerby and Micklethwaite Grange, Collingham, in 1629. The Beilbys of Newcastle-upon-Tyne were directly descended from the Micklethwaite Grange branch of the Beilby family, Francis being the great-grandaunt of the renowned enameller William Beilby. A related armorial goblet bearing the arms of Beilby Thompson (1742-1799) of Micklethwaite Grange was sold by Bonhams on 16 December 2009, lot 58.For further information on this lot please visit Bonhams.com
Los 147
A Venetian 'betrothal' goblet by Salviati and Co, circa 1880In emerald-green glass, the barrel-shaped bowl with a vermicular band to the base, reserved with two portrait medallions supported by winged putti, one reserved with a lady before a floral spray, the other a gentleman before a banner inscribed 'AMOR VOL FEE' (Love Requires Faith), the ground profusely decorated with white dots, set on a hollow ribbed knop and fluted spreading folded foot enriched with granular gilding, 20.5cm highFootnotes:This goblet is based on a late 15th century Venetian goblet attributed to Obizzo in the British Museum (inv. no.S.361). A very similar example from the Martin Cohen Collection was sold by Bonhams in New York on 6 October 2020, lot 60.For further information on this lot please visit Bonhams.com
Los 231
A very rare 'Bargeman' Toby Jug, circa 1790Modelled on a rectangular base with a curved front, the back and sides applied with portrait medallions above swags of laurel leaves, an anchor resting between his legs, standing and holding a flask in his left hand and a small glass in his right, wearing a grey jacket and blue waistcoat and pantaloons, his shoes and shallow hat picked out in brown, 24.5cm highFootnotes:ProvenanceBute Collection, Christie's, 8 July 1996, lot 9James and Timmey Challenger Collection, ChicagoAnother example is illustrated by Captain R K Price, Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs (1922), pl.LI, no.86 where it is suggested that the portrait medallions on the base represent King George III, while the jug represents a waterman of the King's barge. The same example is also illustrated by Vic Schuler, Collecting British Toby Jugs (third edition, 1999), p.71 and discussed at p.27 where it is stated that only four examples of the model are recorded.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 241
A fine pair of Liverpool enamel plaques, circa 1758-60By John Sadler, of upright oval form, printed in black with half-length portraits of 'Frederick III. King of Prussia, Done from an Original painted at Berlin in 1756' and 'The Right Honble Wm Pitt Esq, One of his Majesty's principal Secretaries of State and One of His most Honble Privy Councillors', both signed 'J.Sadler Liverpl Enaml', in turned wood frames with gilt slips, 15.3cm high excluding frames (2)Footnotes:ProvenanceBunny and Paul Davies CollectionThe portrait of the King of Prussia actually depicts Frederick II, the engraver having erroneously described him as Frederick III. A very similar plaque is illustrated by Joseph M Handley, English Transfer-Printed Porcelain and Enamels (1991), p.289. Another example of the portrait of William Pitt from the Norman Stretton Collection was sold by Phillips on 21 February 2001, lot 316.For further information on this lot please visit Bonhams.com
Los 243
A Birmingham enamel small plaque, circa 1760-62Of upright oval from, printed in lavender with a profile portrait of King George III, engraved by Ravenet, in a gilt metal mount, 7.7cm high including frameFootnotes:ProvenanceWith Simon Spero, June 1981E and J Handley Collection, illustrated 18th Century English Transfer-printed Porcelain and Enamels (1991), p.282The portrait appears to be after the original painting by Jeremiah Meyer.For further information on this lot please visit Bonhams.com
Los 250
A Battersea enamel box, circa 1753-56Of rectangular form with gilt metal mounts, the interior of the cover printed in black with a profile portrait of William Augustus, Duke of Cumberland, engraved by Ravenet, the exterior with 'La Promenade', engraved by Robert Hancock, the sides and base with rococo panels, 5.6cm wideFootnotes:ProvenanceBunny and Paul Davies CollectionA very similar box is illustrated by Cyril Cook, The Life and Work of Robert Hancock (1948), item 87. Another example of the rare Duke of Cumberland print is illustrated by Therle and Bernard Hughes, English Painted Enamels (1951), p.18, fig.2 and another in the Schreiber Collection by Egan Mew, Battersea Enamels (1926), fig.3. The companion print depicts Frederick, Prince of Wales.For further information on this lot please visit Bonhams.com
Los 251
A Battersea enamel plaque, circa 1751-53Of upright oval form, printed in sepia with a portrait of Elizabeth Gunning, engraved by Ravenet, in a tooled gilt metal frame, 9.5cm high including frameFootnotes:ProvenanceBunny and Paul Davies CollectionThe source is a painting by F Cotes painted in 1751. A pair of portraits of sisters Elizabeth Gunning, afterwards Duchess of Hamilton and later Duchess of Argyle and Maria, afterwards Countess of Coventry, both after Cotes originals is illustrated by Egan Mew, Battersea Enamels (1926), fig.10. The beautiful Gunning sisters took London by storm when they arrived from Ireland in 1750.For further information on this lot please visit Bonhams.com
Los 252
A Battersea enamel box, circa 1751-53Of rectangular form with gilt metal mounts, the hinged cover printed in brown on the exterior with 'Paris presenting an apple to Hibernia', the interior with a portrait of Maria Gunning, the base with a lion and cherubs, panels of children representing the arts to the sides, engraved by Ravenet, 6.7cm wideFootnotes:ProvenanceWith Simon Spero, June 1981E and J Handley Collection, illustrated 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.260Simon Spero exhibition, 2000, no.44Bunny and Paul Davies CollectionThe scene on the exterior of the cover is a reference to the famous Irish beauty, Maria Gunning, who arrived in England with her younger sister in 1750. Her portrait on the interior shows her fashionably dressed in Turkish style taken from a mezzotint by R Houston after Liotard. See Egan Mew, Battersea Enamels (1926), fig.12. She later became Countess of Coventry and her sister Duchess of Hamilton.For further information on this lot please visit Bonhams.com
Los 253
A Battersea enamel box, circa 1751-53Of rectangular form with gilt metal mounts, the hinged cover printed in red on the exterior with 'Britannia surrounded by the Arts and Sciences', the interior with a portrait of George II, the base with a lion and cherubs, panels of children representing the arts to the sides, engraved by Ravenet, 6.8cm wideFootnotes:ProvenanceBunny and Paul Davies CollectionA box with the same print on the exterior is illustrated by Egan Mew, Battersea Enamels (1926), fig.25 (left) and two of the prints on the sides are shown at fig.35.For further information on this lot please visit Bonhams.com
Los 256
A rare Liverpool enamel plaque, circa 1780Of upright oval form, printed in dark brown with a portrait of Captain Farmer, probably by Guy Green, titled on a banner below, with original metal frame and hanging loop, 7.2cm high including frameFootnotes:ProvenanceBunny and Paul Davies CollectionCaptain George Farmer was a much admired naval hero killed in battle against the French on 6 October 1779. He went down with his ship HMS Quebec and was so highly praised that a baronetcy was conferred on his eldest son at the request of the Admiralty. The source of the image is a print by John Murphy published by Boydell in 1780 after a painting by Charles Grignion.For further information on this lot please visit Bonhams.com
Los 262
Two Battersea enamel plaques of George II, circa 1754-55Of upright oval form, printed in brown with a profile portrait of King George II portrayed as a classical hero, his flowing locks crowned by a laurel wreath, inscribed 'Georgius II Rex', engraved by Ravenet after John Sigismund Tanner, one with a tooled gilt metal frame, 10.7cm high including frame, the other in a plain metal frame, 9.2cm high including frame (2)Footnotes:ProvenanceWith Simon Spero, June 1981E and J Handley Collection, illustrated 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.256 (first plaque only)Bunny and Paul Davies CollectionFor further information on this lot please visit Bonhams.com
Los 272
Henry Pierce Bone (British, 1779-1855)A portrait miniature of the poet and playwright, James Thomson (1700-1748). Enamel, signed on the counter enamel and dated, James Thomson./ London. June 1834. Painted by Henry/ Pierce Bone. Enamel Painter to her Majesty and/ their Royal Highnesses the Duchess of Kent and/ Princess Victoria. After the Original by Aikman/ in the Collection of Lord Lyttelton, Hagley,/ Worcestershire., gilded composition frame with floral and foliate detail. Oval, 152mm (6in) highFootnotes:The original oil portrait by William Aikman (1682-1731) was exhibited in the Art Treasures Exhibition at the British Portrait Gallery in Manchester in 1857 (cat. 278, loaned by Lord Lyttelton). Of all the most famous 18th century landscapes, George Lyttelton's Park at Hagley was celebrated in its day by some of the era's most enlightened minds and James Thomson's first visit inspired his poem, 'The Seasons'. Lyttelton was a patron of Thomson, who is also best known for his poem, 'The Castle of Indolence', and for the lyrics of 'Rule, Britannia!'.For further information on this lot please visit Bonhams.com
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