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Preisdatenbank abonnierenBritish School - Oval Miniature Half Length Portrait of a Gentleman wearing a Grey Jacket and Black Stock, 19th century watercolour on ivory, 7.5cm x 6cm, within an ebonized frame with metal ribbon crest, together with a small group of other miniatures and silhouettes.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
British School - Miniature Half Length Portrait of a Gentleman, watercolour on ivory, indistinctly inscribed and dated 1807 verso, 9cm x 7cm, within an ebonized frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Circle of Godfrey Kneller - Oval Half Length Portrait of a Gentleman (possibly a Portrait of Godfrey Kneller), 18th century oil on canvas, 76.5cm x 62.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of gold and diamond pendant earrings, each shaped circular front star set with a cushion cut diamond, detailed '15', with hook fittings, weight 6.3g, length 2.3cm, and a pair of 9ct gold and shell cameo earstuds, each carved as a portrait of a lady, with post and butterfly fittings, Birmingham 1966, weight 2.6g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lang (A), THE COMPANIONS OF PICKLES, first edition, brown cloth boards, lithographic frontispiece, three lithographic portrait plates, Longmans, Green, And Co, London 1898, with Lang (A), PICKLE THE SPY OR THE INCOGNITO OF PRINCE CHARLES, second edition, 3/4 red leather (spine later bound), marbled boards, lithographic frontispiece, five lithographic portrait plates, Longmans, Green, And Co, London 1897 (2)
Camden (W), BRITANNIA: OR A CHOROGRAPHICAL DESCRIPTION OF GREAT BRITAIN AND IRELAND, TOGETHER WITH THE ADJACENT ISLANDS, 2 vols, second edition, revised, digested, and published, with large additions by Edmund Gibson, Bishop of London, later 3/4 leather with marbled boards (by repute re-bound by Aileen Fox of Blackwell's in 1967), engraved portrait frontispiece, red and black title page, fifty one maps (forty eight by Robert Morden, three by Andrew Johnstone), nine coin plates, two antiquities plates and numerous illustrations in the text, printed for James and John Knapton, John Darby et al, London 1722 (2) NOTE: By repute from the library of Cyril Fox and used when writing THE PERSONALITY OF BRITAIN in 1932
Sleigh (J), A HISTORY OF THE ANCIENT PARISH OF LEEK, IN STAFFORDSHIRE; INCLUDING HORTON, CHEDDLETON, AND IPSTONES, second limited edition numbered '422', grey cloth boards, embossed title and decoration to cover, engraved portrait frontispiece, gilt printed armorial plates, fold out 'Pedigree of Chester...', further colour and monochrome plates and pedigree tables throughout, Bemrose & Sons, London 1883
Wilson (H) and Caulfield (J), THE BOOK OF WONDERFUL CHARACTERS, MEMOIRS AND ANECDOTES OF REMARKABLE AND ECCENTRIC PERSONS IN ALL AGES AND COUNTRIES, red cloth boards, gilt embossed illustration to front cover and spine, hand coloured engraved frontispiece, illustrated title page, sixty one engraved portrait plates throughout, John Camden Hotten, London, undated but believed to be c1869
Edward Frederick Green (British, c.1767-1851),Portrait of a red cloaked girl sitting beneath a tree,Oil on canvas,Signed and dated 1830 to tree trunk right hand side,62cm x 74.5cm,Gilt framed CONDITION REPORT:The paint surface appears to be in good overall condition, showing expected fine surface craquelure (most noticeably to the green of the trees), but no visible losses. There is evidence of restoration to the areas above the girl's head, which matches up to a repair to the back of the canvas. The picture is dirty and would benefit from cleaning. The gilt finish to the frame has been somewhat unevenly applied, with a stippled base colour underneath.
JULIAN OPIE (London, 1958)."Modern towers, 2018.Set of five screen-printed sculptures on cardboard.Very limited edition sculptures, created expressly for the artist's exhibition at the National Gallery of Victoria, Melbourne Australia.Sizes: 146 x 27 x 27 cm; 139 x 30 x 23 cm; 124 x 26 x 26 cm; 121 x 33 x 25 cm; 111 x 33 x 26 x 26 cm.Installation consisting of five screen-printed sculptures in the shape of five skyscrapers. The pieces made of cardboard present an aesthetic of simple lines, based to a certain extent on graphic design. These pieces, which appear to be serial, although they are not the same, go beyond simple sculpture, as they allow the spectator to enter a new space created by the artist. It is possible to inhabit the group of sculptures that manage to delimit an artistic space, offering an aesthetic and experiential experience.Opie began his artistic training at Goldsmiths, University of London, where he graduated in 1982. It is one of the most important art centres, the birthplace of the Ybas, where Opie trained under the teachings of the renowned painter and conceptual artist Craig-Martin. Opie has exhibited nationally and internationally in important institutions and galleries. Highlights include solo shows at the National Gallery of Victoria (2018/19), Sakshi Gallery in Mumbai (2012), Lisson Gallery in Milan (2011); Institut Valencià d 'Art Modern in Valencia (2010), Museum of Applied Arts, Vienna (2008), City Hall Park (Public Art Fund), New York (2004) and Städtische Galerie im Lenbachhaus, Munich (1999).His themes have been described as "engagement with art history, use of new technologies, obsession with the human body" and "working with one idea in different media". The artist has reflected on his views on his work "I often feel that trying to make something realistic is the only criterion I can be quite sure of. Another criterion I sometimes use is, would I like to have it in my room? And occasionally I use the idea, if God allowed you to show him a portrait to judge you, would this really be it?" Today his work is in important collections both privately and publicly. His work can be found in the Portrait Gallery in London, the Tate, the Museum of Modern Art in New York (MoMA), the Victoria and Albert Museum, the Arts Council, the British Council in London; ICA Boston, the Essl Collection in Vienna, the IVAM in Spain; the Israel Museum in Jerusalem and the Takamatsu City Art Museum in Japan.
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).Ink on paper, in which the artist represents one of his famous female silhouettes. The woman is dressed with large floral headdresses, which gives rise to the interpretation of the same as representations of Flora, a theme that was recurrent in the life and work of the author.René Portocarrero is best known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
A First World War period bronze memorial plaque, detailed 'James David Waghorn', together with his seaman's travel box and a black and white portrait photograph by Munns Gravesend. Note: James Waghorn served as an ordinary seaman in the Royal Navy and died 31st May 1916 aboard HMS Chester.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of early/mid-20th century items of Royal Navy interest belonging to C.J. Wonnacott, Petty Officer, 115491, including identity tag, various items of uniform, including cap, cloth badges, buttons, a large album of postcards, probably collected on his travels, and a group of flags, together with a small collection of items of related family interest belonging to C.J. Wonnacott, including a sailor's free gift box, sent from Chatham, Kent, by Mrs Wonnacott, and two framed family portrait photographs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A bronzed portrait bust of Mohandas Gandhi, dated 1995, indistinctly signed verso, and with presentation and commemorative plaques to the plinth, 37cm high overall, the bust 29.5cm highProvenance: The 1st Earl Mountbatten of Burma, and thence by descentCondition Report: The plaque reads:MAHATMA GANDHI (1869-1948) Apostle of Peace, Non-Violence and Humanity Presented by H E Dr L M SINGHVI High Commissioner for India In Commemoration of Mahatma Gandhi's 125th Birth Anniversary Year Gifted by JAMNALAL BAJAJ FOUNDATION India 1995The bronze has a matt and loose worked quality with a rough and slightly pitted finish.The plinth and plaque have scuffs, scratches and knocks consistent with age and use.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
CONTINENTAL SCHOOL circa 1822 an oval miniature watercolour portrait on ivory - Philip Patton Blyth age 19 and taken in Antwerp 1822, in velvet frame (damaged), but the back frame bearing the original handwritten title on a label Provenance: Lot 407 in the sale at Gyrn Castle Llanasa Holywell July 17th & 18th 2006 on behalf of Sir Geoffrey Bates
EARLY CRICKETa charming naive portrait of a child clutching a cricket bat, with an autumnal backdrop of trees and foliagesigned verso 'J. Marshall', possibly the sitter or artist, along with the date 1859, oil on canvas73 x 58cm, framedCondition report: Craquelure throughout, generally good condition.Some overpainting, relined, scratch to lower right. See additional images.
A scrimshawed and polychromed whale's tooth, late 19th century,engraved on one face with a full length portrait of a girl wearing a himation and the reverse with a head and shoulders portrait within leafy borders, 6in (15cm) high Footnotes:Provenance:See provenance of previous Lot.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A set of twelve black basalt profile portrait medallionsin the Wedgwood style, probably late 19th / early 20th centurydepicting various illustrious Greek and Roman historical and philosophical figures, including Octavia, Valeria, Cassandra, Marc Anthony, Aristotle and Brutus, all encased within polished brass frames with circular suspension loop, 7.3cm high overall including suspension loops (12)For further information on this lot please visit Bonhams.com
An Italian carved marble classical male profile portraitprobably Roman, late 18th / early 19th centurythe bearded sitter looking to dexter wearing a ribbon tied laurel wreath, later mounted on a green plush lined ebonised frame, the relief 10cm x 7cm, the frame 20cm x 17.5cm overallFor further information on this lot please visit Bonhams.com
Iohannes Haughton (probably John Houghton, Irish, fl. 1741-1775): A mid 18th century sculpted white marble bust of Jonathan Swiftthe sitter looking to dexter wearing a cap over his curling long hair, his shoulders clad in drapery over an open chemise, mounted on a moulded square plate and plain square tablet socle inscribed SWIFT, and a further plain square tablet signed Iohannes Haughton Sculpt:, the whole raised on a later black painted composition and wood column pedestal and moulded square base, the bust, socle and signed square tablet, 84cm high, the pedestal, 134cm high (2)Footnotes:Please note that Robert Swift was the great great grandson of Jonathan Swift's uncle (Godwin Swift,1627-1695) and it was Godwin Swift who raised Jonathan when his own father died prematurely.ProvenanceRobert Swift Esq. (d. 1842), great great grandson of Jonathan Swift's uncle Godwin Swift, 1627-1695 who raised the writer when his own father died prematurely. By repute displayed at the Swift ancestral home, Swiftsheath, Kilkenny, Ireland. Presented in 1847 to Godwin Swift Esq., cousin of Robert Swift.Thence by descent to Godwin Swift Esq., grandfather of the present owner and author of a handwritten family record (one of a several) compiled between 1928 and 1940, whereby the bust is mentioned, possibly (by family tradition) via a George Swifte Ewbank Briggs Esq., who apparently also resided at the family home, Swiftsheath, until 1971. Thence by descent to the present vendor. Mention of the history of this bust and its sculptor John Houghton is made in the hand written family records of Godwin Swift, grandfather of the present vendor, where it can be traced back to his ancestor Robert Swift, who graduated from Trinity College Dublin in 1776, was married in 1781 and died in 1842. In these records a suggestion is also made that Houghton's bust may have been derived from the plaster death mask taken from Swift at his passing. However, it is likely further archive research on the subject may bring something more conclusive to light. Copies of the relevant pages of the family records are available on request and can be viewed online at www.bonhams.com. The attribution to the Irish sculptor John Houghton relates to the name Iohannes, which is the Greek translation of Johannes, itself a translation of John and the Irish surname Haughton, which is derived from its English equivalent, Houghton.John Houghton is recorded in 'A Dictionary of Irish Artists' published in 1913 with the apparent following listing:'A clever artist working in Dublin in the middle of the eighteenth century, principally as a woodcarver. In 1741 the Dublin Society awarded him a premium of fifteen pounds for the best piece of sculpture submitted to them; and in 1742 twenty pounds for another piece, 'St Paul Preaching at Athens' after Raphael's cartoon. This, wood panel is now at Curraghmore, Co. Waterford.Houghton did the carved oak frame for Bindon's portrait of Swift in the Deanery house, St Patricks, and also collaborated with David Sheehan in the carving of some elaborate church monuments.In 1739, he and John Kelly were paid sixty pounds for work at Carton for the Earl of Kildare, 'the familile arms in ye Pediment in Ardbraccan stone with other decoration of boys, cornicopias, etc' (Account of book at Carton).He was living in Duke Street from about 1761 to 1775, in which latter year he probably died'As John Houghton apparently worked on the carving of a frame for Francis Bindon's portrait of Swift in 1735, which is now in the permanent collection of the National Portrait Gallery, it is possible that he may have decided to record Swift's likeness as a portrait bust around this time. However it is probably more likely that he may have carved the bust to commemorate the great writer and satirist after his death in 1745, possibly after seeing a likeness of the celebrated portrait bust of Swift by Louis Francois Roubiliac (Anglo-French, c. 1705-1762) in 1749 or sometime thereafter.For a similar bust, thought to be Swift and attributed to the Circle of Michael Rysbrack (Flemish, 1694-1770) see Christies, The Murnaghan Collection, 14th October 1991, lot 6.Jonathan Swift (Anglo-Irish, 1667-1745) was a satirist, essayist, political pamphleteer, poet and Anglican cleric who went on to become Dean of St Patrick's Cathedral, Dublin.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
J. Hunter (British, 19th century)The Fawcett family children before Bradford, West Yorkshiresigned, dated and inscribed 'J Hunter Pinxit/AD 1814' (lower left) oil on canvas 199 x 183.2cm (78 3/8 x 72 1/8in).Footnotes:This portrait of the Fawcett family children depicts one of Yorkshire's most important textile manufacture and wool merchant families of the time, being highly regarded in the town of Bradford during this period. Richard Fawcett, the children's father, was known as 'King Richard' to the residents of Bradford due to his involvement in the development of the city through building new factories and creating numerous jobs in the area. The Fawcett family also had a strong attachment to the Church of England, highlighted in this painting by the presence of Bradford Old Parish Church which can be seen in the distance. A portrait of Richard Fawcett, believed to be painted by the same artist, J. Hunter can today be found in the Cartwright Hall Art Gallery, Bradford.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Of Scottish interest: A carved white marble portrait bust of a gentleman, by repute once believed to depict Sir John Turing, 1st Baronet of Foveran (c1595-1662)probably late 17th / early 18th centurycarved full face wearing a long wig, jabot and gown, raised on a turned socle, 68cm high Footnotes:By repute, this bust (traditionally identified as depicting Sir John Turing, 1st Bart of Foveran , c1595-1662) stood for many years by the village well which gave the Parish its name. Foveran translates as Fobharan in Scottish Gaelic and Fobhar is the anglicised version of the Irish name that signifies 'the town of the water-springs'. According to the vendors (Foveran Church of Scotland) it then stood in the hall of Foveran House and was subsequently bought by Sir John Leslie Turing, 11th Baronet (1895-1987) from the executors of the McKenzie family and gifted to the church in 1979.The church has been in recent contact with the current Baronet and from a portrait believed to depict the 1st Baronet still in the family the bust bears no resemblance to the portrait which shows the 1st Baronet sporting a beard. Therefore, the traditional attribution is likely to be spurious. However, if the Turing connection is to be believed it is likely to depict the 4th or 5th Baronet.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Jules-Bernard Gélibert (French, 1834-1916): A bronze model of a bloodhound entitled 'Druid'the seated dog on naturalistic oval base signed Jules Gélibert and with inscribed PEYROL foundry mark, mid-brown patination, 34.5cm high Footnotes:Primarily known as a painter, Gélibert won medals from 1869-1900, including bronze medals at the Expositions Universelle of 1889 and 1900.The vogue for animalier portraiture in France in the late 19th century was encouraged by royal patronage and is illustrated with Carpeaux's celebrated portrait of the Prince Imperial with his dog Nero, Frémiet's depiction of Napoleon III's hounds 'Ravageot' and 'Ravageole' along with the present lot.The subject, 'Druid' was a favorite pet of Charles Louis Napoleon Bonaparte (d.1873) who became Napoleon III in 1852. Another Peyrol cast of this same subject inscribed 'DRUID S.A.J. le Prince Napoléon' is illustrated by Christopher Payne's reference'Animals in Bronze, Woodbridge' (1986, p. 215, pl. D45). where the author describes it as an 'immensely sensitive and rare portrait' This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A third quarter 19th century French gilt bronze and porcelain panel inset clock garniturein the Troubadour style, the movement signed and numbered Leroy & Fils A Paris, 5673the domed pedestal clock case with chain hung finials, figural warrior and pierced decoration, the panels and the 3.5' sectional Roman dial painted with historical military trophies, the footed base centred by an oval portrait of a warrior, the brass twin train movement with outside countwheel striking on a bell, with pendulum and winder, the matching three light candelabra with chain hung covers to the nozzles centred by figures of warriors holding armorial banners, on composite baluster supports and corresponding footed bases, 37.5cm high (3)For further information on this lot please visit Bonhams.com
Attributed to Thomas Compigne (Franco-Italian, fl. late 18th century): A collection of six Louis XVI embossed gilt, silver and polychrome tinted and varnished, decorated foil pictures of topographical views together with a similar circular embossed gilt profile miniature bust portraitcirca 1775-1790the topographical panels comprising three rectangular pictures comprising a view of The Chateau De Saint Hubert, a view of The Palais Bourbon and a view of The Palais Royal, the latter two within decorative mounts, and three circular topographical views comprising two pictures depicting views of The Chateau Des Tuileries and a further unknown view of a river bank scene with buildings and a ruin, the bust portrait depicting a profile of a gentleman, possibly Voltaire, all mounted in later glazed frames, the view of The Chateau De Saint Hubert probably trimmed, the rear backboard of its frame with old titled ink inscription dated 1871 and with references to Madam Dubarry and the Baron de Pauville, largest two pictures, 28.cm x 35.5cm overall, the smallest circular profile portrait, 8.5cm diameter overall (7)Footnotes:Famed for his jewel-like pictures, Thomas Compigne depicted castles, town views, pastoral scenes and real and exotic imagined 'capriccio' harbour and landscape views executed in gold, silver and various coloured varnishes on pewter foil or tortoiseshell grounds. Originally from Italy, Compigné worked in the Rue Grenetta, Paris at the 'Roi David' and attracted a fashionable clientele with his precious works of art which include caskets and all manner of 'objets de vertu'. He was listed in various contemporary gazettes published between 1766 and 1773 which described his wares as 'très beau' complimenting on their precious metallic and polychrome decoration and his his success was further re-enforced in 1773 when Compigné presented Louis XV with views of his favourite hunting lodge, Saint-Hubert which he subsequently reproduced in an edition series for his patrons.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
After Alfred Emile O'Hara Nieuwerkerke (French, 1811-1892): A patinated bronze equestrian portrait figure of William I, Prince of Orangethe sitter depicted clad in armour with feathered hat and ruff, holding a scroll, the horse raised on oval base and corresponding shallow cream marble plinth, 84cm high overallThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
An early 20th century carved marble portrait relief of a young manprobably British, circa 1920the sitter looking to sinister with open necked shirt and swept back hair in integral moulded, monogrammed to the top right corner, possibly 'TE' 59cm high x 42cm wideThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A 'Grand Tour' style carved white and variegated marble miniature bust of an Emperorthe bearded male with draped shoulders on turned socle base, together with a carved marble profile portrait relief depicting a classical male, perhaps 19th century, later mounted within a rosewood rectangular frame, and a moulded marble dust resin model of a classical male head, on circular marble plinth base, the bust, 24cm high (3)For further information on this lot please visit Bonhams.com
Circle of George Cole (British, 1810-1885)Portrait of chestnut and piebald horses bears inscription 'portraits of horses the property/of W A Nance jun./painted by Geo Cole/Portsmith/1840' (on the reverse)oil on canvas75.9 x 63.5cm (29 7/8 x 25in).For further information on this lot please visit Bonhams.com
British School, 19th CenturyPainting of James McHenry and guests before Oak Hill Lodge, Kensington oil on canvas81 x 116.2cm (31 7/8 x 45 3/4in).Together with two visitors' books from the Lodge, one commemorating the visit of Napoleon III and the Empress Eugenie on 10 July 1871.Footnotes:James McHenry was appointed contractor for the Atlantic Western Railway when it came into financial difficulties in 1858. It had begun in 1853, and James McHenry was seen as having 'saved' the project by arranging finance in Europe, so there could be some crossover appeal between the American, British, and European markets. It was McHenry who handed over the project to engineer Thomas Kennard, who saw it completed in 1864. Oak Hill Lodge is just west of Holland Park (and is now a street called Oakwood Court, W14) and was built in 1855 and bought by James McHenry in 1862. It was later demolished by new buyers in 1900, and replaced by mansion blocks.Also included in the lot are two visitors' books from Oak Lodge, containing some 85 signatures reflecting the international nature of the guests at Oak Lodge, with illustrious visitors from Spain, Canada and the United States; one commemorating the visit of Napoleon III and the Empress Eugenie on 10 July 1871, with illuminated title page comprising a coat-of-arms, signed by both, portrait cabinet photographs of Napoleon III, the Empress Eugenie and their son, the Prince Imperial, affixed (one signed and inscribed 'A Mme MacHenry Eugenie'), also with the signatures of Maria Cristina de Borbon and Antonio d'Orleans under an illuminated coat-of-arms, later signatures include John D. Rockefeller and family and William Henry Vanderbilt and family, with various press cuttings, autograph letters and ephemera; the second including the signatures of opera singer Clara Louise Kellogg and the renowned Spanish Arabic scholar Pascual de Gayangos, amongst others, 22 leaves, watered silk endpapers, red calf gilt with foliate-design titles ('Oak Lodge Kensington/ August 1862' and 'Oak Lodge Kensington') and coat of arms applied in gilt metal, folio (320 x 240mm.), 1871-1890 and 1862-1889.For further information on this lot please visit Bonhams.com
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![* Margo Veillon [1907-2003]-Nubian Portrait,:-signed and dated 1962mixed media, 42 x 34cm.](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/32974670-d1ce-4db6-97f8-ae2800cade5b/468x382.jpg)
![* John Randall Bratby [1928-1992] - Self-portrait playing the trumpet in the scullery, Chiswick,:- signed and dated John Brat](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/052cf92b-7cc7-41fd-9a70-ae2800bf0593/468x382.jpg)
![After Andy Warhol [1928-1987]-Portrait of Maurice,:-Scottish National Gallery poster, 199861 x 80cm, together with a folio of](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/cd138355-94b8-4d16-86f7-ae2800cad187/468x382.jpg)
