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Preisdatenbank abonnierenA large framed Oil on canvas Portrait of a rosy-complectioned white haired lady in dark clothing with a white collar and ruched white sleeves and wearing an elaborate brooch set with pearls. Labels verso state: ''A Lady of Dordrecht'', attributed to J.F. Van der Merck, On Canvas, 24'' x 31'' "., & restorers' label: "HERM. RITSCHL Maler - k.u.k. Restaurator, Heugasse 54, Wien, 4/2", "Restaurier Buch Nr. 4491".
A woven woollen rug/wall hanging with portrait of Georgi Dimitrov (first Communist leader of Bulgaria 1946-1949) and a woven woollen rug/wall hanging with portrait of Lenin, together with a metal plaque of Lenin (retrieved from a government building in Kiev) and a small porcelain desk-top portrait of Lenin (4)
* Barber (Thomas, 1768-1843). Portrait of Eliza Wilson née Read (1803-1851), circa 1830, oil on canvas, half-length portrait of a dark-haired young woman with rosy cheeks, wearing a white muslin gown with a pale blue sash around her waist and a pearl and ruby brooch at her neck, seated beside a crimson drape, relined, 76.5 x 63.3cm, gilt moulded frame, 84.7 x 71.5cm, with manuscript notes on reverse 'Eliza Wilson (Read) by Barber. painted at Radford shortly after her marriage. Portrait the gift of her uncle John Read', and 'The artist was Thomas Barber R.A. b. in Nottingham 1768 & died there 1843. Exhibited 12 portraits at the Royal Academy between 1810 & 1829. Restored and reframed in Sheffield. Given to R.E.W. by Cecil H. Wilson', together with 2 further manuscript notes in an envelope marked 'History of the Portrait'Qty: (1)NOTESThe additional manuscript notes accompanying the portrait, one in the hand of the sitter's grandchild, give some details of provenance and state that in 1830 Eliza Read married William Wilson (1800-1866), a cotton manufacturer from Radford, Nottingham. Eliza's father, Joseph Read, owned The Sheffield Smelting Company, founded by his ancestors in 1760. In the 1830s, Joseph found himself in great financial difficulties, largely because of his involvement with the failed Smith's Ironworks in Derbyshire. By 1834, his health failing, he turned for help to his son-in-law. William was reluctant to take on the business, so when Joseph died in 1837, his brother, John Read, undertook the responsibility of saving the company from bankruptcy, acting as manager for 9 years. However, in 1846, the threat of bankruptcy loomed again and this time William Wilson agreed to buy the business. The company was gradually turned around, and the business continued to prosper under the management of Eliza and William's two sons. It is still trading from Royd Mills in Sheffield today, as Thessco, part of the Solpro Group.
* Heap (Mary). Portrait miniature of Caroline Baynham, 1823, oval watercolour on ivory, head and shoulders portrait, half profile to left, of a young lady seated in a landscape, wearing a red walking dress, a white lace collar, and a lace headpiece adorned with flowers, slightly rubbed in places and a little light toning, 8.5 x 6.8cm, contemporary oval frame with flower and ribbon border, contemporary inscription in brown ink on verso 'Portrait of Caroline Baynham - painted by her sister Mary Heap November 1823', 11.4 x 9.6cmQty: (1)
* English School. Portrait of Mary Anne Johnson Headlam, née Sowerby, circa 1880, oval watercolour and bodycolour on ivory, half-length portrait of a seated young woman, wearing a blue and white gown with frilled lace neckline, a double strand of pearls, and a black bow choker, her auburn hair piled in plaits on her head, a few very small edge chips, 10.3 x 8.4cm, oval brass frame, inscribed on verso 'Cecil Headlam's mother, d. of George Sowerby of Putteridge Pk, Herts.', 11 x 9.3cm, together with 13 other miniature paintings, mostly copies after well-known works, e.g. Napoleon with the Murat Family by Louis Ducis, Susanna at the Bath by Jean-Jacques Henner, Diana Bathing (The Fountain) by Jean-Baptiste-Camille Corot, Empress Elisabeth of Austria by Franz Schrotzberg, and Marie-Antoinette with a Rose by Elisabeth Louise Vigée Le Brun, all framed and glazedQty: (14)
* Attributed to Conrad Freyberg (1842-1915). Oval portrait of an Austro-Hungarian Prince on horseback, wearing the uniform of a Hussar, oil on wood panel, 30.1 x 25.2 cm (11.86 x 9.92 ins), gilt frame, Lechertier Barbe & Co, Manufacturers & Importers, 60 Regent Street & Glasshouse Street, London, printed label to versoQty: (1)NOTESThe sitter is believed to be Wilhelm II, last German Emperor and King of Prussia, or possibly his eldest son, Crown Prince Wilhelm.
* English School. Portrait of Frederick Henry Cooper (1827-1869), aged 34, head & shoulders portrait in oil on card, some faint scratches & few cracks, uneven paint surface and light craquelure, pencil identification caption to verso and to rear lining paper, 14.5 x 12.5 cm, gilt moulded frame (chipped & worn to lower edge), 22.5 x 21 cmQty: (1)NOTESFrederick Henry Cooper CB (1827–1869) was a British civil servant who worked with the East India Company. He served as Deputy Commissioner of Amritsar, Punjab, during the Indian rebellion of 1857. He is noted for his ruthlessness and indiscriminate killings of Indian rebels and civilians during the 1857 uprising. His killing of about 500 sepoys of the 26th Native Infantry and civilians at Ajnala were described in his memoirs. His acts were condemned by the Liberal MP and Quaker Charles Gilpin in the British parliament on 14 March 1859.
* Armfield (Edward). Portrait of a Black & Tan Terrier, 1877, circular oil on board portrait, boldly signed and dated by the artist to the lower left, diameter 15.5 cms, framed, together with an oil on canvas unattributed portrait of a Cairn terrier, two small tears affecting the image, 24 x 19 cms, framedQty: (2)
* English Naive School (late 18th century). Young Dandy, portrait of a Longhorn bull, watercolour on board, the bull named in ink manuscript at bottom centre, with possibly 79[?] in ink manuscript below, faint indecipherable signature lower left, few minor marks and faint scratches, 435 x 550 mm (17.25 x 21.75 ins) mount aperture, framed (625 x 775 mm), some woodworm damage to frameQty: (1)NOTESYoung Dandy was sold at the dispersal sale of Mr. Thomas Paget of Ibstock, Leicestershire, the auction held by Mr. Boott on 14th November 1793. The bull, lot 29, sold for 30 guineas.
ARR * Raverat (Gwen, 1885-1957). Portrait for the Poems of Rupert Brooke, 1919, wood engraving, a fine, rich proof impression printing with great clarity on Simili Japan, edition unknown, with margins, faint mount staining, a few small, pale brown stains in the upper margin, otherwise in good condition, image size 150 x 100, sheet 226 by 155 mm, framedQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). From an album of proofs compiled for the artist’s daughter, thence by descent; Abbott and Holder. Literature: Selborne & Newman 91. Exhibited: Claire Leighton, Wood Engravings from the Collection of Hilaire Belloc and Gwen Raverat, Wood-Engravings from the Collection of the Artist’s Family, 9th April 2018 to 12th May 2018.
* Rothenstein (Sir William, 1872-1945). Portrait of Paul Verlaine, 1895, crayon lithograph, on fine laid Venetian paper watermarked L[uigi] Trentin Treviso with a Star in Cartouche with Crossed Laurel Branches watermark, signed and dated ‘Rothenstein 96’ in pencil, the full sheet, a short repaired tear at the upper right sheet corner, minor surface dirt and old tape staining at the upper edge, a small crease at the lower right sheet corner, generally in good condition, image size 188 x 130 mm, sheet size 312 x 208 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased Elizabeth Harvey Lee (2018). There is an impression of this work in the British Museum, registration no. 1896,1228.15.
ARR * Anderson (Stanley, 1884-1966). Self Portrait, 1933, copper line engraving on pale cream wove paper, from the published edition of 40 proofs, signed in pencil, and titled Self portrait (Line Engraving), a fine, clean impression, with margins, plate size 201 x 164 mm (8 x 6.5 ins), sheet size 282 x 224 mm (11.1 x 8.8 ins), tab-mounted to upper corners in period card window-mountQty: (1)NOTESMeyrick & Heuser 209.
Various Artists. A Selection of Etchings by the Etching Club, London: Joseph Cundall & Thomas Bosworth, 1865, 12 original etchings by John E. Millais, Thomas Creswick, Frederick Tayler, Samuel Palmer, Richard Ansdell, W. Holman Hunt, Richard Redgrave, John C. Horsley, George B. O'Neill, C. W. Cope, James C. Hook and Seymour Haden, all printed on chine appliqué, with thick wove backing paper, some light scattered spots (mostly light), pale waterstain to outer margin of plates 1-5, 9 & 12, heavier spotting to title and contents leaf, yellow chalk-glazed endpapers, with bookplate of Cyril Flower to front pastedown, and neat presentation inscription to front endpaper 'Cyril Flower from R.C.J.', original publisher's maroon morocco-backed cloth gilt, rubbed and scuffed with some marks, and a little wear to extremities, folio (sheet size 45 x 32 cm)Qty: (1)NOTESContents: Happy Spring-time, by John E. Millais (Goldman 33), A Roughish Road by a Loch side, by Thomas Creswick, A Day's Hunting in the Fens, by Frederick Tayler, The Herdsman [or The Weary Ploughman], by Samuel Palmer (Lister 8, viii/viii), The Park, by Richard Ansdell, The Day in the Country, by W. Holman Hunt (Bronkhurst Appendix B21), Summer Woods, by Richard Redgrave, The Dunenna's Return, by John C. Horsley, The Portrait, by George B. O'Neill, The Spring Flood, by C.W. Cope, Gathering Eggs from the Cliff, by James C. Hook, and A Study in Kensington Gardens, by Seymour Haden (Schneiderman 31, iii/iii).
* Sleigh (Bernard, 1872-1954). The Crucifixion: A Triptych, 1929, tempera on board, heightened with gold, on three separate panels, with inscription at the foot of the cross Ad Majoram Dei Gloriam Bernard Sleigh 1929 (the date rewritten over a date in roman numerals which are no longer legible), fine Arts & Crafts patinated copper frames, each with gothic arched form, and gilt pictorial roundels above, integral connecting hinges, overall size including frame 81.5 x 103 cm (32 x 40.5 ins)Qty: (1)NOTESProvenance: Private Collection, Cotswolds, UK. This important work is an exhibition version, on a reduced scale, of the crucifixion triptych painted by Bernard Sleigh in 1906 for the chapel at Holloway Prison, London. Commisioned from the artist by the aristocrat, spiritualist and reformer Edith Lyttelton, the original oil on canvas, measuring 84 by 32 inches, was purchased by Brigham Young University Museum of Art in 2005. The work depicts Christ as a model of human perfection, with a heavenly host of angels above, and figures from modern life in attendance below, including a knight, old man, judge, prisoner, king and bishop. The shepherd looking out below the right hand of Christ is understood to be a self-portrait of the artist, whose wife and two children are also included on the far right of the composition. Literature: Roger Cooper, Bernard Sleigh, artist and craftsman, 1872-1954, Journal of the Decorative Arts Society 1850 - the Present, number 21, 1997, pages 88-102. The present work is illustrated as figure 4 on page 93.
* Collis (Maurice, 1889-1973). Female figures, 1958, gouache on card, depicting a bright landscape with 5 female figures, initialled lower right and dated March 1958, with unfinished painting of a horse and a tree on the verso, sheet size 27.5 x 37.2cm, tipped-in to a card folder, together with 5 original Christmas cards from Collis, each with mounted painting (4 landscapes, the other a profile portrait), various media, all but one initialled to lower margin and 3 dated (1962, 1963, 1966), 21.5 x 16cm and smaller, all the cards inscribed by the artist, one with additional note 'from my Irish sketchbook', each tipped-in to a card folderQty: (6)
* John (Vivien, 1915-1994). At the Races, colour pastels on paper, signed and dated '69 lower right, single small wormhole to bottom edge, sheet size 39 x 18.5cm (15.5 x 7.25ins), mounted, framed and glazed (540 x 325 mm), verso with exhibition label of Kensington & Chelsea Artists' Exhibition 19_, with ink manuscript artist's name and address, title and medium, and price (crossed out), also on verso a label of Sally Hunter Fine Art with typewritten artist's name, title, etc., and with 'No 64 in the Exhibition Vivien John: Portrait of a Life, March 1995', with details of the purchaserQty: (1)
A VICTORIAN SILHOUETTE AND TWO OTHERS. A large silhouette portrait of a family, with three young children, signed lower left 'W.Seville 1841', in a rosewood frame, overall 37.5cm x 52cm. With two smaller silhouettes, a boy with a ball 39.5 x 16.5 and a seated lady in a large hat, label to reverse 'Baron Scotford' 34.5 x 29.5 (3)
Lundberg: Miniature bust portrait of a Hedvig Charlotta Nordenflycht, her hair tied with a blue ribbon, wearing a sea-green dress with rose, signed Lundberg, on ivory, 8cm by 6cm, in gilt metal frame Nordenflycht (1718-1863) was a Swedish poet considered to be the country's first feminist and the present work is possibly based on an engraving by Johan Fredrik Martin. Not examined out of frame. Some scratching to frame.
British topography, decorative arts & handicrafts. The library of John Heaton Cope ARPS (1926-2020), comprising 40 boxes of Yorkshire Dales, Lake District (Cumberland and Westmorland) and Warwickshire reference, decorative arts and handicrafts reference (including furniture, pewter, domestic metalwork treen, candlesticks, etc., specific titles including Charles Latham, In Englsih Homes, London: Country Life, 1904, 2 volumes, folio, original pictorial cloth gilt), general literature, a collection of some 30 Batsford titles in good dust jackets, and assorted other material including Mrs Beeton's Book of Household management, new Edition, 1912, and similar (qty: 40 boxes) The lot sold as seen and without reserve. John Heaton Cope ARPS (1926-2020) was a professional photographer with Birmingham City Council for 44 years, latterly working as the chief photographer at Birmingham City Museum and Art Gallery. He lectured on the Midlands circuit of photographic societies for over 30 years and was an active member of the Leica Portfolio Club. He specialised in landscape, architectural and portrait photography. John was a keen collector of antique oak furniture, pewter, copper and brass, rustic lighting, horse brasses, treen, engravings, commemorative china and books, with a particular focus on local history. On retiring to Ravenstonedale near Kirkby Stephen, Cumbria in 1993, John continued to add to his collections and published a short history of the shops in the village.
Album of mostly Great British banknotes including Peppiatt emergency issue one pound 'E57E', Peppiatt emergency issue ten shillings 'K97D', Beale series A one pound 'K11J', various other series A one pound notes, O'Brien series B Helmeted Britannia five pounds 'C96', Hollom series C portrait ten pounds 'A11', Gill series D pictorial five pounds 'SC82' etc
BOB DYLAN: Thirteen LP's to include 'John Wesley Harding', 'Nashville Skyline', 'Self Portrait', 'New Morning', 'Planet Waves', 'The Basement Tapes', 'Dylan', 'Pat Garrett & Billy The Kid', 'Blood On The Tracks', 'Desire' 'Hard Rain', 'Street Legal' and 'At Budokan' (media and sleeves generally VG/VG+)
GEORGE SPENCER WATSON (1869-1934) 'Near Corfe' probably a view from the garden at Dunshay Manor, with Corfe Castle visible in the distance, watercolour and pencil, 25.5cm x 37cmExhibited: The Artist's Memorial Exhibition, The Fine Art Society, 148 New Bond Street, London, June 1934, no. 42George Spencer Watson R.O.I., R.P., A.R.A., R.A. was an English portrait artist of the late romantic school who sometimes worked in the style of the Italian Renaissance. He studied at the Royal Academy Schools from 1889, and exhibited at the Royal Academy from 1891. He won Royal Academy Schools Silver Medals in 1889 and 1891, and the Landseer Scholarship in 1892. He was elected to the Royal Institute of Oil Painters (ROI) in 1900, Royal Society of Portrait Painters (RP) in 1904, Associate of the Royal Academy in 1923, and a Member of the Royal Academy (RA) in 1932. His work was also part of the painting event in the art competition at the 1928 Summer Olympics. In 1909 he married Hilda Mary Gardiner, a dancer and mime artist, and follower of the actor Edward Gordon Craig. They had a daughter, Mary Spencer Watson (1913–2006), who became a sculptor. In the year of 1923 he bought Dunshay Manor in the hills of the Isle of Purbeck, after already having spent holidays in nearby Swanage. He died in London and a memorial exhibition was held at the Fine Art Society in the same year. There is a memorial to him in the north vestibule of St James's Church, Piccadilly.
WILLIAM BUSK (1861-1942) A woman peeling vegetables in an interior signed and named on the back of the frame, inscribed on the back "Bought by Alfred Pope of South Court for 7gns on 7 November 1907 and given to Rev. Richard Grosvenor Bartelot", oil on canvasBartelot was Rector of Fordington St. George, Dorchester 1906-1936. A portrait of his predecessor Rev. Henry Moule 1825-1904 by Busk is in the Dorset County Museum.Provenance: The Bartelot Family Collection, mostly the property of Rev. Richard Grosvenor Bartelot FSA, Rector of Fordington, Dorchester 1907-1939, or his son Major R St G G Bartelot.Grosvenor Bartelot was born in 1868 and went to Crewkerne Grammar School and Wadham College, Oxford, in the 1880s. In the next two decades he served as curate at Corfe Castle, Anglican chaplain in Turin, and as the Bishop of Salisbury's missioner covering duties of other clergy all over Dorset. He became a noted antiquarian and genealogist and was elected FSA. Having been born a Bartlett, in 1898 he changed his name to the original Norman form, Bartelot. In 1906 he became Vicar of Fordington St George, Dorchester, and next year he married Evelyn, daughter of Alfred Pope Esq of South Court and Wrackleford House, founder of the Eldridge Pope brewery. Having retired in 1936 to Timsbury, Somerset, he died in 1947.
A GUINEA BALANCE by Thomas Williams, London, c.1774, the steel beam with articulated ends, two brass pans and a tassel to suspend them from, in a fitted carved wooden case, with weights and brass hook clasp, makers label inside the lid listing official weights of guineas, half-gunieas etc. from 31 August 1774, and annotated "24 grains is one pennyweight”. The lid is inscribed with initials "JB" for John Bragge. John Bragge was a Dorsetshire countryman who rebuilt the family home, Sadbarow House, about 1774 and became a JP and Deputy Lieutenant of the county. His portrait by Gainsborough is in the Dorset County Museum. Acquired from Sadbarow by the vendor's grandfather either when a curate nearby, or at the sale of the last Bragge's effects in 1922.Provenance: The Bartelot Family Collection, mostly the property of Rev. Richard Grosvenor Bartelot FSA, Rector of Fordington, Dorchester 1907-1939, or his son Major R St G G Bartelot.Grosvenor Bartelot was born in 1868 and went to Crewkerne Grammar School and Wadham College, Oxford, in the 1880s. In the next two decades he served as curate at Corfe Castle, Anglican chaplain in Turin, and as the Bishop of Salisbury's missioner covering duties of other clergy all over Dorset. He became a noted antiquarian and genealogist and was elected FSA. Having been born a Bartlett, in 1898 he changed his name to the original Norman form, Bartelot. In 1906 he became Vicar of Fordington St George, Dorchester, and next year he married Evelyn, daughter of Alfred Pope Esq of South Court and Wrackleford House, founder of the Eldridge Pope brewery. Having retired in 1936 to Timsbury, Somerset, he died in 1947.
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