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Preisdatenbank abonnierenA PORTRAIT MINIATURE OF A GENTLEMANLate 18th/Early 19th centuryUnsigned, oval, watercolour on ivory, glazed in an red morocco leather case, the portrait approx 7.7cm x 6.4cmCondition report:- Numerous fine scratches apparent when viewed under magnification- Dirt and dust beneath glass cover- Case warped with tears to the interior silk lining
A FRENCH GILT-METAL AND MARBLE MOUNTED STRIKING MANTEL CLOCKBy Rollin, Paris, late 19th CenturyCase mounted with Classical figure supporting a portrait, enamel dial with Roman hours, the twin train movement striking on a bell, stamped 'ROLLIN A PARIS' with serial number, with pendulum and winding key, 33cm high; 39cm wideCondition report: Overall wear and scuffs, rubbing and tarnishing, dirt and dust commensurate with use and age. The case with replacement back foot, which is an upturned ebonised finial that is loose and worn. The case stamped with various serial numbers. Door loose, tarnishing and material lining very discoloured and worn. Hairline crack to marble mount. Chips surrounding the winding holes. No guarantee of the working order of the movement and it is recommended that the clock have a thorough overall.
WW2 RAF 34 Squadron RAF Unofficial Squadron Uniform Badge. A very rare example of the unofficial silver Wolf Head badge worn by members of 34 Fighter Squadron circa 1943 whilst on service in India and Burma. This badge was presented by Squadron members to Betty Cain circa 1943. The unmarked silver wolf head badge is approximately 3 cm high with pin fitting. The badge is accompanied by a photograph of Betty clearly wearing the Wolf badge with a RAF sweetheart badge, plus photographs of two pilots wearing the badge on their left breast pocket of their uniform ... Also included is a framed embroidered Squadron badge ... Plus seven original studio portrait photographs of RAF pilots all dedicated to Betty. Betty Cain lived at the Farmhouse Kalingpong India with her husband who worked for the Foreign Office she ran an open house for members of the squadron, as somewhere they could rest and get away from Squadron life. This proved popular with the Squadron who made her a honorary member and presented her with the badge that she proudly wore. 34 Squadron Royal Air Force crest is a wolf and crescent moon, the Squadron operated in India with the Bristol Blenheim, before converting to the Hawker Hurricane in 1943. After service in Burma it returned to India and converted to the Republic Thunderbolt and once again returned to Burma.
WW2 2nd SAS Special Air Service Photographic Archive of Samuel Wellington Rushworth. An outstanding personal archive of personnel unpublished snap shot photographs of the 2nd SAS on operations and rest, North West Europe 1944. Comprising: Selection of loose photographs including a large portrait of Rushworth proudly sporting 2nd SAS title SAS wings and beret badge ... Other loose photographs include images of the special jeeps, troops in the field, fellow SAS Troopers, etc. A number with details to the reverse (approx. 34 images). Photograph Album 1. This is titled No.1 Squadron 2nd Special Air Service. This covers France, Bergen and Norway. images of various size Large number of snaps of fellow members giving detail of their name and home. Crossing the Rhine, in the field, damaged buildings etc. (approx. 77 images present) Photograph Album 2 This a selection of postcard size photographs and shows troops in the field, some with German souvenirs etc. (approx. 37 images) US M8 Combat knife scabbard. This with a label indicating carried by Rushworth when his patrol was ambushed and he was wounded, with damage to the tip. Badges etc. include: personnel ID bracelet 1077108 P.C.T. RUSWORTH S 2ND SAS. SAS Old Comrades Lapel Badge numbered 208. The overall condition is good, the images remain clear. Biographical details provided by the vendor: Samuel Wellington Rushworth was the son of a professional soldier of the South Lancs Regiment and was born at Wellington Barracks Dublin in 1920. At the outbreak of WW2 he was living in Manchester and joined the Royal Artillery and quickly gained the rank of Sergeant. Hearing about the new Parachute Regiment he volunteered and after gaining his Parachute wings, volunteered for the new SAS Regiment and was posted to No1 Squadron 2nd SAS. He was involved in operations in North West Europe and found himself dropped into France 2 days before D-Day with the aim of disrupting German reinforcements heading towards the Normandy beeches. Shortly after the D-Day landings is patrol was ambushed and he was wounded in the backside and his combat knife damaged, the scabbard accompanying the lot. His wounds appear to have been more embarrassing than fatal as he soon returned to duty and was stranded behind enemy lines during operations in the Vosges when the SAS were hunted and those captured were executed by the German SS. Returning to Allied lines he was later one of the soldiers to enter Belsen concentration camp and his final operation of the War was when his unit was despatched to Norway to hunt down the last fanatical U-Boat crews and SS soldiers. Discharged from the army he returned to his pre war job as a fishmonger at Manchester Fish Market and he died in December 2001 at the age of 81 years
Two similar large Italian maiolica albarelliProbably 19th centuryEach painted each side with a portrait against a blue ground filled with flowers, each approx. 41cm high (2) 7214Some glaze chips and imperfections but overall in good conditionThere is a possibility that they could be 20th century.
A silver mounted glass cotton wool jar and three further items (4)The lid of the cotton wool jar decorated with the portrait of a lady in an Art Nouveau design, Birmingham 1903, a silver mounted faceted glass smelling salts bottle, Birmingham 1901, a silver christening mug, Birmingham 1952 and a square powder compact with engine turned decoration (the glass damaged)
Peter Paul Rubens follower (1577-1640)Portrait of Archduke Albert of Austria, Viceroy of PortugalOil on canvasProvenance:Collection of Dr. Francisco José Caeiro (1890-1976), Portuguese Republic Prosecutor General (January 1943-1954)Collection of Manuel Teixeira Gomes (1860-1941), 7th President of the Portuguese RepublicAcquired in London on May 12th 1915 at a Robinson, Fisher & Co. auction sale116x85 cm
Portuguese or Flemish school, 15th or 16th centuryA portrait of a dignitary patronOil on oak boardOn the back notes by M. Reys Santos and Archt. João Teixeira, attributing the work to the late 15th/early 16th Portuguese school on the basis of its pictorial surface, whose quality both experts compare to Nuno Gonçalves altarpiece panels or to Grão Vasco's works41x30 cm
Ramsay Richard Reinagle (1775-1862)"Portrait with an elderly lady with the Bible"Oil on canvasSigned and dated 1839Plaque inscribed to back: "RAMSAY RICHARD REINAGLE R.A./ Exhibited Royal Academy 1840 Nº 353" Literature: Catalogue "The Exhibition of the Royal Academy/ MDCCCXXXIX/ The seventy first", London, p. 20.92x76 cm
Conrad Felixmuller (German, 1897-1977)Selbstbildnis mit nackter frau (Self portrait with naked woman)signed, inscribed and dated 'C Felixmuller Berlin 36' (upper left) and inscribed and dated 'WN: 683-1936' (verso)oil on canvas60.5 x 45cmARRProvenanceAnon sale, Hauswedell & Nolte, Hamburg, 12 June 1992, lot 237ExhibitedEmden, Kulterring im Kulturausschuss der Stadt Emden, 'Conrad Felixmuller', 1968, no.6Berlin, Ehemalige Nationalgalerie, Jebenstrasse, 'Conrad Felixmuller, Malerei von 1913-1973', 1973, no.25 (illustrated in colour on front cover of catalogue and titled as 'Selbstbildnis mit modell'Nurenberg, Germanisches Nationalmuseum, Conrad Felixmuller, Werke und Dokumente, 1981/82, no.83, (illustrated p.128)LiteratureH Spielmann, Conrad Felixmuller: Monographie und Werkverzeichnis der Gemalde, Cologne, 1996, no.683, p.299 (illustrated)The present work depicts the artist's wife Londa, Baroness von Berg. They were married in 1918 and their first child, Luca, was born later that year. Londa became one of the artist's favourite models whom he painted on numerous occasions.Condition reportSome very faint stretcher marks. Some minor frame abrasions. Some minor old marks and scratches in places.Generally good appearance.Nothing flaring under UV light.Various knocks and scratches to frame. Inside right edge of frame a little damaged and loose.
Grigorij Filippovski (Russian, 1909-1987)Portrait of Boris Pasternaketching30 x 22cmARRFootnoteBoris Pasternak (1890-1960) is best know for his seminal novel Dr Zhivago. Seen as anti-communist by the Soviet authorities, publication was denied in the USSR. The manuscript had to be smuggled to Italy for publication in 1957 which further enraged the authorities. Pasternak was awarded the Nobel Prize the following year but was told he would not be allowed to return to Russia if he travelled to accept it and thus refused the award.
LANDSCHAFTSMALERSüddeutsch, 20.Jh. Blick über die Ammer zur Wurmlinger Kapelle. Öl/Lwd., 40,5x50,5cm, Ra. PORTRAIT PAINTER South German, 20th century View over the Ammer to the St. RemigiusChapel. Oil on canvas, 40.5 x 50.5 cm, framed. Keywords: paintings, images, art, artworks, pictures, Gemalde, German artist, Germany, Deutschland, German
SÉGUR, GUSTAVE LOUIS DE1820 - 1881 Bildnis eines Mädchens in der Blumenwiese. Öl/Holz, oval. Verso bezeichnet und datiert: 1868. 28x20,5cm, Ra. Craqueliert. SEGUR, GUSTAVE LOUIS DE 1820 - 1881 Portrait of a girl in a field of flowers. Oil onpanel, oval. Inscribed and dated verso: 1868. 28 x 20.5 cm, framed. Craquelure.
HAREMSSZENEIndien vor 1945 Auf Elfenbein gemalte Miniatur. Indischer Mogul mit 4 Frauen in einem Palastzimmer. 9x15cm, Ra. A HAREM SCENE India before 1945 Miniature painted on ivory. Indian mogul with 4 women in apalace room. 9 x 15 cm, framed. Keywords: portrait painting, India, Indian, South Asia, South Asian, Moghul, Mughal emperors
Francois Dumont (French, 1751-1831)Portrait of Marie Antoinette, Queen of France (1755-1793), standing full length by a porphyry column, holding flowers in a vase bearing a profile relief of Louis XVIsigned 'F Dumont' and dated 1815 l.l., oil on canvas68 x 54.5cmProvenance: Farm House, Farm Street, Mayfair, London.Marie-Antoinette had herself painted, probably in 1791, as a vestal, standing next to an altar (identified by Olivier Blanc as an altar to amitié) and holding a vase of lilies with an image of Louis XVI. The pose is a standard one, though it may have been chosen to echo French Revolutionary imagery; certainly the fleurs-de-lys are an obvious royalist emblem. It is possible, too, that the picture portrays the more personal theme of conjugal love elevated into passionate friendship. Louis XVI was fond of the picture. According to Marguerite Jallut, the original gouache stood on his bureau in the Tuileries, whilst a smaller copy accompanied him on the flight to Varennes. The present painting is another of the same subject that Dumont painted in 1815.Condition report: The canvas has been relined. There is craquelure throughout. Stretcher marks visible to all four sides and across centre, and this is most apparent at the the upper and right hand edges. Seen under UV: the surface is covered with a layer of green varnish which makes any reading of the retouching difficult. However, there are purple washes over parts of the canvas, mainly to the background, suggesting that paint has been applied. There are several small spots of retouching to the chest and neck and some further flecks above the sitter's head and to the extreme right edge, however there may be further additions. Well presented and ready to hang.
Attributed to Jonathan Richardson (1667-1745)Portrait of a lady, head and shoulders, believed to be one of the Villiers sisters, in a green dress, red cloak and maroon sash, wearing pearl earrings and holding a pearl necklaceoil on canvas75 x 62cm, in a carved oak and parcel-gilt contemporary frameProvenance: Acquired by the vendor at Sotheby’s, London, in 1972.The sitter is believed to be one of the Villiers sisters, either Anne, Katherine or Elizabeth, who were all at Court with their sister Lady Fitzhardinge.Condition report: Oil on canvas which has been lined. The canvas is in plane and the tension is adequate. There are a few small losses to the paint layer and some minor abrasion in the background. The varnish is semi-matte and clear. Areas of overpaint are reasonably well matched to the original.
Attributed to Jonathan Richardson (1667-1745)Portrait of a lady, believed to be Lady Fitzhardinge (1654-1708), head and shoulders, in a red dress, wearing pearl drop earrings and a pearl armband, holding her long hairoil on canvas78 x 66cm, in a carved oak ribbon and parcel-gilt contemporary frameProvenance: Acquired by the vendor at Sotheby’s, London, in 1972.Born Barbara Villiers, daughter of Colonel Sir Edward Villiers of Richmond, Lady Fitzhardinge was a lady-in-waiting to Queen Anne, and governess to Prince William, Duke of Gloucester, and was thought secretly to be a Jacobite. Her close friend was Sarah, Duchess of Marlborough.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension. At the upper right corner is an area of flaking and loss. The paint layer is in a stable condition overall. There is some brushy overpaint in the sitter’s hair. The varnish is dull and very yellowed. There are insect droppings on the surface and some staining which has affected the paint layer below.
Circle of Michael Dahl (Swedish/English, 1659-1743)Portrait of Alice, Lady Monoux, head and shoulders, in a blue dressoil on canvas42 x 30.5cmThe Monoux family lived at Wootton House, Wootton, Bedfordshire. Lady Monoux's sister-in-law was Lady Cope and Lady Monoux was born Alice Cotton.Condition report: Oil on a fine weave canvas support which has been lined onto a coarse weave canvas. The painting has good tension and the picture is in plane. There are a few scattered losses to the paint layer, although this appears stable overall. Localised areas of retouching appear matte compared to the surrounding areas. The varnish is even, semi-glossy and slightly yellowed.
English School, 19th centuryPortrait of King Henry I, bust length, in an ermine-trimmed robe and gold crownoil on canvas 56 x 41cm, unframedCondition report: Oil on canvas which is unlined. The canvas has been commercially prepared, a stamp for an artists’ supplied is present on the reverse but partially covered by an old paper label. The inscription on the label has worn away and is now almost illegible. The canvas is in a good condition, the tension is adequate and the picture is in plane. There is a small hole to the right of the sitter’s head. The paint layer is in a good, stable condition with a few small losses around the edges. There is a network of age cracks across the work. The crown and elements of the cloak created with gold leaf, copying the technique of earlier portraiture. The varnish is dull, uneven and yellowed.
French School, 19th centuryPortrait of a scholar, seated half length, in a red cloak and holding a penoil on canvas65 x 54cmCondition report: Oil on an early canvas which has not been lined. There are numerous, small damages to the painting. Some have been patched from the reverse, but some are more recent with associated paint loss. The paint layer has a distinctive network of age cracks which is pulling the canvas forward, causing undulations. Some of the age cracks are raised. There are localised areas of retouching covering damages which are fairly matte in appearance. The varnish is applied unevenly but the appearance is glossy overall. It has yellowed slightly with age and there is a light layer of surface dust present.
Attributed to Sir John Baptist de Medina (1659-1710) Portrait of Charles, 9th Lord Elphinstone (1676-1738), three-quarter length, in a red coat, standing in a wooded landscape bears later inscription u.l., oil on canvas 122 x 102cmCondition report: Oil on canvas which has been lined. The canvas has good tension and the picture is in plane. The paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the red jacket and are reasonably well matched to the original. The painting is compromised by a degraded varnish layer which is starting to fracture and become opaque, this is particularly noticeable in the darker areas of the jacket. The white scratches at the upper edge of the painting are in the varnish layer. There is a layer of surface dirt with insect spots across the surface.
Follower of Thomas Hudson Portrait of a gentleman, three-quarter length, in a blue coat and red waistcoat, holding a telescope, a terrace beyond oil on canvas 127 x 102cmCondition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. At the right hand side of the painting, in the background, is an old damage which has been repaired, filled and retouched. The fill is raised and flaking with losses. Areas of overpaint have discoloured slightly and are slightly crudely applied in a whole sale manner. The varnish is yellowed and patchy. There are scuffs and scratches to the varnish and abrasion around the edges caused by framing.
Attributed to Enoch Seeman (c.1694-1745) Portrait of Admiral Charles Elphinstone Fleming of Cumberland, three-quarter length, in a brown coat and blue mantle, in a coastal landscape oil on canvas 127 x 103cmCondition report: Oil on canvas which has been lined. The edge of the canvas is visible in the frame at the top edge. The canvas is in plane with good tension and the paint layers are stable. There are some areas of wear and abrasion, mainly in the background. A few scattered old losses which have not been retouched. Localised areas of retouching have discoloured and appear matte compared to the surrounding, original paint layers. The varnish is clear and even but brittle with a few scuffs and scratches. Small white spots are also issues with the varnish.
Attributed to James Maubert (Irish, 1666-1746) Portrait of the Holdsworth children of Devon, from left: Mary (b.1727), Sarah (b.1728), Arthur (b.1733) and Anne (b.1731), all full length, Mary holding a basket of flowers and Arthur seated on a velvet cushion oil on canvas 104 x 130cm, in a George III-style carved giltwood frameProvenance: Christie's London, 22 November 2006.Arthur Holdsworth was born to Arthur Holdsworth (Senior, born 1701) and his wife, the former Marcella Gibbs, and he later married Rebecca Taylor and they had six sons. Anne Holdsworth was born in 1731 at Dartmouth; she married Robert Newman. Later the family went into politics and there is a portrait of a descendant, Arthur Howe Holdsworth, by William Brockedon in the National Portrait Gallery.The family originally came from Yorkshire and a descendant, a vicar, moved to Devon in 1620. One of the sons of that vicar (also an Arthur, this appears to have been the only male name!) became Mayor of Dartmouth in 1672. They were very successful merchants and had properties in Portugal and Newfoundland.The family home was Widdicombe House, near Torcross (Listed Grade II*) originally built circa 1720-25 and enlarged in 1820. They also owned Brooke Hall, Dartmouth. There is a Holdsworth Room in Dartmouth Museum, Devon.We are grateful to Hugh Belsey for his assistance with the catalogue entry. Condition report: Oil on canvas which has been lined. There are some minor undulations to the canvas at the upper left corner but overall the picture has good tension. The paint layer is in a good, stable condition overall. Small, localised areas of overpaint are well matched to the original in colour and gloss. The varnish layer is yellowed and sightly dull. There are scuffs, scratches and abrasion to the varnish layer, notably around the edges. Sitting on the varnish is a layer of surface dirt including extensive insect droppings which could be removed through surface cleaning.
English School, mid-18th centuryPortrait of John Scott Hylton (1725-1793) of Lepal House, Halesowen, bust length, in a plum-coloured coat and white stock, holding a coinoil on canvas61 x 51cm;and a pair of small watercolours framed as one:Portrait of John Scott Hylton, bust length (a copy of the above oil painting) and of his brother Phillip Bramwell Hylton, bust lengtheach 9.5 x 6.5cm, oval, mounted and in a carved oak frame (2)Condition report: Oil on canvas which has been lined. There is an addition along the lower edge of the picture. The adhesion with the lining is poor with undulations and small lumps across the surface. The paint layer is a little worn in areas but stable. Retouching has slightly darkened and is a little wholesale in areas. The varnish is glossy and even with a layer of surface dirt.Watercolours: Some foxing and colour fading to the portrait of John Scott Hylton. Some orange stains, colour fading, creases and tears to the portrait of Phillip Bramwell Hylton.
After Sir Joshua ReynoldsThe Age of Innocence; Portrait of Miss Theophila Gwatkina pair, both signed 'Lasty' l.r., pastel, oval29 x 25cm (2)Theophila Gwatkin was the grand-daughter of Joshua Reynolds's favourite sister, Mary.Condition report: Age of Innocence: A couple of black spots to the hair, a small grey spot to the jawline, and two white spots near the top edge. Possibly a few flecks of dust and dirt near the lower edge. Otherwise no major flaws. Not seen outside of glazed frameTheophilia: Two black spots to the left of the face and one on bonnet. Some small spots of dust and dirt in lower quarter on the dress. The pastel has smudge onto glass lower right. Otherwise no major flaws. Not seen outside of glazed frame.
Circle of Sir William Beechey (1753-1839) Portrait of a young gentleman, bust length, in a blue coat and white stock oil on canvas61 x 51cm, in a George III-style carved giltwood frameCondition report: Oil on canvas which has been lined. The canvas tension is stiff but the picture is in plane. The paint layer is stable. Old damages have been repaired through lining. There is extensive retouching in the background, finely applied following lines of abrasion, Here the retouching is well matched to the original but matte. Some retouchings have darkened, for example the old tear to the right of the sitter’s head. Retouching in the face have lightened. The varnish layer has yellowed. There are drip marks in the varnish at the lower right corner.
Emma von Müller (Austrian, 1859-1925)Portrait of a young lady, bust length, in traditional costumesigned 'Emma V Müller' u.r., oil on panel27 x 17.5cmCondition report: Oil on a small wooden panel. The support and paint layers are in a very good condition overall. There is some abrasion along the upper right edge. The varnish is even and glossy. There is a layer of surface dust and a few accretions on the varnish.
German School, 19th centuryPortrait of an old woman, half length, in a brown coatoil on canvas33 x 28cmCondition report: Oil on canvas which has been lined. The support and paint layers are in a good condition overall. Retouchings are a little matte in appearance and mainly located around the edges and at the lower right corner. The varnish has yellowed with age but is glossy and even. There is a thick layer of dust across the surface.
English School, 19th centuryPortrait of a naval officerindistinctly signed 'Rose....' l.r., pastel and bodycolour64 x 51cmCondition report: Surface dirt. The paper is loose in the frame and is a little out of place down the right hand side. Some slight foxing and discolouration apparent to the paper. Some losses to the frame, unexamined out of frame.
Follower of William HogarthWilliam Hogarth's dog 'Trump'oil on canvas58.5 x 46cmThis painting is based on the celebrated self-portrait of the artist and his beloved pug 'Trump', now in the Tate Gallery.Please find an interesting article on this lot kindly written by Lars Tharp, Hogarth Curator, Foundling Museum:Article by Lars Tharp Condition report: Oil on canvas which has been lined. The picture is generally in plane and the paint layers are stable. Drying cracks have formed in the paint of the dog. Localised areas of retouching are present beneath the varnish and well matched to the original. The varnish is even but semi-matte and slightly yellowed. The surface has a slightly smeary appearance, probably due to a layer of surface dirt present.
Mrs C J Underwood (late 19th/early 20th century)Portrait of 'Ella', head and shoulders, in a white dress and flower-bedecked hatinscribed on artist's label verso, miniature on ivory 6.4 x 5cm;and three others by the same hand, of a lady, head and shoulders, in a white dress, oval; a gentleman, head and shoulders, in a grey suit, oval; and a young lady, head and shoulders, in a pale green dress, circular;and two other late 19th century oval miniatures of young ladies (6)Condition report: All have slightly yellowed, some with a few yellow flecks visible in the background. None seen outside of frames
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