DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby. Edited by 'Boz', FIRST EDITION IN THE ORIGINAL 19/20 PARTS, mixed issue, half-title, engraved portrait frontispiece by Daniel Maclise, 39 etched plates by Hablot K. Browne ('Phiz'), plates in parts 1 and 2 have publisher's imprint, part 4 has 'visiter' for 'sister' on p.123, line 17 (first state), part 5 has 'latter' for 'letter' on p.160, 6 lines up (first state), plate 29 is second issue with shortened title, all but 8 of the advertisements and slips called for by Hatton and Cleaver (without 'Francis West' in part 1; 'Reading Club', 'National Loan Fund' and 'Joseph Amsbury' in part 3; 'Heads of People' and 'Mechi's Catalogue' in part 8; 'New and Splendid...' in part 19/20), also without the 'Mary Ashbury' slip (described by H. & C. as 'non-essential'), 'Mechi's Catalogue' called for in part 2 bound in part 1, cloth chemise, part 5 has an advertisement ('Horne's Public Subscription Library') not called for in H. & C., publisher's pictorial blue-green wrappers, most backstrips repaired or replaced, lower wrapper to part 3 has small losses and advertisements differing from those called for by H. & C., occasional light spotting but plates generally quite clean, lower corner of upper wrapper to part 19/20 cut away and replaced with piece from another copy, green half morocco pull-off case [Eckel, pp.64-66; Gimbel A40; Hatton & Cleave, pp.129-160], 8vo, Chapman and Hall, April 1838-October 1839Footnotes:'This story, which for thirteen months Dickens wrote alongside Oliver Twist, originated in his determination to expose the scandal of unwanted children consigned to remote and brutal Yorkshire schools... the story is rich in unforgettable comic characters like the endlessly garrulous Mrs Nickleby and the strolling player Vincent Crummles and his troupe, and in places it resembles Sketches by Boz in its vivid evocation of particular London neighbourhoods' (ODNB).Provenance: William E. Self, bookplate; his sale, Christie's New York, 4 December 2009, lot 58.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 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
-
283284 Los(e)/Seite
DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby, FIRST EDITION IN BOOK FORM, IN A PRESENTATION BINDING WITH A TIPPED-IN LETTER PRESENTING THIS COPY TO ALBANY WILLIAM FONBLANQUE, half-title, engraved portrait frontispiece after Daniel Maclise, 39 engraved plates by Hablot K. Browne ('Phiz'), browning and foxing to plates, autograph letter from the author (dated 14 November [1839]) tipped-in on front free endpaper, contemporary full green pebble grain morocco, sides ruled in blind, spine lettered and decorated in gilt, g.e., pale yellow endpapers, upper joint and spine ends neatly repaired, cloth chemise and red morocco-backed slipcase by Bayntun Riviere [Eckel, p.64; Smith I:5; Robert L. Patten, Charles Dickens and his Publishers, p.101], 8vo, Chapman and Hall, 1839Footnotes:AN IMPORTANT PRESENTATION COPY OF NICHOLAS NICKLEBY TO THE JOURNALIST ALBANY WILLIAM FONBLANQUE, with an accompanying autograph letter to Fonblanque, sent from Doughty Street on Thursday 14 November, [1839].'My Dear Sir, Do me the favor to accept a copy of Nickleby, and with it the assurances of my warm regards and admiration', and further informing him of his impending move to 'nearer to your neighbourhood - Devonshire Place... and when this comes to pass, I cherish the hope of seeing you more frequently...'. The letter is published in the Pilgrim Edition of The Letters of Charles Dickens, volume 1, Clarendon Press, 1965, p.603.Albany William Fonblanque (1793-1872) was one of the greatest political journalists of this time, editor of The Examiner (1830-47) and leader-writer for The Times, Morning Chronicle and Dickens's own Daily News. According to J.S. Mill it was through Fonblanque that The Examiner became 'the principal representative, in the newspaper press, of Radical opinions' (Autobiography, p.173), and Thomas Carlyle considered that Fonblanque's journalism made him 'the cleverest man living of that craft at present' (Collected Letters, vol. 9, 1977, p.151). In his role as editor of The Examiner 'Fonblanque, famous for his sparkling wit and polished style, noticed the wit and exuberance of Dickens's earliest works', himself reviewing Dickens' earliest works, but probably commissioning Leigh Hunt to review Nickleby (Alec. W. Brice, 'Reviewers of Dickens in the Examiner: Fonblanque, Forster, Hunt, and Morley', Dickens Studies Newsletter, Vol. 3, No.3, September 1972, pp. 68-80).Perhaps most importantly in terms of Dickens's future career and reputation, it was Fonblanque who first brought Dickens to the attention of his biographer, champion and close friend John Forster, who from 1833 had been employed as drama literary critic at The Examiner. He recalled that 'The Sketches [of Boz] were much more talked about than the first two or three numbers of Pickwick, and I remember still with what hearty praise the book was first named to me by my dear friend Albany Fonblanque, as keen and clear a judge as ever lived either of books or men' (Forster, The Life of Charles Dickens, 1872). During his period of greatest influence between 1826 and 1837 Fonblanque was a fierce champion of the extension of suffrage, a strong opponent of the aristocratic principle and a leading supporter of the Reform Bill (1832). At this time he made 'frequent after-dinner appearances in London drawing-rooms: he was often at Holland House, had links with the Carlyles, William Macready, and the Dickens circle... [and despite] his poor health his great enthusiasm was yachting with the Royal Thames Yacht Club; Dickens joined him on two occasions' (ODNB).This copy is one of a small number of copies of Nicholas Nickleby specially bound in this full green morocco binding. See Robert L. Patten, Charles Dickens and his Publishers: 'Nickleby was ready by the end of October...in cloth for 21s., half-morocco for 24s. 6d., and full morocco, gilt, for 26s. 6d.'. Most of the morocco copies appear to have been reserved for presentation. The Suzannet collection had two: one presented to Dickens's sister Letitia Austin (item A.9, part of the portion of the library now preserved at Dickens House), and another presented to Sir David Wilkie (sold as lot 45 at Sotheby's sale of Autograph Manuscripts and Letters, Original Drawings and First Editions...from the collection of the late Comte Alain de Suzannet, 22 November, 1971).Provenance: Albany William Fonblanque, ownership signature on the front endpaper, and letter of presentation from Dickens tipped-in; Sotheby's, 12 July 2005, lot 99.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby, FIRST EDITION IN BOOK FORM, half-title, engaved portrait, 39 engraved plates by Hablot K. Browne ('Phiz'), some oxidization and spotting to plates, early green half morocco gilt, extremities of spine rubbed [Smith I:5], Chapman and Hall, 1839; The Life and Adventures of Martin Chuzzlewit, FIRST EDITION IN BOOK FORM, with '£100' corrected on additional title, engraved frontispiece, additional pictorial title and 38 plates by Hablot K. Browne ('Phiz'), occasional light spotting, recased in early red half morocco gilt over marbled boards [Smith I:7], Chapman and Hall, 1844; Our Mutual Friend, 2 vol., FIRST EDITION IN BOOK FORM, 40 wood-engraved plates by Marcus Stone, without the 'to the reader' slip, some spotting, early green half calf over marbled boards, black morocco gilt spine labels, rubbed and slightly refurbished at corners [Smith I: 15], Chapman and Hall, 1865, without advertisements, 8vo (4)Footnotes:Provenance: Purchased from Peter Kaye, March-October 1997.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)Little Dorrit, FIRST EDITION IN BOOK FORM, additional engraved pictorial title, frontispiece and 38 plates by Hablot K. Browne ('Phiz'), with the correction slip, some spotting, contemporary green half calf over marbled boards, spine elaborately tooled with red morocco lettering label [Eckel, pp.82-85; Smith I:12], Bradbury and Evans, 1857; Master Humphrey's Clock, 3 vol., FIRST EDITION IN BOOK FORM, wood-engraved frontispieces, and illustrations by George Cattermole and Hablot K. Browne ('Phiz'), with the dedication in volume 1, contemporary green half calf over marbled boards, some spotting, marooon morocco gilt spine labels, some rubbing and light abrasions [Eckel, pp.69-70; Smith I:6], large 8vo, Chapman and Hall, 1841; The Mystery of Edwin Drood, FIRST EDITION IN BOOK FORM, engraved portrait, additional engraved pictorial title, and 12 plates by S.I. Fildes, without advertisements, contemporary green half morocco [Eckel, p.96], 8vo, Chapman and Hall, 1870 (5)Footnotes:Provenance: First item, Randle Jackson, bookplate; all purchased from Peter Kaye, 1996-1997.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)The Mystery of Edwin Drood, FIRST EDITION, FIRST ISSUE IN 6 ORIGINAL MONTHLY PARTS, engraved portrait, additional pictorial title and 12 wood-engraved plates after Luke Fildes, all the advertisements called for by Hatton and Cleaver (including the fragile 'Cork Hat' in part 2, and the Chapman and Hall catalogue in part 5), and 2 advertisements (John F. Dunn, and 'The Broadway') in part 3 not called for by H. & C., publisher's blue-green pictorial wrappers after C.A. Collins, earliest issue of part 6 with the 'eighteenpence' slip over the one shilling price on the upper wrapper, upper corner of part 1 neatly repaired with one letter of price provided in manuscript facsimile, a few neat spine repairs [Eckel, pp.96-98; Gimbel A154; Hatton & Cleaver, pp.373-384], Chapman and Hall, April-September 1870; [MORFORD (HENRY)] John Jasper's Secret: Being a Narrative of Certain Events Following and Explaining 'The Mystery of Edwin Drood', FIRST EDITION IN THE ORIGINAL 8 MONTHLY PARTS, 20 wood-engraved plates, with most inserted advertisements called for by Sadleir, parts 7 and 8 each include a 4pp. advertisement for Willcox and Gibbs Sewing Machines not called for in Sadleir, publisher's blue-green pictorial wrappers (minor soiling, neat repairs to some wrappers) [Gimbel H330; Sadleir 705], Wyman & Sons for Publishing Offices, October 1871-May 1872, preserved together in cloth solander box, gilt lettered on spine, 8voFootnotes:Dickens's final unfinished novel, and its rare early unauthorized sequel both as first issued in the original parts. Attributed to Henry Morley John Jaspers Secret was the first serious attempt to solve the mystery left unsolved at Dickens's death. Included in the lot is an autograph letter (14 September 1936) from John Y. Watt to M. le Comte de Suzannet ('as one of the best known Dickens collectors...') concerning his researches into Dickens's intentions for the ending of Edwin Drood.Provenance: Comte de Suzannet, bookplate, and his sale, Sotheby's, 22 November 1971, lot 135; Kenyon Starling, bookplate; Christie's New York, William E. Self Family Collection, Part I. The Kenyon Starling Library of Charles Dickens, 2 April 2008, lot 185.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
EDWARD VILLIERS RIPPINGILLE (c. 1790–1859) Beating the Bounds Oil on canvas, 103 x 145cm Signed 'E.V. Rippingille and dated 1848' Edward Villiers Rippingille began his career as a portrait artist but soon found that his talents were best utilised in the creation of whimsical genre pieces. Rippingville first exhibited at the Royal Academy in 1819 and continued to do so throughout his lifetime, becoming known for capturing community events, such as the one featured here. Beating the bounds is a tradition that can be traced back to the medieval period. At this time, land was divided into parishes and the clergy and church wardens held the responsibility for its upkeep and management. It was up to the Church to ensure that its parishioners knew the local boundary lines and, before maps became commonplace, this had to be kept as a mental record. Such information was vital as it determined where the town’s livestock could be grazed, what land could be tilled and where the local jurisdiction ended. A yearly practice was thus devised in which the community would come together to walk the parish and take note of the dividing lines. Usually taking place during Rogation days (the three days directly before Ascension Thursday) or on Ascension Day itself, the inhabitants would gather alongside the clergy and proceed around the boundaries, blessing the land, singing songs and reading homilies. Partaking in the event became a measure of good spirit and those seen as abstaining were thought to be lacking a neighbourly disposition. However, for certain members, the day would not have rendered fond memories. It was the duty of the older generation to instil the knowledge of the boundaries in the younger and a belief that pain enforced memory often led to some less than agreeable methods being used. Young boys were made to carry thin rods of willow or ash and they were charged with beating the boundary markers in order to help make a mental note of where they lay. However, it was not uncommon for the rods to be turned on the boys themselves, with a quick whipping aiding to remind them of specific spots. Some communities chose to utilise the land itself and became more creative. At streams, boys had their heads rudely dunked under the water, they were pushed into patches of stinging nettles and forced to run wildly along walls so as they would fall prey to the menacing bramble patches on either side. Some records even note that at stone markers, the boys may be lifted, turned upside down and bashed against the rock. Although the tradition was banned by Oliver Cromwell, beating the bounds made a resurgence during the Victorian era and scenes such as this would have been an expected sight in the weeks following Easter. True to the nature of genre painting, Rippingille expertly captures this important day and pleasantly conveys the varying characters of a local community. Our eyes are assaulted with activity and our minds dart playfully to take in each individual, from the miserly woman who skulks away from the festivities to the boys apprehensively waiting with their rods and the young women eagerly looking on.
A CONTINENTAL GILTWOOD AND PORCELAIN MOUNTED NAPOLEONIC TABLE, VIENNA, c.1890, of square form, with egg and dart border, the centre well with a squared porcelain panel, Vienna c.1890, depicting Napoleon, signed 'Resch' and encircled by eight further portrait panels, conforming undertier on scrollwork legs. 46.5cm square, 75cm high
CHRISTOPHER MOORE RHA (1790 - 1863) Marble bust of William Plunket, 1st Baron Plunket, Lord Chancellor of Ireland Signed and dated 'C. Moore Sc. 1843' With polished granite plinth, 64cm high, 37cm wide (Plinth 118cm high, 50cm wide, 38cm deep) Provenance: The Plunket Family, By descent from Archbishop Plunket, Originally in St. Anne's, Clontarf Though born in Dublin, Christopher Moore spent most of his working life in Britain, emigrating there in 1820 at the age of thirty and setting up a permanent residence initially in Tottenham Court Road in London, before moving to Howland Street. He exhibited regularly with the Royal Academy between 1821 and 1861. He was renowned for his portrait busts creating numerous sculptures of eminent 19th century political, religious and social figures as well as contemporary poets and artists. His skill can be seen in the expressive likeness and confident modelling of his subjects. In this present example, the bust is set within highly expressive folds of drapery which give a sense of importance and strength to the figure. This reflected the prominent legacy of William Plunket, who had twice served as Lord Chancellor of Ireland. A dedicated supporter of Catholic emancipation he was appointed as Attorney General in 1822 and worked successfully alongside Daniel O'Connell to secure it. When this work was produced, Plunket would have been nearly eighty years of age. Moore manages to capture the more subtle and softer features of old age, in the mouth, the skin around the eyes and the slightly furrowed brow. Another example of this work in plaster is held in the collection of the National Gallery of Ireland. Moore frequently visited Ireland, staying in Dublin and he contributed many works to the RHA annual exhibition becoming a member in 1846. He returned to Ireland before his two years before his death in 1863, he is buried in Glasnevin Cemetery.
STEPHEN SLAUGHTER (1697-1765) Portrait of Robert Viscount Jocelyn, Lord Chancellor of Ireland, three-quarter length seated, in Chancellor's robes and holding scroll with Chancellor's purse beside him Oil on canvas, 124.3 x 99cm Later inscribed, bottom left 'Visct Jocelyn, Ld High Chanclr of Ireland A.D. 1755' Robert Jocelyn was appointed a Sergeant-at-Law by George I in 1726, and in 1727, the Solicitor-General. In 1739, he was appointed Lord High Chancellor of Ireland. In 1743, he was created Baron Newport in Tipperary. Then in 1755, he was created Viscount Jocelyn. He died in 1756. The Chancellor was a contemporary of Dean Swift and was the first president of Swift's Hospital where you can still see the Chancellor's coat of arms in the stained glass window in the main hall. Provenance: The Jocelyn Family. According to the family there were two of the same portrait painted of the Lord Chancellor, one for his residence at Hyde Hall, Hertford in England and this portrait which is thought to have resided at Tollymore Park House in Co. Down until it was sold in the 1930s.
The Queen's Police Medal group to Sir Robert Mark, Commissioner of the Metropolitan Police Force 1972-77 comprising: Q.P.M. for Distinguished Service (impressed Robert Mark, Ch. Const. Leicester City Police); 1939-45 star, F&G star, Defence, War and EIIR Coronation 1953, (un-named as issued), Police LS, EIIR 1954-80 issue (impressed Robert Mark Ch. Const.), VF, mounted court style. Accompanying the above awards a number of associated items: Police Commissioner's uniform tunic, overalls and cap, GC, (very minor moth traces to reverse of tunic which is named to Robert Mark and dated 1/72) and bearing ribbons including GBE and Knight Batchelor badge (the decorations for these two not present); a resin bust entitled "Sir Robert Mark, G.B.E. Q.P.M 1977 Sculptor Alec Dearnley" height 20cm excluding plinth, GC (part of name label missing); a walking cane, the grip being in the form of a police constable's head and shoulders, the haft impressed "Made by C. Warriner, Foxton Market Harboro 1978" and "R.M. 8.5.78", length 119cm, GC; a caricature of Sir Robert signed "Sallon 1974" the reverse bearing a presentation inscription, 30.4cm x 43.4cm GC; an oil on canvas portrait signed "F.W. 77" in frame, outer size 43cm x 53cm (repaired split to canvas); two HM silver wine labels: "Happy Birthday Sir Robert Mark our Grand Prix S. Star from your many friends at Good Year Donnnington March 1975" and "Thank You for your major contribution to our success from all your friends at Good Good Year" and HM Birm. 1985; (Sir Robert had advertised Good Year tyres); Note: Sir Robert joined the Manchester City Police in 1937 and in his autobiography stated that his father had been horrified saying it was only one step better than going to prison!; in 1940 he transferred to their Special Branch. 1942 saw him released for his wartime service, and, after training at Sandhurst, joined the 108 Tank Brigade and in Phantom (GHQ Liaison) Regt. He was demobbed in 1947 and returned to Manchester Special Branch, 1950 saw him promoted to Inspector, and Chief Inspector in 1952. In 1957 he was appointed Chief Constable of Leicester City Police. In 1967 he joined the Metropolitan Police as Assistant Commissioner and in 1972 was promoted to Commissioner. Under his leadership much corruption in the force was eliminated; he set up a police complaints department; and in 1975 the Balcombe Street Siege and the Spaghetti House Siege were both bought to a successful conclusion; he left the Met in 1977, and died in 2010. See also lots 49-55 £600-700
![John Adam Plimmer Houston [1812-1884]-Portrait study,:- signed bottom leftfurther signed and inscribed with the artist's addr](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/b0a7951e-b1db-4b2f-acb9-ae7000bbadc0/468x382.jpg)
![Helene von Frauendorfer-Muhlthaler [1855-1933]-Portrait of a young girl, full-length standing,:-signed and dated 1898pastel d](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/7119ecfb-c5e6-4501-9690-ae7000bbb45f/468x382.jpg)
![* Mervyn Laurence Peake [1911-1968]-Portrait of a young man,:-lithograph numbered 1/3inscribed '...from Mervyn 1945...'27 x 1](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/4fdd1009-9af1-458d-8aa3-ae7000bbc93c/468x382.jpg)
Three English enamel portrait plaques relating to the American Wars of Independence, c.1780, printed in manganese with likenesses of Admiral Rodney, General Clinton and Lord Cornwallis, each titled in a banner beneath the portrait, mounted in narrow metal frames with suspension rings, 8.2cm. (3) Henry Clinton was Commander-in-Chief of North America from 1778-1782; George Brydges Rodney was ordered to the West Indies in late 1779 by way of Gibraltar where, in January 1780, he defeated the Spanish at the battle of St Vincent. Charles Cornwallis inflicted an embarrassing defeat on the American army in 1780 at the Battle of Camden, although he surrendered his army at Yorktown the following year after a series of disagreements with Clinton. Provenance: from the collection of the late Timothy Clowes.
A Birmingham enamel plaque, 1st half 19th century, printed and hand-coloured with the profile portrait of a man with a long white beard, in a medallion inscribed 'Grand Lodge of Modern Druids * Established at Walsall 1812', within an oak leaf wreath, restored, 8.2cm. Provenance: from the collection of the late Timothy Clowes. Paper label for Halcyon Days, London.
A Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1780, the can painted with a figure of Justice holding scales and a sword, the sides and saucer with small Classical portrait medallions suspended from ribbons within cornucopia and small flower garlands on a gold ground, the can titled in blue beneath, the saucer with a gilt interlaced Ls mark, restored, 13.7cm. (2)
A rare Derby figure group of Isabella with a Gallant and Jester, c.1760, after a Meissen group of The Hypochondriac by J J Kändler, the young lovers canoodling before flowering bocage, attended by a subservient Harlequin proffering chocolate cups on a small tray, minor faults, 28cm. Cf. Len and Yvonne Adams, Meissen Portrait Figures, p 190, for the original group, which includes a fourth figure behind the couple.
A large wine glass or goblet of possible Jacobite significance, c.1760, one side engraved with a carnation spray with two buds, the reverse with the profile portrait of a lady within an oval medallion suspended from leaf swags, raised on a thick double series opaque twist stem, 16cm. Several women played a significant part in the Jacobite rebellion, including Flora MacDonald, who sheltered Bonnie Prince Charlie by disguising him as her maidservant.
Four armorial glasses, c.1770 and later, one engraved with the initials 'RDV' beneath a crown, the reverse with a winged figure above a snake, a large rummer engraved with the crest of a crowned winged heart, a small bowl or beaker with griffins flanking a shield of fleur de lys, and a Royal beaker with a portrait between flags and monogrammed initials, a chip to the latter, 13.5cm max. (4)
PORTRAIT HAT PINS. Six various portrait hat pins, including hand painted porcelain, printed paper & photographic prints. Longest 29.5cm. All hatpins are in clean or reasonably clean condition. The pins however, have varying degrees of rust. Please request a condition report. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
PORTRAIT HAT PINS ETC. Four various Jeanne d'Arc portrait hat pins, a pair of silver mounted photographic hinged hat pins & three other portrait pins. Longest 30.5cm. All hatpins are in clean or reasonably clean condition. The pins however, have varying degrees of rust. Please request a condition report. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
PORTRAIT HAT PINS. Various portrait hat pins etc., in white metal including Jeanne d'Arc etc. Longest 30.5cm. All hatpins are in clean or reasonably clean condition. The pins however, have varying degrees of rust. Please request a condition report. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
GEORGIAN & LATER PORTRAIT MINIATURES & SILHOUETTES (5) and a circular brass lidded box with repousse image of a Welsh Lady, the portraits include an ivory slip oval miniature of a gentleman painted by JOHN BOYLE (Bath) circa 1790, 6 x 4.5cms approx, an unsigned watercolour on paper of a gentleman, 7.5 x 6.5cms along with three side profile silhouettes of two gentlemen and a bonneted lady, 8.5 x 7cms the latter, all mounted in ebonised frames, four having acorn or leaf top hanging loops, the circular format example without, the brass box, 7cms H, 13.75cms diameter
![Calcutta School Circa 1820-A miniature portrait of Captain Charles Fellowes Grice [d.1850], Indian Navy,:- head and shoulders](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/d5ec3748-31ef-45c9-a5c8-ae7000a68203/468x382.jpg)
![George Engleheart [1752-1829]-A miniature portrait of a naval officer said to be Captain Lucius Henry Dawson RN,:- head and s](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/9996f622-b06d-4256-8fd9-ae7000a68498/468x382.jpg)
George Engleheart [1752-1829]-A miniature portrait of a naval officer said to be Captain Lucius Henry Dawson RN,:- head and shoulders with powdered hair and brown eyes, wearing a navy blue coat with brass naval buttons,head and shoulders, on ivory, oval 3.9cm, within a yellow metal and blue glass frame with opaque glass reverse containing a lock of hair and seed pearls.* Biography Lucius Henry Dawson, youngest son of Richard Dawson of Ardee in Louth, Ireland, and Anne, daughter of Sir Edward O'Brien Bt. of Dromoland Castle. He joined the Royal Navy as a midshipman and attained the rank of Captain.
![James Leakey [1775-1865]-A miniature portrait of a young Midshipman,:-head and shoulders with brown eyes, wearing a dark blue](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/e75736c5-eeef-4069-8783-ae7000a686e7/468x382.jpg)
James Leakey [1775-1865]-A miniature portrait of a young Midshipman,:-head and shoulders with brown eyes, wearing a dark blue coat, white waistcoat, frilled cravat and ribbon necktie, sky background, on ivory, oval 6.5cm, in a yellow metal frame with hair plait reverse.*Provenance. Bonhams Fine Portrait Miniatures, November 2012.
![Circle of Thomas Hazlehurst [c.1740-1821]-A miniature portrait of a Midshipman,:-head and shoulders with brown eyes, wearing](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/6bd03d3d-2090-4635-931d-ae7000a6884b/468x382.jpg)
Circle of Thomas Hazlehurst [c.1740-1821]-A miniature portrait of a Midshipman,:-head and shoulders with brown eyes, wearing a tricorn hat and navy blue coat with brass buttons, pale blue/grey 'eggshell' background, signed with a monogram 'EJ'? bottom right, on ivory, oval 4.9cm, in yellow metal case.
![Attributed to Thomas Le Hardy [18/19th Century]-A miniature portrait of a naval officer,:-head and shoulders with wavy hair a](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/a29e7844-2696-40e4-a35b-ae7000a68b18/468x382.jpg)
![Henry Bone [1755-1834]-A miniature portrait of Admiral John Tremayne Rodd [1769-1838],:- head and shoulders with wavy powdere](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/140967e4-a374-49d5-a14b-ae7000a68db7/468x382.jpg)
Henry Bone [1755-1834]-A miniature portrait of Admiral John Tremayne Rodd [1769-1838],:- head and shoulders with wavy powdered hair and brown eyes, wearing uniform, sky background, on ivory, oval 7.2cm, in a yellow metal frame with blue and opaque glass reverse inset with a lock of hair and seed pearls.* Provenance. The Stanhope Rodd Collection of Henry Bone Miniatures, sold at Bearnes, Hampton & Littlewood Exeter, July 2009.* Notes Depicted in the uniform of a Captain, John Tremayne Rodd was noted for his service during the Napoleonic Wars and the French Revolution on various ships including HMS Bonetta, HMS Scorpion, HMS San Joseph and the frigate HMS Indefatigable in which he served as the main scout for the British Squadron blockading Brest. In 1825 he was promoted to Rear Admiral of The Red and 1832 became a Knight Commander of The Order of The Bath.
![Attributed to James Nixon [1741-1812]-A miniature portrait of a naval officer,:-head and shoulders, wearing a powdered wig an](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/e055a9dc-3cea-44bb-983e-ae7000a69097/468x382.jpg)
![Circle of Alexander Galloway [fl.1794-1812]-A miniature portrait of a naval officer,:-bust-length, with short fair hair and b](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/55e2f891-27e6-4d86-8d09-ae7000a691ed/468x382.jpg)
![Thomas Peat [fl.1791-1831]-A miniature portrait of a Midshipman,:-head and shoulders with fair hair and brown eyes,wearing a](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/50dff2bc-4ccb-48b3-9cf6-ae7000a694c8/468x382.jpg)
English School late 18th Century -A miniature portrait of a naval officer said to be Admiral Charles Middleton, RN, 1st Baron Barham [1726-1813],:- head and shoulders with blue eyes, wearing a powdered wig tied with a ribbon and a blue coat with gold braid decoration, sky background, on ivory, oval 4.8cm, in a yellow metal frame with hair plait reverse.
![William Bone [fl.1827-1851]-A miniature portrait of a young man, said to be Anthony G. Golding Esq.,:- head and shoulders wit](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/9c731a17-67bd-4f02-bd92-ae7000a69b02/468x382.jpg)
William Bone [fl.1827-1851]-A miniature portrait of a young man, said to be Anthony G. Golding Esq.,:- head and shoulders with brown wavy hair, blue eyes and bright red lips, wearing a blue coat, signed WBone bottom right, inscribed on the backing, 7 x 6cm, together with an English School miniature portrait of a gentleman, bust-length wearing a black coat with Victorian General Service Medal, on ivory, 9.5 x 7.5cm. [2]
![Attributed to Bernard Lens [early 18th Century]-A miniature portrait of Andrew Coltee Ducarel (1713-1785),:-bust-length, wear](https://cdn.globalauctionplatform.com/f7885c4f-3875-42ad-b8c9-ae6b00bc48c5/0e60e884-0501-4f94-9585-ae7500a04dbf/468x382.jpg)
Attributed to Bernard Lens [early 18th Century]-A miniature portrait of Andrew Coltee Ducarel (1713-1785),:-bust-length, wearing a short powdered wig and blue jacket with gold braid, signed with a monogram lower right, 'eggshell' background, on ivory, oval 4cm, in a gold case with raised foliate back signed 'DF' (?).
English School Circa 1840-A miniature portrait of a lady, bust-length, with dark curling hair tied high and brown eyes, wearing pearls and diamonds and a blue dress, a pet spaniel at her side; together with a companion portrait of a gentleman, a pair,:- on ivory, each 8.5 x 6.5cm, in red leather cases. [2]
Loading...-
283284 Los(e)/Seite