283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Los 1
A FRENCH EXOTIC CHINOISERIE LANDSCAPE TAPESTRY IN THE MANNER OF JEAN-BAPTISTE PILLEMENT, MID-18TH CENTURYDepicting Chinese pagoda style buildings on fantastical cliffs, and birds within a hilly landscape, the birds including cranes, a peacock, and a turkey approximately 244cm high, 415cm wide For a similar example see Sotheby's, London, Howard Hodgkin, Portrait of the Artist, 24th October 2017, Lot 441 (£5,150). Condition Report: Some wear and fading and discoloration overall commensurate with age and use. Some repairs and replaced sections in various areas throughout. Particular areas of wear and replacement include but are not confined to the turkey and the peacocks tail beneath. Some slender sections of the border may have been replaced and vary in colour. A later backing has been stitched to the reverse.There are some visible joins in the borders suggesting that the main scene may have been reduced in size and the border adapted to fit it. The width of the border itself is likely to have been reduced in width to a degree and rebound. This is particularly evident to the border at the top and bottom edges of the tapestry and to some extent to the side borders. Please refer to all additional images for visual reference to condition. Please note, the additional images are not exhaustive but try to give a representation of of the condition notesCondition Report Disclaimer
Los 12
A RARE TEXTILE AND NEEDLEWORK COLLAGE PICTURE DEPICTING SAINT CECILIA, LATE 16TH/EARLY 17TH CENTURYDepicting interior setting with seated figure of the Saint, patron of music and musicians, with attendant angel playing a pipe organ, hand annotated musical text, donor (?) figures to an archway to the left, created using paper, textiles, hand dotted gilded paper, the whole with penwork and hand painted detailing, and with small glass beads simulating jewelled details and fruitsapproximately 20 x 28cm, in an ebonised moulded 17th century frame, 41.5 x 49.5cm overall Together with a letter, dated 1972, from the Wendy Hefford, Research Assistant Department of Textiles at the Victoria & Albert Museum stating "The picture of cut paper and textiles seems perfectly correct for a 17th century date so far as the style of the *** and the patterned textiles are concerned", and a footnote from PW Jackson, Deputy Keeper Prints & Drawings, confirming "The drawing supports the same conclusion". The latter part of the 16th century had seen a large resurgence of interest in Saint Cecilia. In 1585 Pope Sixtus VI had founded the the Academy of Music (Accademia Nazionale di Santa Cecilia) in her name. In 1599 her tomb in Trastevere was opened and the priest and others testified to the incorruptibility of her cadaver- an affirmation of her blessed status. The musical score is inscribed with the Cantantibus organis. This Latin text forms the antiphon of the Vespers on her Feast Day, November 22nd. 'Organis', Latin for 'musical instruments', was often mistranslated as 'organ' and hence, as in this picture, the Saint is often depicted playing, or being played, an organ. The pipes themselves look possibly to be tarnished silver. The exuberant combination of textiles is reminiscent of needlework and embroidery produced by glove and stomacher makers of this period. The dotted gilded paperwork is akin to contemporary gold braiding work whilst the painted detailing evokes the work of burse makers and limners. Although the likely origin of this work is, as yet, unknown it would seem to be the work of a gifted child or young person- emulating the finer work they may have seen in their household. It has been noted though that the male figure shows strong similarities in dress, face and hair to the Hilliard 'Attici amoris ergo' portrait miniature from 1588- now in the V&A collection. Condition Report: As per age and materials used- there has been shrinkage to paper sections- and tarnishing to metal surfaces. Lower left hand corner looks 'incomplete' and indicates that there would have been additional decoration- now absent.Colours and details slightly faded from sunlight and atmosphere exposurePlease refer to all additional images for visual reference to condition. Please note, the additional images are not exhaustive but try to give a representation of of the condition notes Condition Report Disclaimer
Los 235
WILLIAM KING TATE AFTER NOLLEKENS, A BRONZE PORTRAIT BUST OF GEORGE CANNING (1770-1827) CIRCA 1830-1840 Inscribed "London publ. as the Act directs 18 Decr. 1826 William King Tate' 24cm highThe original portrait bust by Nollekens was produced as part of a series of notable historical figures, known as 'worthies', commissioned from the artist by the wealthy collector Robert Vernon (1774/5-1849) between 1828 and 1830. Condition Report: Patina matt and dark.Small area of rubbing revealing lighter underlying bronze to back of head, also to underside of base.Minor scuffing, scratches and wear overall consistent with age.Knock to draped fabric on chest. Bruise to nose.Sectional join visible where bust meets the socle.The bust can be rotated slightly only the pedestal.The round base knocked so that it doesn't quite sit flat.The cylindrical plinth with some surface scratching. Please refer to additional images for visual reference to images. Condition Report Disclaimer
Los 390
JOSEPH TOWNE (1806-1879), A CARVED MARBLE PORTRAIT BUST OF A MANDATED 1837Probably depicting a doctor at St Guys, depicted in flowing robes, head to sinister, inscribed to reverse 'J TOWNE Sculp, Guy's Hospital, 1837'73cm high Joseph Towne was a sculptor and moulageur best known for making anatomical wax models. In 1825 Towne was taken onto the staff at Guy's Hospital making over a thousand wax moulages of diseases in various stages, including smallpox, for Guy's and hospitals around the world. Towne also sculpted marble busts and his work includes an equestrian statue of the Duke of Kent for Buckingham Palace.
Los 75
λ ANGELA CONNER (BORN 1935), BRONZE FULL LENGTH PORTRAIT OF 'JAMES ABBOTT MCNEILL WHISTLER'CONTEMPORARYThe bronze figure standing, wearing a top hat, a cloak on his shoulder and a walking caneSigned and dated indistinctly '200'34cm high Provenance: The Private Collection of Sir David and Lady Scholey Angela Conner, in her early life, was a sculpture assistant to Barbara Hepworth. After leaving Hepworth, Conner became known for large mobile sculptures as well as portrait work including commissions for Lucien Freud, H R H Prince of Wales and Elisabeth Frink.
Los 1344
A Louis XVI design gilt metal and porcelain mounted guéridon or centre table, circular top with inset porcelain plaques, decorated in the manner of Sèvres, each portrait oval framed with a ribbon-tied swag of fruiting leaves, stiff acanthus border, fluted column, incurve rounded triform base, lion paw feet, 88cm high, 111cm diameter, third-quarter 20th century
Los 1516
Trafalgar and the Cult of Lord Nelson - a brass circular commemorative snuff box, the cover embossed with a titled bust-length portrait of Vice-Admiral Horatio Nelson, 1st Viscount Nelson (1758 - 1805), the side with naval and triumphal regalia, 7cm diam; a 19th century cattle horn table vesta, match striker to base, 6.5cm high (2)
Los 373
A Goodwin, Bridgwood & Harris Pottery George IV Commemorative Pottery Jug, circa 1830, printed in black with a bust portrait and inscribed TO THE MEMORY OF HIS LATE MAJESTY KING GEORGE IV ?, 15cm high, printed mark; 1864 Sheffield Flood mug, printed in puce, with a scene inscribed 'The Brick Row Hillsbro' where the water reached to the height of 15 feet', angular handle, 10.5cm high; a Staffordshire Marriage jug, Crystal Palace, inscribed John and Elizabeth Green Feb 22 1852, 18cm high; others, Robinson Crusoe; etc (5)
Los 544
A substantial Royal Worcester blush ivory urnular jardiniere, boldly modelled with four draped portrait busts of a young man on scrolling cartouche-shaped buttresses, flanked by reticulated oval reserves of grotesque sea creatures, shells, birds and acanthus, within rope twist borders with further acanthus and scrolls to aprons, gilt line rim above a dart-and-egg frieze in alternating tones of high and low relief, the waist with italic S-scrolls and further beading, the base moulded in high relief with wrythen flutes, gadrooning and fern leaves, circular foot with double-fillet gilt border enclosing a frieze of further foliage, 23.5cm high, 33cm wide, purple printed and impressed marks, model no. 1374, Rd No 123308, c. 1880
Los 869
French Empire School (first-quarter, 19th century) Portrait of a Lady, half-length, her brown hair dressed in ringlets, a ribbon-tied lace collar and a bolt of ermine around her neck, wearing a trimmed red coat and holding a black feathered and ribbon-tied hat, stood beside a marble ledgeoil on canvas, 87cm x 69cm
Los 920A
A 19th century wax portrait, of a gentleman, in profile facing to dexter, 7cm x 5cm, inscribed to verso in ink manuscript: Died April, Thursday 14th 1859 at Mayfield ** our dear friend T. C. Windle Esq, aged 70, God Father to Jane Margaret Haslewood, contemporary Rococo Revival gilt gesso frame, 25cm x 21.5cm overall
Los 951
The House of Stuart and The Jacobite Cause - a late 17th century brass mounted painted tin circular snuff box, stand-away hinged cover set with a William & Mary silver half crown coin, enclosing an enamel portrait miniature of King James II, engraved leafy pendant borders, 6.5cm diamAn ink manuscript note addressed to Mrs Bosworth of Loscoe near Repton from Rev. William B Pratt and dated April 15th 1910 records that this box 'is said to have belonged to Wycherley the dramatist', and makes reference to an article in The Connoisseur
Los 4
A Second World War Archive Relating to Changi P.O.W. Camp, Singapore, collected by prisoner Captain Harry Edward Witheford (1912-2008) and including his framed group of medals comprising 1939-45 Star, Pacific Star, Defence and War Medal, Indian Office letters and a Short Statement of Service, his commission as Lieutenant O.M.E. Indian Army (16.02.1940), his handwritten journal, a 1944 Calendar and two greetings cards signed by Ronald Searle, various other sketches showing life in camp and hand drawn greetings cards, various group and portrait photographs, two published books - The Naked Island, and End of a Hate by fellow POW Russell Braddon, a book - Forty Drawings by Ronald Searle with inscription to the Withefords from Russ Braddon, a 1952 published volume of It Must Be True by Denys Parsons with illustrations by Ronald Searle, related magazines etc.Footnote :- Captain Harry Edward Witheford 1912-2008Harry served under Lt-Col Charles Anderson in the 45th Brigade of the Indian Army. He became a prisoner of the Japanese in Malaya after the fall of Singapore in 1942. He was imprisoned in the notorious Changi prison, and was forced to work on the Siam-Burma railway along the River Kwai. Harry made many friends among his fellow prisoners including Ronald Searle. He was also friendly with the Australian author Russell Braddon, then a Gunner in the 2/15th Field (Artillery) Regiment. Braddon later recounted his experiences as a POW in the bestselling memoir, The Naked Island (illustrated by Searle). The book was one of the first to describe in grim detail the appalling treatment the POWs received. Braddon talks about Harry in several places in the book. He records how impressed he was by Harry's knowledge of the stars, production engineering and turbo jet-engines, but the most moving description comes near the end of the book. After completion of the railway line from Bangkok to Rangoon, Braddon describes how he and other survivors were sent by their captors on a long train journey to Kamburi. In this extract Braddon writes: "As I staggered off the train, cramped and ravenous, for we had had no food for two days, I noticed that beside the line ran long rows of huts separated into two areas. In one were white men: in the other black men. Both lots looked shocking. The fence that marked the dividing line between railway and camp was draped with white men only. The natives no longer took any interest in anything. Therein lay the difference. And as I shambled towards this fence, one of the men on the other side crawled under it, dragged me through and greeted me with a warmth I had forgotten existed. It was Harry Witheford. I managed a feeble crack - 'How's your turbo-jet?' I asked - but was a bit overwhelmed. But he, good soul, knew what was required. Leading me firmly round the back of a hut he gave me bananas and boiled eggs - bought on the spot from a Thai - which I devoured frantically lest they vanish. Though I live to be a thousand the warmth of that greeting and the gift of that food after the sterile months of want that had gone before will never leave me." (pp.207-208)Harry survived the war then spent time working in Kenya during the 1950s. He and his family returned to the UK, settling in North Yorkshire. Both Harry and Edna had a long and happy life until their deaths in their mid-nineties
Los 133
Circle of John Hoppner, RA (British, 1758-1810)Portrait of Lady Masterman-Sykes of Settrington (1766-1813) inscribed with the identity of the sitter to the stretcher oil on canvas 75 x 62cmProvenance: By descent from the sitter to her cousin Henry Barlow (1757-1826), To his brother Reverend George Francis Barlow (1768-1850) and thence by descentHenrietta Masterman was the only child of Henry Masterman of Settrington, Yorkshire, and became sole heiress of the Settrington Estate on the death of her father in 1771. In 1795, Henrietta married Mark Sykes (1771-1823) eldest son of Sir Christopher Sykes, 2nd Bt. of Sledmere, on which occasion her husband assumed the additional name of Masterman before his name. Mark Sykes served as High Sheriff of Yorkshire in 1795-96, was an MP for York and a famous bibliophile. Henrietta shared her husband's passion for books - she was an author and wrote a collection of stories, poems and two Gothic novels, of which the most successful - Margiana, or Widdrington Tower (1808) - was much enjoyed by Jane Austen herself. In 1808, Henrietta, her husband and his brother Tatton Sykes sat for a portrait by Sir Thomas Lawrence, now at Sledmere House, Yorkshire. Henrietta died in 1813 aged 47 without issue. We are grateful to Dr John Wilson for his assistance with this catalogue entry. CONDITIONOil on canvas which has been lined. The canvas tension is good and the picture is in plane. Thin areas of the painting appear abraded. At the upper edge the paint layer is cracked and lifting away from the support. There are areas of overpaint across the surface. In the sitter’a face the overpaint is thick and pasty but in the background it is more fluid and transparent. The varnish is clear and semi-matte. The glazing of the frame is dirty inside and out.
Los 134
Attributed to Margaret Sarah Carpenter (1793-1872)Portrait of a girl in a white dress in a landscape oil on canvas 73.5 x 61.5cmProvenance: Christie's, London, 22nd September 1978, lot 52, as by 'D Allen' for £120CONDITIONOil on canvas which has been lined. There are minor undulations across the surface. The paint layer has areas of raised and flaking paint, mainly located at the edges of the canvas. There is extensive retouching across the surface, notably in the sitter’s face. The overpaint has been applied in a wholesale, brushy manner which is not well matched to the original. The varnish has uneven gloss with some very shiny areas. There is a layer of surface dirt across the surface.
Los 135
Attributed to the Studio of Sir Joshua Reynolds, PRA, FRS, FRSA (British, 1723-1792)Portrait of Sir Abraham Hume, 2nd Bt (1749-1838) half length, wearing a red coat oil on canvas 68 x 56cmFootnote: Provenance: East Anglian Private Collection, since before 1993 Literature: D Mannings and M Postle, Sir Joshua Reynolds: A Complete Catalogue of his Paintings, 2000, presumably no. 964c listed as "Private Collection, with Sotheby's, Edinburgh 1993. Good early copy." The sitter, by his marriage to Lady Amelia Egerton, sole heiress to her brother the 8th and last Earl of Bridgewater, inherited Ashridge Park with its fabulous collection of paintings formed by the Earls and Dukes of Bridgewater. With enormous financial resources at his disposal, Hume augmented the collection, adding perhaps most famously, Aelbert Cuyp’s "The Maas at Dordrecht", known as the “Large Dort”, now one of the greatest treasures of the National Gallery of Art in Washington. The present painting is a period copy or possibly a studio repetition after the prime original by Reynolds dated to circa 1783, now at Belton House, Lincolnshire, as the sitter's daughter Sophia married the 1st Earl Brownlow. In his catalogue raisonné Mannings lists four copies, of which the present painting is one (see Literature). Reynolds' studio ledgers of January 1788 and April 1788 record two studio repetitions, the former for a “Miss Hume” and the latter for a "Mr Home" (2 payments: April 1788 and May 1790) both presumably relations of the sitter. It is therefore a reasonable proposition that the present painting due to its fine quality could be considered a contender for one of these studio versions.Condition report:Oil on canvas which has been lined. The canvas has good tension and the picture is in plane. The original tacking edges appear to have preserved during the lining process. The paint layer has areas of raised and lifting paint following age cracks, in the sitter’s face and surrounding background. There is some wear and abrasion to the paint layer. Old retouchings have discoloured, notably in the face they have become pale over time. The varnish is yellowed and dull with opaque hazing forming across the darker areas. There is a layer of surface dust present. The frame has some losses to the decorative moulding. Splits have formed in the flat section of the slip following joins in the wooden structure.76 x 63.5cm canvas size 80 x 93.5cm framed
Los 137
Circle of George Dawe, RA (British, 1781-1829)Portrait of Lt Col Sir Thomas Noel Hill, KCB, KTS (1784-1832) inscribed to the reverse 'Lieut. Col. Sir Tho Noel Hill / KCB [K]TS MJ A? Gen. / 815 ' oil on canvas, unframed 76.5 x 63.5cmFootnote: Born at Hawkstone Hall, Shropshire, the sitter was the 7th son of Sir John Hill, 3rd Bt (1740-1824) and younger brother of Rowland Hill, later 1st Viscount Hill (1772-1842) who succeeded the Duke of Wellington as the Commander-in-Chief of the British Army in 1828. Sir Thomas, like his elder brother Rowland, distinguished himself during the Napoleonic Wars and fought in the Battle of Waterloo. He entered the army at the age of seventeen and went on to serve as an aide-de-camp to his brother Rowland, accompanying him to Portugal in 1808. He commanded the 1st Portuguese Regiment and received medals for his involvement in the battles of Salamanca (1812), Vittoria (1813) and the siege of San Sebástian (1813). He was promoted to Lieutenant-Colonel in the 1st Foot Guards in July 1814. In 1815, at the Battle of Waterloo, he served as an Assistant Adjutant-General under the command of his brother, Lord Hill. In 1825, he was promoted to Colonel and in 1827 he was appointed the Deputy Adjutant-General in Canada by the Duke of Wellington. He married, on 27th July 1821, Anna Maria Shore, daughter of John Shore, 1st Baron Teignmouth, by whom he had six surviving children. In the present portrait, Sir Thomas is depicted in his Portuguese uniform, wearing numerous decorations and medals, including the Portuguese Order of The Tower and Sword (KTS), the Order of the Bath (KCB) which he was awarded in January 1815, the Waterloo Medal, Portuguese Campaign Cross, Portuguese Commander’s Cross, and the Bavarian Military Order of Max Joseph. We are grateful to Christopher Bryant for his assistance in identifying the sitter's uniform and decorations. CONDITIONOil on canvas which has been lined. The lining fabric is thin and transparent and the adhesive used waxy – this allows the original inscription and canvas tax stamp to be visible. The paint layer is in a stable condition overall. Wax appears to have been used in the varnish as well as the lining. Along the right hand edge white cracks have formed in the varnish. There is a light film across the surface, also caused by the varnish, creating a slightly milky appearance to the darker paint passages. Areas of overpaint are fairly well matched to the original.
Los 138
Circle of Sir Francis Grant, PRA (Scottish, 1803-1878)Portrait of an Infantry officer in undress uniform, c.1834-1848 oil on canvas 73 x 60.5cmFootnote: We are grateful to Christopher Bryant for dating this portrait based on the sitter's uniform.Condition report: Christie's stencil 354MSOil on canvas which has been lined. The canvas is in plane and the tension is stiff. The paint layers are in a stable condition. Above the sitter’s head is an old paint loss and the canvas is present below. There is extensive overpaint across the surface, mainly located in the sitter’s face and in the upper half of the background. The overpaint is well matched but applied in a free, brushy manner. The darker areas of the painting, notably the jacket, has residues of old varnish present creating a slightly uneven and milky appearance. The varnish is clear, even and glossy with a thick layer of surface dirt.
Los 141
Circle of Francesco Hayez (Italian, 1791-1882)Portrait of a young woman in a green dress oil on canvas 56.5 x 46cmCONDITIONOil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. There are localised areas of loss which have been filled and retouched, mainly at the corners. The varnish is semi-glossy, clear and even.
Los 149
Circle of Charles Willson Peale (American, 1741–1827)Portrait of a gentleman, half length, wearing a blue coat with brass buttons and white stock oil on canvas 66 x 55cm CONDITIONOil on canvas which has been lined. The picture is in plane and the canvas tension is stiff. The paint layer is in a stable condition. Age cracks in the paint layer have been stabilised through lining. There is extensive overpaint across the painting, applied in a brushy manner but reasonably well matched to the original. The varnish is clear and even.
Los 150
George Engleheart (British, 1750-1829)Portrait miniature of William Henry Robinson of Denston (1784-1826) half length, wearing a black coat watercolour on ivory, oval, verso a central oval shaped panel of woven hair surrounded by a border of blue enamel and encased in a yellow metal surround, unmarked, tested as 9ct gold 8 x 6cmProvenance: By descent from the sitter to his cousin, Henrietta Jeaffreson (d. 1838) great-great-great grandmother of the present ownerThe sitter was the son of Lt. General John Robinson (1757-1819) and his wife The Hon. Rebecca Clive (1761-1795) daughter of Robert, 1st Lord Clive, "Clive of India."CONDITIONSome light surface dirt and fly spots under glass. There appears to be little mould lower left corner. Not examined out of frame.
Los 151
English School, circa 1800Portrait miniature of William Dunn (d. 1831) the reverse with a portrait of his daughter, Sarah Dunn Gardner (d. 1858) as a child, watercolour on ivory, oval, 6.5 x 5.4cm; together with a portrait miniature of her mother, Jane Dunn Gardner of Chatteris (d. 1839), watercolour on ivory, surrounded by a border of plaited hair, 7.5 x 6cm (2)
Los 153
Attributed to Richard Cosway, RA (British, 1742-1821)Portrait miniature of George-Ferrars, later 3rd Marquess Townshend (1778-1855) when styled Lord Ferrars of Chartley watercolour on ivory, oval, verso a central oval shaped floral blue enamel panel with applied baron's coronet and initial, surrounded by a border of plaited hair and encased in a yellow metal surround, unmarked, tested as 9ct gold 5.5 x 4.5cmFootnote: Provenance: By descent from the sitter's wife, Sarah Dunn-Gardner (d. 1858) to the present owner George Townshend was born on 3rd December 1778, the son and heir of George Townshend, 2nd Marquess Townshend (1753-1811) and Charlotte Ellerker. From 1784 to 1807, he was known by his courtesy title as Lord Ferrers of Chartley, after his father was created Earl of Leicester. He was educated at Eton College and Trinity College, Cambridge. In 1807, when Earl of Leicester, he married Sarah Dunn Gardner (d. 1858), heiress of William Dunn-Gardner (d. 1831) of Chatteris. Having produced no issue and been accused of impotency and homosexual relations with his Italian secretary, his wife sued for annulment of the marriage in ecclesiastical courts which was not granted. Sarah then married bigamously in 1809 John Margetts (d. 1831), a brewer of St. Ives, by whom she had several children. Following this scandal, Leicester was disinherited by his father and moved abroad, dying at Genoa in 1855, aged 77, without issue.
Los 154
Attributed to Archibald Skirving (Scottish, 1749-1819)Portrait miniature of Henrietta Robinson (d. 1826) watercolour on ivory, oval, 6 x 5.4cm; together with a portrait miniature of her son, Jenico Preston, 12th Viscount Gormanston (1775-1860) attributed to Charles Robertson (Irish, 1760-1821) watercolour on ivory, oval, 7 x 5.8cm (2)Footnote: Henrietta Robinson was the daughter of Lieutenant Colonel John Robinson (d. 1772) and married firstly Anthony, de jure 11th Viscount Gormanston, who died in 1786. She married secondly in 1794 Lieutenant General Christopher Jeaffreson of Dullingham.
Los 156
English School, circa 1760Portrait miniatures of Christopher Jeaffreson of Dullingham (c. 1734-89), and his son Christopher, later Lt. General Christopher Jeaffreson (1761-1824) as a young boy; and his daughter Sarah Eliza Jeaffreson as a young girl watercolour on ivory, oval, each approx. 4 x 3.5cm; together with John Lacon (British, ?-c.1757) Portrait miniature of Miss Mary Dayrell (d.1808) signed left of the sitter's shoulder 'J Lacon / 1753' watercolour on ivory, 4.2 x 3.5cm (4)
Los 158
Henry Pierce Bone (British, 1779-1855) after Mason ChamberlinPortrait of Samuel Richardson (1689-1761) wearing a brown coat over a black waistcoat and a blue day cap signed and inscribed on the counter-enamel 'Sam.l Richardson. / Feby 1852. Painted by Henry / Pierce Bone, after Hogarth, / in the Collection of Jos. Neeld / Esq.re M. P. -' enamel on copper 10 x 8cmFootnote: Provenance: Christie's, London, Henry Pierce Bone Estate Sale, 13th-14th March 1856, either lot 42 or 90. Christie's, London, 26th November 1986, lot 92, An Oxfordshire country house Presumably one of the two miniatures in The Henry Pierce Bone Estate Sale, Christie's, London, 13th-14th March 1856, lots 42 and 90. A larger, oval, version of the present miniature by Henry Pierce Bone in which he is seated on a chair and depicted writing a letter, which is signed and dated August 1851, was also sold later at Christie's on 3rd June 2015, lot 447. Although by 1811, when Scriven engraved the portrait now in the National Portrait Gallery, it was recognised as being by Chamberlain, it would seem that as late as 1852, if Bone was copying that work, he was not aware of the signature or he was copying another version or maybe a now lost original that was then regarded as by Hogarth.
Los 159
Narcisse Othon (French, fl. 1838-1847)Portrait miniature of Robert Ward, Midshipman signed left of the sitter 'Othon 1835' pencil on paper, oval, 12.3 x 9.5cm, in a veneered frame with ormolu surround, anchor motif and eagle cresting, 28cm high overallFootnote: Inscribed to a shield shape label to the reverse "Robert Ward, Eldest Son of Robert Ward Esq. Mortally wounded at the Siege of the Fort of Mocha whilst serving as a Midshipman on board the Topaz Frigate Dec. 7th 1820. From a sketch by Othon Paris 1835." HMS Topaze was originally 'Etoile', a 44 gun French frigate, until captured by the British in 1814, and renamed by the Royal Navy. Topaze saw action in December 1820 at Mocha, Yemen.
Los 160
Mary Young Hunter (British, fl. 1900)Portrait miniature of Miriam Dunn Gardner aged 3 (1905-1977) signed with monogram lower right watercolour on ivory, oval, 7 x 5.5cm; together with an Edwardian portrait miniature of a gentleman, 10.2 x 7.7cm; Portrait miniature of an officer, 7.3 x 6cm; an engraving of George 'Beau' Brummell; Portrait miniature of a lady in a frilled ruff collar, circular, 2.2cm diam.; and another of a shepherdess, oval, 3.6 x 2.7cm (6)
Los 75
James and Albert Clark (British, 19th Century)Portrait of a trotting horse with a cropped tail signed lower right 'James Clark & Son' oil on canvas 49.5 x 59.5cmCONDITION Oil on canvas which is unlined with an artists’ supplier stamp for A. Rayner on the reverse. The canvas is in a good condition although the tension is slightly slack. In the upper left corner is a deformation caused by impact damage which has also created localised stretcher bar marks along this edge. The paint layers are in a good, stable condition overall. There are a few localised areas of retouching, mainly around the edges. The varnish layer is patchy and has a slightly grubby appearance; the picture has possibly been partially cleaned.
Los 1765
A collection of Victorian and later jewellery (7)Comprising a gilt metal oval hinged bangle, a gilt metal mounted shell cameo brooch, carved as the figure of an angel, a cameo brooch carved as a portrait, three further brooches and a silver mounted pendant, Chester 1901Bangle; Push down button to clasp is lacking, gilding quite rubbed overallCameo brooch; Cameo slightly rubbed, but not cracked, four lead solder repairs at the back, gilding a bit wornPortrait cameo; slightly worn to cameo, but not cracked, hinge pin and hook lead soldered into positionRemaining three further gilt metal brooches; seed pearl brooch is missing a drop to the front, trefoil brooch has hook at the back probably to take a watch, third brooch; gilt to front, back is brass, make A.J.C, Silver mounted pendant; crown is loose within glazing, wreath surround rather worn
Loading...-
283284 Los(e)/Seite