Federico Zuccari, um 1543 – 1609 Ancona, Nachfolge desPORTRAIT DES SIR HUGH MIDDELTON (UM 1560-1635) Öl auf Leinwand. Doubliert.118,5 x 89,5 cm. Verso auf zusätzlichem Leinwandkleber bezeichnet „Sir Hugh Middelton by Frederego Zuccero, died 1609“. In dekorativem Rahmen. Vor dunklem Hintergrund das stehende Dreiviertelbildnis des bekannten Sir Hugh Middelton. Er trägt ein langes elegantes Gewand, darüber eine leuchtend rote Schaube, teils pelzverbrämt, einen großen runden Spitzenkragen sowie feine Spitze an den Ärmelenden. Um den Hals hat er eine schwere, bis zur Mitte der Brust reichende Goldkette hängen und in seiner rechten Hand ein paar wertvolle, mit Goldfäden bestickte Handschuhe. Mit seiner linken Hand stützt er sich auf einem Pult ab, auf dem ein ledergebundenes Buch liegt. Mit seinen feinen Gesicht, dem weißen Bart, den leicht geröteten Wangen und seinen dunklen glänzenden Augen schaut er würdevoll aus dem Bild auf den Betrachter heraus. Im Hintergrund links ist zudem das Familienwappen derer von Middelton zu erkennen. Feines repräsentatives Portrait. Vereinzelt Retuschen, am Rand teils leicht berieben.Anmerkung: Der Maler hielt sich von 1574 sechs Jahre am Englischen Hof als Portraitmaler auf. Da Middelton zu diesem Zeitpunkt noch zu jung war, muss das Gemälde wesentlich später entstanden sein. (1290371) (18)
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Lorenzo Pasinelli, 1629 Bologna – 1700 ebenda, zug.BILDNIS EINER VORNEHMEN DAME MIT HÜNDCHEN Öl auf Leinwand. Doubliert. 126 x 104 cm. In vergoldetem Prunkrahmen.Vor schwarzem Hintergrund sowie einem roten, zur linken Seite gerafften schweren Brokatvorhang das Dreiviertelbildnis einer eleganten jungen Dame in einem eng gegürteten, überwiegend schwarzen Kleid. Am Kragen und über den Schultern mit reicher weißer Spitze, dazu mit reichen mehrfarbigen, teils goldenen Bordüren, Verzierungen, Knöpfen und Schleifen, die auch die Ärmel und den Bereich der Unterarme zieren. Dazu eine dunkle Kopfbedeckung mit Schleifen linksseitig und Schmuckbroschen; des Weiteren eine Perlenkette um den Hals, Ohrgehänge und jeweils einem Ring auf jeder Hand. Sie hat leicht rötliches Haar mit sorgsam herabhängenden Locken, ein feines zartes Inkarnat mit rötlichen Wangen und mit ihren glänzenden braunen Augen schaut sie würdevoll aus dem Bild auf den Betrachter hinaus. Ihre linke Hand ruht auf einem kleinen weißen struppigen Hündchen mit braun glänzenden Augen, das auf einem Tischchen mit rötlicher Decke hockt. Dahinter erkennbar ein größerer, rot gedeckter Tisch mit einer Prunkvase und einem prachtvollen Gebinde mit roten, weißen und gelben Blumen, darunter Anemonen, Chrysanthemen, Tulpen und Narzissen. Repräsentative Darstellung mit prachtvollen, teils minutiös herausgearbeiteten Details in harmonischer Farbgebung, die Frau durch ihre Kleidung mit weißer Spitze besonders vor dem dunklen Hintergrund hervorgehoben. Minimale Retuschen. Am Rand teils leicht durch Rahmung berieben. Teils kleinere Rahmenschäden. (1290441) (3) (18)Lorenzo Pasinelli,1629 Bologna – 1700 ibid., attributedPORTRAIT OF A GENTLEWOMAN WITH LITTLE DOG Oil on canvas. Relined.126 x 104 cm.
Silberplatte auf Miguel de CervantesDurchmesser: 80 cm. Gewicht: 1900 g. Fahne mit drei Pseudopunzen. Spanien, 19. Jahrhundert.Silber, getrieben, ziseliert. Sehr weiter Spiegel mit leicht ansteigendem Bord und horizontaler Fahne. Zentraler Lorbeerblatttondo mit eingestelltem, nach links gerichtetem Brustportrait des bekannten Schriftstellers Miguel de Cervantes (1547-1616). Um ihn herum angeordnet trapezförmige Kartuschen mit Szenen aus seinem Hauptwerk El ingenioso Hidalgo Don Quijote de la Mancha, dessen erster Teil 1605 erschien. Fahne mit plastischem Rankenwerk. (12918021) (1) (13)Silver platter of Miguel de Cervantes Diameter: 80 cm. Weight: 1900 g.Flag with three pseudo hallmarks.Spain, 19th century.Silver; wrought and chased. Central laurel leaf tondo with inset half-length portrait to the left of the famous writer Miguel de Cervantes (1547-1616).
Niederländischer Maler des 17. JahrhundertsPRUNKPORTRAIT EINER ADELIGEN DAME Öl auf Leinwand. Altdoubliert. 120 x 89 cm. In geschnitztem und vergoldetem Holzrahmen.Hüftportrait einer jungen, nach rechts gewandten Dame in Hermelin und Spitzenbesatz mit übergeworfenem, golden schimmerndem Samtmantel, der über ihrer rechten Schulter durch eine Prunkagraffe gehalten wird, die mit den Schließen über ihrer Brust korrespondiert. Ihre Perlohrringe mit einem Perlband in ihrer Perücke in Verbindung stehend und sich vor dem karminroten Ehrentuch, das die Rückvorlage bildet, absetzend. Unten mittig mit Farbverlust, grobes Craquelé. Rest. (12811813) (2) (13)Dutch School of the 17th century MAGNIFICENT PORTRAIT OF A NOBLEWOMAN Oil on canvas. Old relining.120 x 89 cm.
Giovanni Battista Langetti,1625 Genua – 1676 Venedig, zug.PORTRAIT EINES PHILOSOPHEN Öl auf Leinwand, auf Karton aufgezogen. 59 x 46 cm. In ebonisiertem teilvergoldetem Rahmen. Über einer geometrischen Zeichnung mit einem Zirkel sinnierend ein Mann mittleren Alters mit antikisierendem rotem Umhang und lichtem Haar. Kopfstudien, die Langetti zugeschrieben werden und wurden, sind bekannt, so etwa der Kopf eines bärtigen Mannes (Fondazione Zeri 36518). Rest. (1291882) (3) (13)
Miniaturmalerei des 19. Jahrhunderts nach Josef Karl Stieler (1781 – 1858) PORTRAIT DER AUGUSTE HILBER AUS DER SCHÖNHEITENGALERIE KÖNIG LUDWIGS I VON BAYERN9,5 x 8 cm.Hinter Glas in dekorativem floralem Metallrahmen.Rahmenmaß: 15 x 13,5 cm. Seitlich rechts unten bezeichnet „N. Stieler“. (1291797) (1) (18)
Abraham Janssens, 1575 Antwerpen - 1632 ebenda, zug.PORTRAIT EINER DAME MIT WEINGLAS UND AFFENÖl auf Leinwand. Doubliert.108 x 88 cm.In breitem ornamental verziertem Rahmen.An einem weiß gedeckten Tisch sitzend, mit einer Prunksaliere und Silber- bzw. Zinngeschirr, eine antikisierend gekleidete junge Frau mit Perlenschmuck ein Weinglas haltend, ihr Tuch von einer Portraitagraffe gehalten, zu ihrer Rechten ein Affe eine Kirsche essend. Rest. (1290543) (3)
Anton Raphael Mengs, 1728 Aussig – 1779 Rom, zug.BILDNIS EINES JUNGEN MÄDCHENS Pastell auf Karton. 38 x 29,5 cm. Im Passepartout, hinter Glas in vergoldetem Rahmen.Portrait des jungen Mädchens mit blondem lockigen Haar und weißer großer Haube, die durch eine hellblaue gebundene Seidenschleife gehalten wird. Sie trägt ein hellblaues Gewand und einen weißen dünnen Brustschal. Sie hat ein weiches zartes Inkarnat, leicht gerötete Wangen, rötliche Lippen und mit ihren strahlenden blauen Augen schaut sie direkt auf den Betrachter aus dem Bild heraus. Äußerst qualitätvolle Malerei mit liebevoller ausdrucksstarker Physiognomie. Kleinere Rahmenschäden. (1280423) (18)Anton Raphael Mengs, 1728 Aussig – 1779 Rome, attributedPORTRAIT OF A YOUNG GIRL Pastel on card.38 x 29.5 cm.
Joachim von Sandrart, 1606 Frankfurt am Main – 1688 NürnbergBILDNIS EINER ADELIGEN DAME MIT DEN ATTRIBUTEN DER HEILIGEN CÄCILIA Öl auf Leinwand. 103 x 82 cm. Beigegeben ein Gutachten von Peter van den Brink, Aachen, das Gemälde dem genannten Künstler zuschreibend.Dreiviertelbildnis einer an einer Hausorgel sitzenden jungen Adeligen, nahezu in Lebensgröße wiedergegeben. Der Blick dem Betrachter entgegengerichtet. Die rechte Hand hält sie auf die Tastatur, die linke an den Busen, gleichzeitig einen dünnen Schleier haltend, der von ihrer Haube herabzieht. Ihre höfische Kleidung ist insofern idealisiert, als sie hier ein rotes Kleid mit goldfarbenem Brokatmantel trägt, innen blau gefüttert, ein Kleidungsstück, das in dieser Erhöhung auch bei Bildnissen der Heiligen Cäcilia - Patronin der Kirchenmusik - zu finden ist. Dennoch trägt sie eine Perlenkette mit Perlenohrring und am Kleidersaum eine Goldbordüre mit Edelstein-Agraffe. Ihr Haar fällt in dunklen Locken zur Schulter herab. Die Orgel ist kunstvoll gebaut, die Pfeifen zwischen vergoldeten Atlanten, die die Abdeckung tragen. Im Hintergrund erscheint eine jugendliche Engelsfigur. Insgesamt mit Kleid und Flügel in deutlich zarteren Farben wiedergegeben, was diese Gestalt als „Erscheinung“ wirken lässt. Der Engel hält ein Notenblatt und deutet mit dem rechten Zeigefinger auf die Noten um der adeligen Musikerin die musikalischen Hinweise zu geben. Gedanklich ist dieses Motiv zu verstehen als himmlische Eingebung der Musik und Komposition. Im Hintergrund ein grünes Velum, leicht nach rechts zurückgezogen mit Blick auf eine Bogenarchitektur mit kurzem Landschaftsausblick auf eine Baumkrone.Das Gemälde wurde früher Gerard Deleres zugeschrieben, es erfolgte jedoch durch Peter van den Brink eine weitaus überzeugendere Zuordnung an Joachim von Sandrart. Die Zuschreibung stützt sich vor allem auf stilistische Vergleiche mit den bekannten Monatsbildern, die Sandrart für den bayerischen Herzog Maximilian I in den Jahren 1642-44 schuf, die sich heute im Schloss Schleißheim befinden. In Sitzhaltung, Körperausführung und anderen Details lassen sich Parallelen zu mehreren Gemälden dieses Monatszyklus finden, allerdings ist nach Meinung des Gutachters das Gemälde nicht in München, sondern nach seiner Rückkehr in Amsterdam 1644 entstanden. Sandrart, der zunächst in der Druckgrafik bei Isselburg in Nürnberg arbeitete, danach bei Sadeler in Prag, hielt sich zwischen 1624/25 in der Werkstatt von Gerard Honthorst in Utrecht auf, lernte 1627 Rubens kennen und begann nach einem Aufenthalt in London 1629 seine Reise nach Italien, wo er sich 1632 in Rom niederließ und dort weitere acht Jahre blieb. Nach Vermutung von Van dem Brink könnte es sich bei der Darstellung um Alida Bicker handeln.Literatur: Christian Klemm, Joachim von Sandrart: Kunstwerke und Lebenslauf, Berlin 1986. (1281451) (10)Joachim von Sandrart,1606 Frankfurt on the Main – 1688 NurembergPORTRAIT OF A NOBLEWOMAN WITH THE ATTRIBUTES OF SAINT CECILIAOil on canvas.103 x 82 cm.Accompanied by an expert’s report by Peter van den Brink, Aachen attributing the painting to the artist.Three-quarters format portrait of a young noblewoman sitting by a house organ almost in life size format. Van den Brink believes this could be a depiction of Alida Bicker.Literature:Christian Klemm, Joachim von Sandrart: Kunstwerke und Lebenslauf, Berlin, 1986.
William Magrath (1838-1918)The Sleeping ShepherdWatercolour, 48.5 x 58cmSigned and dated 1875William McGrath was born in Cork and was educated at the Blue Coat School before moving to the Cork School of Art. It is thought he stowed away on a ship to New York and gradually made a name for himself as a painter of genre and landscape subjects. He made several return trips to Ireland circa 1879 into the early 1880’s. There were three pictures included in the 1883 Cork exhibition - ‘’Thinking it Over (The Land Question)’’, ‘’In the Green Fields of Erin’’ and ‘’The Seaweed Girl’’, which was included in the Whipping the Herring exhibition at The Crawford Gallery in 2006. Magrath is represented in several museums in the US, including the Metropolitan Museum in New York, while his portrait of fellow Cork Painter Thomas Hovenden is in the Museum of Fine Arts in San Fransisco. There are nine works by McGrath in the Crawford Art Gallery including ‘’A Son of the Soil’’.
Edward McGuire (1932-1986)Barn OwlOil on board, 30 x 22cm (11¾ x 8¾'')Signed with initials and dated (19)'85; also signed, inscribed and dated 1985 versoEdward McGuire’s paintings are unmistakable for their slightly uncanny, surreal quality. Their dreamlike character emerges, almost paradoxically, from the sense of heightened reality he achieves in his portrait and still life subjects. The latter consisted chiefly of taxidermal birds, particularly owls, and occasionally dead game birds.McGuire was a son of the charismatic Senator Edward McGuire, a high profile sportsman and at the time owner of Brown Thomas. Despite fragile health in his early years, the young Edward grew up to be a sports enthusiast himself. Half-hearted efforts to guide him towards the family business never gained traction. He studied art history, then painting, in Florence and Rome – with a subsequent spell at the Slade in London, where he came into contact with Lucian Freud. Freud and a good friend of his, the Irish painter Patrick Swift, were by far the most important influences on McGuire’s painting.Like Freud, he combined an often bohemian lifestyle with a focused commitment to his work and, again like Freud, he was a slow, painstaking worker: to complete four paintings a year was a good average, he reckoned. Many consider him to be the best Irish portrait painter yet. He had an affinity for poetry and poets (many, including Seamus Heaney, John Montague, Michael Longley, Michael Hartnett and Paul Durcan feature in his impressive roll-call of subjects). But it’s fair to say his heart was in his bird paintings.He was just 20 when he met the Natural History Museum’s venerable taxidermist and acquired three birds from him, an owl, a lapwing and a duck. That same owl is probably the bird in this and several other paintings. “I am not a genius…” McGuire wrote, “I know my limitations and that is why I lay so much stress on the technical side.” He painted with reference to his own colour dictionary and tonal scale, compiled over a ten-year period and, he noted, regardless of subject, each painting was for him a precise construction and an exploration of colour and tonal values.Aidan Dunne, October 2021
Basil Blackshaw HRHA RUA (1932-2016)DogPastel and oil on paper, 51 x 69cm (20 x 27'')SignedProvenance: Formerly in the collection of Independent News and Media (INM).Literature: Basil Blackshaw - Painter, Brian Ferran, plate 29, page 101Animals – particularly horses and dogs – were central to Basil Blackshaw’s life and work. A life-long country dweller who never really took to the city, he was the youngest of seven siblings. His father was a horse trainer, and the household was steeped in equestrian culture, with horse people and dog breeders constantly passing through, and the animals themselves ever-present. Blackshaw’s art is always specific: places, people and animals are never just generic presences. In the 1970s he made paintings based on the connections between human and animal, often concentrating on the intense rapport they can develop. By the end of the decade, he had begun, like Stubbs, to consider the animals as solo portrait subjects in their own right, usually depicted in the open air, without additional, distracting detail, and giving them – horses, dogs and cockerels bred for illegal fights - the kind of attentive consideration normally devoted to humans.He made a series of paintings of lurchers and of Staffordshire Bull Terriers, sturdy, stocky, muscular dogs of strong character, thought to have been bred as fighting dogs (long outlawed) but always valued as pets. Blackshaw’s vivid, precise accounts of the animals, as here, are clearly based on long familiarity with and regard for the breed. His closely related painting, Pair of Stafford Terriers, featured in the international touring exhibition, Six Artists from Ireland, in 1983.Generally regarded as one of the finest Irish artists of the 20th century, Blackshaw was born in Co Antrim (the family soon moved to Co Down). Precociously gifted, he was accepted at art college aged just 16 and went on to achieve great critical and public acclaim. His painting is unfailingly honest, direct and unaffected. It remained rooted in his immediate, rural life and surroundings: landscape, animals, the human figure and portraits were his subjects. His work is included in numerous public and private collections.Aidan Dunne, October 2021
Attributed to Frans Pourbus the Younger (Antwerp 1569-1622 Paris)Portrait of a gentleman, bust-length, in an embroidered doublet with a black sash and a ruff oil on canvas58.3 x 46.6cm (22 15/16 x 18 3/8in).in a Sansovino frameFootnotes:ProvenancePrivate Collection, UK, since 1999This 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
George Romney (Beckside 1734-1802 Kendal)Portrait of Henry Barnes (1730-1788), half-length, in a buff coloured coat and a navy waistcoat with gold trim oil on canvas76 x 63.2cm (29 15/16 x 24 7/8in).Footnotes:ProvenanceThe sitter, and thence by descent to Mr G. Barnes, by whom given to his distant cousinLiteratureA. Kidson, George Romney. A Complete Catalogue of his Paintings, London, 2015, p. 51. cat. no. 54, ill.See the note for lot 9.For further information on this lot please visit Bonhams.com
George Romney (Beckside 1734-1802 Kendal)Portrait of a lady as Comedyoil on canvas 89.1 x 70.3cm (35 1/16 x 27 11/16in).Footnotes:ProvenanceThe property of the present owner's grandmother since at least the mid-20th century, and by descentPrivate Collection, USAThe present lot is a further version of work by Romney of an Unknown Woman (see: A. Kidson, George Romney. A complete catalogue of his paintings, vol. III, New Haven, 2015, p. 748, cat. no. 1657 (as 'Unknown woman (called 'Mrs Elizabeth Hartley')')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
John Cleveley the Elder (Southwark circa 1712-1777 Deptford)The East Indiaman Alfred in three positions off St Helena signed and dated 'J Cleveley Pinx 1772' (lower left)oil on canvas77.5 x 147.3cm (30 1/2 x 58in).Footnotes:The Alfred depicted here was the first of three East Indiamen to bear this name in the Honourable East India Company's fleet. Built in Barnard's Yard at Deptford for George Willson, Esq. and launched on 29 October 1772, her fine lines, elaborate stern carving and impressive armament of 32-guns, including two stern-chasers, were more akin to a Royal Navy frigate than an Indiaman, and she was widely regarded as a particularly handsome vessel. Measured by her builder at 764 tons, she was 110 feet in length with a 36 foot beam and sported a splendid figurehead of the Saxon King Alfred whom many of her contemporaries regarded as the 'Father of the English Navy'.On 29 January 1773 she set sail from the Downs anchorage bound for the EIC's enclave at Bencoolen, on the island of Sumatra, via Saint Helena, under the command of Captain John Lauder. Arriving off Saint Helena on 1 May to take on water and fresh provisions, she reached her destination on 30 September, where she loaded cargo for home and was back in the Downs on 4 February 1775. A second voyage to Bencoolen followed from December 1776 to August 1778, after which her next two voyages were both to China but with several intermediate calls. Returning home for the last time on 20 June 1786, after an unusually lengthy voyage lasting over four years, she was then sold for breaking, her relatively short career probably due to storm damage which rendered her no longer fit for service.Owned throughout her life by Mr. George Willson, it is likely that he commissioned this portrait of the Alfred to commemorate her completion and what would be her first port of call at Saint Helena the following year.The island of Saint Helena in the South Atlantic was discovered by the Portuguese on Saint Helena's Day, 21 May 1502. Afterwards held by the Dutch, the British East India Company briefly settled there in 1651 and even though the island changed hands again during the Anglo-Dutch Wars in the middle of the century, it had reverted to the British Crown by 1673 when, on 12 December that year, Charles II granted it to the East India Company for use as a port of call for their homebound ships. In 1684, the Company instructed Captain Knox to go to Madagascar to 'procure Negrosse (sic) to bring to St. Helena for the Company's Service thare (sic)', these slaves being intended for domestic use in the growing settlement of Saint James (later Jamestown). The position of the island, especially in comparison with the hostile coasts of west and south-west Africa, was also of great strategic importance on the route to India and ships were often required to transport reinforcements to the garrison there. When, for example, the Suffolk was chartered for this purpose in 1749, it was agreed that her owners were to receive 'for all Soldiers and Passengers carried to ye S[ai]d Island £5 a head' as their fee for the charter.Saint Helena's barren appearance when approached from the sea was in marked contrast to the luxuriance of its many deep valleys, the town and anchorage for the Company's ships being situated below Saint James's valley at the northern end of the leeward side of the island. Apart from drinking water and the obvious shelter from the weather, the island regularly supplied ships with beef and lemons (to combat scurvy) whilst in return, the Company provided Saint Helena with grain which would not grow there.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
Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of Jane Allnutt with her pet spaniel, within a painted oval oil on canvas, unlined61 x 50.4cm (24 x 19 13/16in).Footnotes:ProvenanceLeft by the sitter to her half-brother John Allnutt (1803-1881)Violet Susannah Knox, his daughter Vicesimus John Knox, her sonHolliss Allnutt Knox, his son, and thence by descent to the present ownerThe enchanting subject of this unrecorded portrait by Lawrence is Jane Allnutt (1818-1845), the daughter of one the artist's more significant patrons whose family had made their fortune in the wine and brandy trade in the 18th century. John Allnutt (1773-1863) lived in some style in a palatial home in then-rural Clapham, and used his considerable wealth to buy from the great artists of the day; works by Constable and Turner graced the walls of the family home including the latter's The Devil's Bridge, St. Gothard of circa 1803-4 which bore a label in John's hand recording that he had gifted the painting 'to my daughter Jane.' In addition to a full-length portrait of John by Lawrence, we know he painted several other portraits of the family, amongst which a second study of Jane painted in 1826. Judging from that unfinished portrait (K. Garlick, Sir Thomas Lawrence, 1989, no. 21) we can assume that the present study was painted around 1821-22 when Jane was three or four. Like the 1826 portrait, it has descended through the sitter's family after her death in 1845, the year of her marriage to Henry Carr (1817-1888) at Holy Trinity Church, Clapham. Lionized by the aristocracy, Lawrence was known for his good nature and charm, although his closest friendships were amongst the professional men and their families who were his earliest patrons. Not least of these were the families of John Julius Angerstein, Sir Francis Baring and indeed John Allnutt, who is known to have helped Lawrence in his financial difficulties: £5,000, for example, is said to have been paid to Allnutt following the artist's death.Many of Lawrence's best portraits during the last decade of his life were of children: indeed, his importance in this regard was recently recognised when the National Gallery in London agreed to buy the artist's celebrated Red Boy for £9.3 million. This dazzling tour de force (which was the first painting to be displayed on a British postage stamp) was described by the Gallery this year to be a unique opportunity 'to acquire an exceptionally important painting by one of the finest European portraitists of the early 19th century, which is of outstanding significance for British national heritage.' Previously dismissed as superficial, owing to the apparent facility of his technique, none of Lawrence's followers matched the fresh immediacy of his brushwork, with the possible exception of John Singer Sargent, and today, especially following the 1979 exhibition at the National Portrait Gallery, this great artist's stature has been reappraised: he is now widely believed to have been the finest portrait painter of his generation in Europe. Lawrence's achievement as a painter was based largely on his confidence in his largely self-taught powers as a draughtsman. As appears to have been the case with the present portrait, he usually drew the figure directly on his canvases before applying the paint, rarely producing separate preliminary sketches. His admiration of the great draughtsmen of the past influenced his own work as well as stimulating him to acquire outstanding examples of the work of the Old Masters. Unlike such artists as Sir Joshua Reynolds, who delegated such chores to studio assistants, Lawrence was also remarkable for insisting on choosing the dress, accessories and settings of his sitters with particular regard to the age and concerns of the sitter. This intimate depiction of a close family friend is the perfect example of Lawrence's extraordinary ability and dedication to his art.We are grateful to Peter Funnell and Brian Allen for their assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
George Romney (Beckside 1734-1802 Kendal)Portrait of Mrs Anne Barnes (1741-1829), half-length, in a blue dress with a red sash and white silk wrap oil on canvas76.2 x 63.1cm (30 x 24 13/16in).Footnotes:ProvenanceThe sitter, and thence by descent to Mr G. Barnes, by whom given to his distant cousinLiteratureA. Kidson, George Romney. A Complete Catalogue of his Paintings, London, 2015, p. 51, cat. no. 55, ill.See the note for lot 9.For further information on this lot please visit Bonhams.com
George Romney (Beckside 1734-1802 Kendal)Portrait of Miss Mary Barnes (1745-1822), half-length, in a blue dress with white lace trim, within a painted oval oil on canvas77.1 x 63.9cm (30 3/8 x 25 3/16in).Footnotes:ProvenanceThe sitter, and thence by descent to Mr G. Barnes, by whom given to his distant cousinLiteratureA. Kidson, George Romney. A Complete Catalogue of his Paintings, London, 2015, p.51 cat. no. 56, ill.The following 5 lots depict members of the Barnes household, all painted by George Romney and all of which have remained in the family since they were executed in the 1760s. Pater familias in this group was Henry Barnes (1702-1793); a successful lawyer who was Clerk of the Errors in the Court of Common Pleas and a Commissioner of Bankruptcy and who was also known as Secondary Barnes. This portrait is mentioned by Richard Cumberland in his obituary of George Romney published in 1803 in which he states that it was made shortly after his move to Gray's Inn (see Lit. lot 11). A later inscription on the portrait of Secondary Barnes suggests a date of 1768 for the portrait but Kidson believes the whole group to be a little earlier in the 1760s and, if as Cumberland suggests, they were executed after his move to Gray's Inn they would date to after Romney's return from his trip to Paris in the autumn of 1764. The remaining paintings of Mrs Anne Barnes, wife of Secondary Barnes, and their children and daughter-in-law presumably date to not long after the portrait of the father – Kidson suggests that these were most probably commissioned once the initial portrait had been completed and approved. In a note in the Royal Academy sketchbook (no. 2), Romney made a note those who still owed him money. In this list there is a mention of a 'Mrs Barnse' who still had 6gns outstanding. However, it is not clear whether this refers to Anne, wife of either Secondary Barnes or his daughter-in-law, Anne (née Phillips). For further information on this lot please visit Bonhams.com
George Romney (Beckside 1734-1802 Kendal)Portrait of Mrs Anne Barnes (1708-81), half-length, in a salmon pink dress and a lace bonnet oil on canvas77.2 x 64.1cm (30 3/8 x 25 1/4in).Footnotes:ProvenanceThe sitter, and thence by descent to Mr G. Barnes, by whom given to his distant cousinLiteratureA. Kidson, George Romney. A Complete Catalogue of his Paintings, London, 2015, p. 51. cat. no. 53, ill.See the note for lot 9.For further information on this lot please visit Bonhams.com
Florentine School, 17th CenturyPortrait of a young man in a blue wrap within a carved stone cartouche oil on canvas71.3 x 58.7cm (28 1/16 x 23 1/8in).Footnotes:ProvenanceSale, Christie's, London, 3 February 1961, lot 21where purchased by Agnew's, LondonFor further information on this lot please visit Bonhams.com
COLLECTION OF PORTRAIT MINIATURES, 19TH CENTURY1st: A portrait miniature of a lady, traditionally identified as Lady Emma Hamilton (1765-1815), wearing white dress and veil, (after John Barry, British, active 1784-1827, mid 19th century), painted on ivory, 2nd: A pair of portrait miniatures depicting a young boy and girl, painted on ivory (English School, mid 19th century), 3rd: A tinted photograph of a gentleman called Thomas Hale, circa 1860, by C. T. Newcombe of 135 Fenchurch Street and 109 Regent Street, London, 4th: A 19th century miniature profile of a lady, painted on card, 5th: An early 19th century gold and blue glass enamel portrait miniature frame, 1st, 2nd and 3rd: gilt-mounted within leather travelling cases, 5th: glass chipped and reverse deficient, lengths 8.8cm - 11.0cm (5)Footnotes:The principal miniature is a copy after John Barry's miniature which was derived from George Romney's 1785 oil portrait of Lady Hamilton in which she is seated at a spinning wheel, wearing a white veil (Iveagh Bequest, Kenwood, cat. no.108).Please note, it is not possible to export ivory to the United States.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
![˜[AP] AN ENGLISH SILVER-MOUNTED HUNTING SWORD, WILLIAM KINMAN, LONDON, 1773 with straight blade etched over the greater part](https://cdn.globalauctionplatform.com/5810e383-7ca3-4676-b7c8-ade200b9947a/95c296db-3a49-4db8-8a8e-ade200c38cf4/468x382.jpg)
˜[AP] AN ENGLISH SILVER-MOUNTED HUNTING SWORD, WILLIAM KINMAN, LONDON, 1773 with straight blade etched over the greater part of its surface with scenes from the chase, celestial motifs, foliage and portrait medallions carried by trophies-of-arms on each face, silver hilt cast and chased in low relief, comprising a pair of quillons with globular terminals decorated en rocaille, quillon-block decorated with trophies-of-arms all~ antica, lion head pommel and double knuckle-chain, probably the original, and spirally-carved green-stained ivory grip 56.4 cm; 22 1/4 in blade William Kinman, a prominent London silver hilt maker and a leading member of the Founders~ Company of London, is recorded circa 1728-1808. See Southwick 2001, pp. 159-160. Part proceeds to benefit Westminster Abbey
HORSE FURNITURE OF GENERAL JOHN MOSTYN, CIRCA 1760 velvet housing and holster covers lavishly decorated in silver embroidery, lace and fringe conserved and mounted within a glazed frame the frame: 165 x 139.5 cm; 65 x 55 in Provenance The Hon David McAlpine The set comprises a pair of pistol holster covers and a housing intended to be attached round the edge of the saddle. The appearance of ~golden-khaki~ - rather than scarlet or dark blue - as the colour for officers~ horse furniture is unexpected, but is attested by portraits of the period. Sir Philip Honywood is shown using it in a naive portrait by ~follower of David Morier~ after Bartholomew Dandridge (Christie~s British Paintings, 23 February 1989, Lot 128) and a similarly coloured set also appears in the portrait of Colonel, the Marquess of Lothian, 24th Foot, by David Morier (Sotheby~s Old Masters and British Paintings, 8 December 2016, Lot 106). John Mostyn (1709-1779) was commissioned into Handasyde~s 16th Foot in 1732 but ten years later he had become a captain-lieutenant and lieutenant-colonel in the 2nd (Coldstream) Foot Guards. He fought at Dettingen and Fontenoy during the War of the Austrian Succession, was made a Groom of the Bedchamber by George II and became colonel of the 7th Foot (The Royal Fusiliers) in 1751. Thereafter he held the colonelcies of the 13th Dragoons (1754), 5th Dragoons (1758), 7th Dragoons (1760) and the 1st Dragoon Guards (1763). He served with great distinction alongside the Marquess of Granby in Germany during the Seven Years War.
![[AP] A 1788 PATTERN LIGHT CAVALRY OFFICER~S SWORD with curved fullered blade double-edged towards the point, etched with clas](https://cdn.globalauctionplatform.com/5810e383-7ca3-4676-b7c8-ade200b9947a/8ebe439e-8aba-454a-bbfa-ade8009d192d/468x382.jpg)
[AP] A 1788 PATTERN LIGHT CAVALRY OFFICER~S SWORD with curved fullered blade double-edged towards the point, etched with classical figures, trophies-of-arms, a bust portrait, the crowned Royal arms and cypher and foliage over almost its entire length, iron hilt including a pair of slender rounded langets, knuckle-guard and faceted back-strap, banded wooden grip (half missing), in a 1796 light cavalry trooper~s scabbard with two rings for suspension (chemically cleaned, painted silver throughout) 84.8 cm; 33 3/8 in blade Property from the David Jeffcoat Collection (1945-2020) Part proceeds to benefit Westminster Abbey
Patrick Caulfield (1936-2005)Portrait of a Frenchman, 1971artist's proof, signed in pencil (lower right)screenprint103 x 71cm, unframed.Condition report: 113 – measurement of the work 63.5 - 53.3 cm. measurement of the sheet 103 x 71cm. There is a surface scratch near bottom left (please see extra images via wetransfer link) some surface wear. Otherwise, condition is okay
Anna Airy (1882-1964)Portrait of Mr Pocock, 1908signed and dated (lower right)oil on canvas85 x 91cm. Many who knew her considered Anna Airy one of the most gifted English women artists. She was a prolific painter and mastered a variety of mediums including oil, watercolour, and etching. Her choice of subject matter was as diverse as her mediums, and she was held in high regard for this eclecticism. The Royal Society of British Artists held a ‘jubilee’ exhibition honouring her great talent, entitled Anna Airy: Paintings, Drawings, and Prints in 1952. The current lot is the first of a series of Anna Airy paintings that have come directly from the artist.
William Butler Yeats: 'The Trembling of the Veil', London, T. Werner Laurie, 1922, privately printed for subscribers only, limited edition (233/1000), numbered & signed by Yeats, portrait frontis, leaves uncut, original publishers quarter 'parchment' paper covered boards, printed paper label to spine, dust wrapper, printed paper label to spine. A generally VGC example without the usual darkening of the cream coloured spine
William Y. Darling: 'The Bankrupt Bookseller', Edinburgh, Grant, 1947, 1st collected edition, typed letter signed by author mounted to front pastedown, original cloth, dust wrapper, plus Gilbert H. Fabes: 'The Romance of a Bookshop 1904-1929', 1929, privately printed, the story of the borothers William and Gilbert Foyle, and their great bookshop on Charing Cross Road, London, signed by William Alfred Foyle on half title, portrait frontis + several full page plates as called for, original cloth gilt (2)
(Aubrey Beardsley): 'The Early Work of Aubrey Beardsley', edited H.C. Marillier, London, John Lane, 1899, 1st edition, Japanese Vellum limited edition, one of one hundred and twenty copies only, photogravure portrait frontis of Beardsley plus 157 black & white plates as called for, large 4to, original decorative polished buckram gilt, top edge gilt
A collection of approx. 20 Pottery related volumes, from the library of the late Griselda Lewis, author of "Collectors' History of English Pottery" and the pioneering work on "Pratt Ware" with her husband John Lewis, the typographer and designer, including Wedgwood: The Green Frog Service (The Imperial Dinner Service Commissioned by Catherine the Great, fully illustrated) Cacklegoose Press 1985 Slipcase Subscribers Copy (G.L.) No. 18/350. Eliza Meteyard The Life of Josiah Wedgwood London 2 Vols. 1865/66 Half calf. and many other works on Josiah Wedgwood and his factory including portrait medallions, bas-reliefs, Illustrated Dictionaries etc. Provenance; Griselda Lewis with her bookplate
(Offcut Press, Saint Bernard Press, Leicester School of Printing, Toni Savage), a collection of various Leicestershire Private Press items, including W.M. Powell: 'My Life Halted', illustrated Tony O'Dwyer, Leicester, Toni Savage & Duine Campbell at the Offcut Press, 1967, limited edition, (90/100), numbered, 4 full page ills., [15]pp, original printed wraps; Count Potocki of Montalk: 'Pastorale', illustrated Tony O'Dwyer, Toni Savage & Patricia Harris at the Offcut Press, 1968, limited edition, (111/120), numbered & signed by Toni Savage, 4 ills. by Tony O'Dwyer, [14]pp, original printed wraps; Richard Barton: Portrait of a Monk's Prayer and other poems', Coalville, Saint Bernard Press, 1975, limited edition (120/350), numbered, 42pp, original wraps gilt; 'the great chief sends word', Coalville, Saint Bernard Press, 1977, [12]pp, original printed wraps; 'Ad Laudem Barbari - A Panegyric', Ashby Lane Press, 1986, limited edition, (one of 100 copies only), numbered III to limitation page, Toni Savage ownership signature to half title, frontis by Rigby Graham, [10]pp, original printed wraps; Rita Foreman: 'Hilaritas', Leicester, Offcut Press, 1968, unstated limited edition, [18]pp, original printed wraps; Hans Karl Scholl: 'Landmarks in the Development of Printing and Writing Techniques', Leicester School of Printing, 1971, 57,[1]pp, original patterned paper covered boards, matching dust wrapper; Margaret Ann Hughes: 'fragments of Painted Glass', Leicester School of Printing, 1967, original pictorial wraps; 'Excerpts from Offcut', Leicester, Offcut Press, 1969, original stitched printed wraps; Jack Harris: 'The Battle of Leon an unofficial souvenir', Leicester, 1970, original stitched printed wraps, etc etc. From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations
Walter Crane, montage of items in framed & glazed display, including Autograph Letter Signed dated April 5 1900 "My dear Sir, I have signed your print of 'Rainbow & Wave' as you wish..., & I send it back with a photograph which will give you a much better idea of the picture which I have also signed...Very truly yours Walter Crane", addressed to Alfred Grundy, and on 13 Holland St Kensington W headed paper, housed together with the two aformentioned signed prints (20 x 14cm print recto (as well as letter and small portrait print of Crane; 23 x 17cm signed print verso), framed and double glazed, whole approx 42 x 35cm
Count Joseph Potocki: 'Sport in Somaliland', London, Rowland Ward, 1900, 1st edition in English, limited edition (32/200), numbered and signed by Rowland Ward, "One of the rarest of all African big game hunting books", Czech (Africa) p.133, portrait colour frontis of author from a water-colour sketch by the distinguished Viennese studio of J. Löwy, photographer to the imperial and royal courts, plus 18 photogravures printed on india paper and mounted on light card leaves hinged with linen, 5 of them double page, as called for, lacking some tissue guards, and two tissue guards with child's scribbling, lacks large folding map at end, p.43/44 torn with large part loss affecting text/black & white ill. in text, numerous illustrations to the text, some full-page, most tinted, photogravure plates generally reasonably clean and ok, minimal foxing, but a small number with light tidemark to lower margin and some marginal soiling, one or two other leaves with marginal part loss/closed tears, small number of leaves loose, imperial 4to, original light tan pictorial buckram (bumped and worn/slightly grubby), title gilt to spine and front board, image of "Our Biggest Lion" in black to front board, embossed snakeskin effect endpapers, linen hinges, top edge gilt. A sumptuous work, this volume recounts the 1895 safari of Polish aristocrat and sportsman Potocki and his comrades to Somaliland's Haud region, then into Ogaden. The excellent artwork in the book is from the talented Polish illustrator Piotr Stachiewicz
A collection of books on butterflies, moths and insects, including several volumes 'The Naturalist's Library', edited Sir William Jardine, including James Duncan: 'Entomology Vol II The Natural History of Beetles', Lizars, 1835, portrait, added engraved title +30 hand coloured plates as called for, contemporary cloth gilt, inner joint split, 'Entomolgy Vol V The Natural History of Foreign Butterflies', Lizars, 1837, portrait, added engraved title + 30 hand coloured plates as called for, contemporary cloth gilt, 'Vol I Introduction to Entomology', Lizars, 1840, portrait, added engraved title + 37 hand coloured plates as called for, contemporary cloth very worn, lacks backsript, boards loose; 'Entomology Vol IV The Natural History of British Moths, Sphinxes &c', Lizars, 1836, portrait, added engraved title + 28 (of 30) hand coloured plates, leaves loose, a/f, joints split; plus another worn copy of the same title missing one or two plates a/f; plus an a/f worn copy of 'History of British Diurnal Lepidoptera', 34 mainly hand coloured plates present but lacking title page, frontis, added engraved title, backstrip and top board; plus 7 others butterflies, moths, insects, including 'Insects and their Habitations. A book for children', 1840, Coleman 'British Butterflies', Routledge, [nd], etc (13)
Joe Davis, 4 snooker and billiards 1st editions: 'Improve Your Snooker', London, Methuen, 1936, 1st edition, portrait frontis + 35 diagrams as called for, original cloth, dust wrapper, 'Billiards Up-To-Date', London, John Long, 1929, 1st edition, portrair frontispiece + 16 illustrations from photographs on 15 full page plates as called for, 222pp, original cloth gilt (worn faded as often), 'Advanced Snooker', London, Country Life, 1954, 1st edition, numerous illustrations from photos as called for, original cloth silvered, dust wrapper (wrapper worn), 'My Snooker Book', London, John Long, 1929, 1st edition, 8 ills. + 30 diagrams as called for, original cloth (4)
A large Victorian album containing 16 Cabinet Card portrait photographs and 20 Cartes de Visite, including CdV Benjamin Disraeli (1804-1881), by W & D Downey; CdV Edward Smith-Stanley, 14th Earl of Derby (1799-1869), etc, large 4to, full decorative embossed leather gilt, lacks brass clasp, decorative endpapers, all edges gilt
![W.H. Bartlett, J. Stirling Coyne & M.P. Willis: 'The Scenery and Antiquities of Ireland', London, Virtue, [1841], two vol](https://cdn.globalauctionplatform.com/b1dd3325-e7c3-4d78-a03e-adea00e3bc53/44c0f8d3-bcfb-4694-8379-adec0114fd68/468x382.jpg)
W.H. Bartlett, J. Stirling Coyne & M.P. Willis: 'The Scenery and Antiquities of Ireland', London, Virtue, [1841], two volumes in one, 122 engraved plates as called for (comprising engraved portrait, engraved map, two added engraved vignette title pages + 118 engraved views), 4to, old half calf gilt
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