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283287 Los(e)/Seite
Los 434
Bunyan (J), THE SELECT WORKS OF JOHN BUNYAN: WITH A LIFE OF THE AUTHOR BY GEORGE CHEEVER, first edition, full leather, gilt embossed decoration to covers and spine, engraved portrait frontispiece, colour plates and monochrome illustrations throughout, William Collins, Sons, And Company, London 1871
Los 455
EIKON BASILIKE. THE POURTRAICTURE OF HIS SACRED MAJESTIE IN HIS SOLITUDES AND SUFFERINGS: TOGETHER WITH HIS PRIVATE PRAYERS, USED IN THE TIME OF HIS RESTRAINT, AND DELIVERED TO D. JUXON, BISHOP OF LONDON, IMMEDIATELY BEFORE HIS DEATH, full leather, gilt embossed ?CR? with crown and skull to front and back covers, laid paper, foldout frontispiece of Charles I at prayer, further portrait frontispiece and portrait plate, London 1649, with Wilson (A), THE HISTORY OF GREAT BRITAIN, BEING THE LIFE AND REIGN OF KING JAMES I, RELATING TO WHAT PASSED FROM HIS FIST ACCESS TO THE CROWN, TILL HIS DEATH, first edition, full leather, applied hand-written title label to spine, laid paper, engraved frontispiece, printed Richard Lownds, London 1653 (2) Provenance: The Estate of Lord Kenyon, Gredington.Note: The Eikon Basilike (Portrait of the King) is an autobiography written by Charles I. It was published on his death in 1649 and became widely circulated despite vigorous attempts to suppress it. The book fostered the image of Charles as a just, peace-loving and pious king and gave him the status of a martyr.
Los 477
THE VOYAGES OF CAPTAIN JAMES COOK ROUND THE WORLD, PRINTED VERBATIM FROM THE ORIGINAL EDITIONS, AND EMBELLISHED WITH A SELECTION OF THE ENGRAVINGS, first thus, 7 vols full leather, gilt titles and tall ship motifs to spines, Kenyon crest and engraved portrait frontispiece to vol I, foldout maps and plates throughout, Richard Phillips, London 1809 Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT: Vol 1: Frontispiece, title page, first contents page unnumbered then pp ii-vii, first introduction page unnumbered then pp 2-4, text first page unnumbered then pp 6-190, map p 190, text pp 191-206, map 206, text pp 207-230, map p 230, text pp 231-378.Vol 2: Title page, first contents page unnumbered then pp iv-vii, text first page unnumbered then pp 2-46, map p 46, text pp 47-354.Vol 3: Title page, first contents page unnumbered then pp iv, first general introduction page unnumbered then pp iv-xvi, text first page unnumbered then pp 2-172, pp 173 unnumbered, text pp 174-348.Vol 4: Map before title page, title page, first two contents pages unnumbered then v-vii, text first page unnumbered then pp 2-56, map p 56, text pp 57-172, map p 172, text pp 172-238 (page 235 is misnumbered 335), map p 238, text pp 239-262, vocabulary directions 263-295, a table of specimens of different languages spoken in the South Sea.Vol 5: Map before title page, title page, first contents page unnumbered then iv-ix, first page of introduction unnumbered then pp ii-lxvii, text pp 69-132, map p 132, text pp 133-206, map p 206, text pp 207-342, 342 p map, text pp 343-438.Vol 6: Title page, text first page unnumbered then pp 2-20, map p 20, text 21-66, map p 66, text pp 67-176, map p 176, text pp 177-282, map p 282, text pp 283-288, map p 288, text pp 289-290, map p 290, text 291-418, map p 418, text pp 419-446, map p 446, text pp 447-468, map p 468, text pp 469-504.Vol 7: Title page, map before text, text first page unnumbered then pp 2-4, map p 4, text pp 5-42, two maps p 42, text pp 43-44, map p 44, text pp 45-160, map p 160, text pp 161-268, map p 268, text pp 269, text pp 269-336, map p 336, text pp 337-344, map p 344, text pp 345-442, first page of appendix unnumbered then pp 444-472, general index (all pages unnumbered) pp 473-518.
Los 497
A collection of fourteen railway and ocean liner transport prints, most limited edition, to include 'St. Tudno and King Orly' by Jay Nicholson, 'Over The Forth' by David Shepherd, 'RMS Queen Elizabeth II' by Stephen Card and 'A portrait Of Power' David Weston, all framed and glazed, the largest 72cm x 94cm overall (14)
Los 523
After Anthony Van Dyck (1599-1641),Portrait of Peter Paul Rubens,Oil on panel,28cm x 25cm,Framed CONDITION REPORT:The panel is loose in its frame, which is probably a later addition. The paint surface shows wear to all four edges. There are several surface scratches to the right of the figure, the longest 9cm long. UV examination reveals evidence of restoration down the length of a crack or join in the panel. The back of the panel has been extensively reinforced in the relatively recent past.
Los 525
Follower of Sir Antony Van Dyck (1599-1641),Portrait of Charles I, Head and shoulders, with lace edged collar and garter star to his left sleeve,Oil on canvas,75cm x 60cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The paint surface shows some surface marking to the top half of the picture, and more extensive marking and some small areas of paint loss to the bottom half, particularly to the lower left corner. There is a white smear approximately 2cm long to the right of the picture, 4cm in from the right side of the frame and 24cm down from the top of the frame. The paint surface appears thinly applied in paler areas of the picture, with the canvas weave visible under the eyes, in the lace collar and in the blue pendant sash. The sash also shows further areas of discolouration. UV examination reveals no evidence of significant restoration, although the picture appears to have been re-lined on later stretchers at some point in the past.
Los 528
Attributed to William Owen RA (1769-1825),Portrait of a lady, three quarter length in a landscape, wearing a white dress with a yellow shawl, beside her an urn on a plinth,Oil on canvas,140cm x 111cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The picture shows evidence of re-lining, re-stretching and reframing. There are small tears to the canvas, areas of paint loss, crazing and wear throughout. UV examination shows several small retouches and and evidence of possible restoration at the bottom edge of the dress. The frame shows various losses, chips and nibbles to the gilt finish and the gesso.
Los 535
Joseph Bridge (1845-1894),Portrait of Hon Mrs Bulkeley Owen Half length seated in a white dress,Oil on canvas,74cm x 61cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.Notes: Joseph Bridge was born and bred in Shrewsbury and he remained based their throughout his career. He exhibited at the Royal Academy in London from 1866 to 1872. The Fitzwilliam Museum in Cambridge has as part of their collection his portrait of Edward, 3rd Earl of Powis
Los 537
English school, late 17th century,Portrait of George Rigby of Peel,Half length wearing armour,Oil on canvas,76cm x 62cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The picture shows evidence of historic re-lining, re-stretching and re-framing. The paint surface shows crazing, small areas of paint loss and surface marks including a full length drip mark running to the right of the face. UV examination reveals evidence of restoration to the bottom right corner and further small retouches. The frame shows various small chips and nibbles to the gilt and the gesso.
Los 538
English school, late 17th century,Portrait of Richard Assheton of Chadderton,Half length in clerical costume with a lawn collar, landscape to his left inscribed bottom left 'Rich Afheton of Chaddington' and middle left 'AETs Suea 33',Oil on canvas,73cm x 63cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The painting shows evidence of re-lining, re-stretching and re-framing. There is evidence of water dripping on the top edge of the frame, with a single drip mark running the length of the picture through the right of the face. This drip mark remains visible when the paint surface is lightly moistened. There are further small surface marks (mainly a white residue) in the top left, middle centre and lower half of the picture, with further small pale areas which look like residue but are in fact small areas of of paint loss, the largest to the left of the head. UV inspection reveals no evidence of restoration to the paint surface. The frame shows the odd small loss to the moulding.
Los 542
English school, late 17th century,Portrait of Jane Assheton, Mrs Kenyon in old ageFull length, seated wearing a black dress with a small child, dressed in a white dress and holding a pink rose, by her side, Inscribed 'Jane daughter of Richard Assheton of Chadderton married Roger Kenyon of Park Head in Com Lan',Oil on canvas,205cm x 130cm,Framed Provenance: The Estate of Lord Kenyon, Gredington.
Los 545
Rose Dempster Bonnor (fl.1895-1916),Portrait of Lloyd Tyrell Kenyon, 4th Bt, in the uniform of a Lieutenant Colonel Full length standing in a country house interior Inscribed top left 'Lloyd 4th Bt Kenyon 1916', Inscribed on the frame 'The gift of the officers, NCOs and privates of the 2/1 Welsh Horse to their commanding officer 1915 signed lower left, dated 1916,Oil on canvas,220cm x 106cm,Framed Provenance: The Estate of Lord Kenyon, Gredington.Notes: Rose was a leading artist in her day and predominantly painted portraits. She exhibited at the Royal Academy over 14 times and painted many high society figures. Born originally in Llangedwyn, Clwyd, Wales she spent fifty years working from her studio in Twickenham. In 2014 a retrospective was held of her work in the Orleans House Gallery in Richmond curated by her Great Niece Annabel Bonnor Bloxham.
Los 546
English school, early 18th century,Portrait of John Tyrell half length, wearing a dark red and green coat and white cravat, in a painted oval with family crest top right and inscribed ' John Tyrell Gent aetatis suae 32 1719',Oil on canvas,77cm x 65cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.
Los 548
Follower of Godfrey Kneller (1646-1723),Portrait of Anne Kenyon, daughter of Rev Edward Kenyon and wife of George Kenyon Head and shoulders, wearing a dark blue dress, in a painted oval Inscribed in Ink on the stretcher verso,Oil on canvas,74cm x 63cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.
Los 554
English School, late 17th century,Portrait of Roger, son of George Kenyon Esq MP, half length wearing a red velvet coat and white cravat,Oil on canvas,Inscribed verso 'Roger Kenyon eldest son of Geo Kenyon of Peel and Anne his wife died young at Cambridge,77cm x 65cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.
Los 555
Circle of Godfrey Kneller (1646-1723),Portrait of Thomas Kenyon in a painted oval half length wearing a brown cloak and a white cravat inscribed 'Thos son of Roger Kenyon of Peel mari katherine dau of Luke Lloyd of Bryn in Flintshire',Oil on canvas,75cm x 63cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.
Los 556
Manner of Daniel Mytens (1590-1647),Portrait of Charles I Head and shoulders wearing a lace collar and red coat inscribed verso 'Charles the firt Rex',Oil on panel,31cm x 26cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The paint surface shows evidence of overpainting to the forehead above the bridge of the nose, and along the horizontal line of the panel join running through the moustache. There is also evidence of later varnishing, most visible on the chin. UV inspection reveals no obvious evidence of restoration beyond that described above.
Los 558
Edward Taylor (late 19th century),Portrait of Lloyd Kenyon, Head and shoulders seated wearing a brown jacket and blue necktie,Watercolour,31cm x 25cmTogether with a gouche of the 1st Baron Harlech, John Ralph Ormsby-Gore, by a different hand (2) Provenance: The Estate of Lord Kenyon, Gredington.
Los 559
Follower of Anthony Van Dyck (1599-1641),Portrait of Queen Henrietta Maria (1609-1669),Head and shoulders wearing a lace collar and embroidered red velvet dress,Oil on canvas,62cm x 57cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The picture has slipped in its frame somewhat, revealing evidence of historic re-laying on later stretchers. The paint surface shows some fine surface cracking and some small areas of white residue, particularly in the top right quadrant. UV examination reveals no evidence of significant restoration.
Los 564
English school, circa 1650,Portrait of two ladies, both half length,Patch marks to their faces inscribed 'I black with white bespott y white with blacke this evil proceeds from thy proud hart then take her: Devill',Oil on canvas, 64cm x 75cm, Gilt framed Provenance: The Estate of Lord Kenyon, GredingtonPlease note that if you are successful with purchasing this lot we will be asking you for two forms of identification to prove your name and registered address to comply with anti-money laundering regulations.Should an export license be required, we suggest you contact Richard Tomkinson at Cadogan Tate. We do not deal with export licenses in-house.Payment will be required strictly within 7 days of the date of the auction by bank transfer only. If you cannot adhere to these payment terms, please do not bid.As you will expect, we have had an overwhelming amount of interest in this lot and we appreciate your patience.To avoid an embarrassing conversation after the auction, please do not ask us NOT publicise this lot, we will be publicising it via our usual channels. This painting provides the viewer with a fascinating insight into politics, gender hierarchy and society in 17th century England. The style of the sitters dress, hair and jewellery would appear to date this painting to the 1650’s during the Interregnum when low cut, off-the-shoulder bodices were the height of fashion and the hair was worn in loose waves to the shoulders on the sides, with the remaining hair gathered at the back of the head. The addition of pearl necklaces and earrings was typical of this period. The depiction of face patches in this painting is quite extraordinary, face patches have been used since ancient times for purely practical purposes to cover up scars and blemishes. However, in the mid 17th century some men were outraged by the way women dressed and wore make up. In 1650 parliament debated whether to pass an act against ‘The vice of painting and wearing black patches, and immodest dress of women’, the bill did not make it to law but had some popular support. The Puritan obsession with sexual promiscuity was also reflected in a crackdown of all forms of ‘nightwalking’ aimed at removing prostitutes from the streets. The implication was that a ‘patched woman’ had something to hide, which may have been as innocent as a birthmark or small-pox scar, but she could also be hiding something much more sinister, perhaps a syphilis scar or other sexually transmitted diseases. The association of patches with sexual immorality, deceit and aristocratic affectation was everything Cromwell and his Puritan government sought to outlaw. http://eighteenthcenturylit.pbworks.com/ provides an interesting insight: ‘A patch is defined by the Oxford English Dictionary as “A small piece of black material, typically silk or velvet, cut into a decorative shape and worn on the face, either for adornment or to conceal a blemish”. The art of patching one’s face became popular in the seventeenth century, and continued to be fashionable until late in the eighteenth century. Among women, wearing patches on the face was a part of a larger cosmetic fashion movement characterised by a desire to emulate youth by achieving the “perfect” complexion. The art of patching is said, apocryphally, to aim to emulate the beauty spot of Venus, whose one dark imperfection highlighted the flawlessness of her complexion and thus made her beauty complete (Downing 22 and Fairholt 1:303). Patching was also popular among men, particularly for the “dandy” meaning that the patch was a part of both male and female attire. The response of the seventeenth century Puritans in England to the practice of any use of cosmetics was not favourable; a response which could not fail to include the art of patching. A sermon written by divinity student Andrew Jones titled “Morbius Satanicus, The Devil’s Disease, or The Sin of Pride Condemned and Arraigned” uses Ezekiel 16:49, in which Jerusalem is related to the ancient city of Sodom, to draw a parallel between the unfaithful Israelites of the time of Ezekiel, and the unfaithful state of England at the time. The key to this unfaithfulness, he suggests, is the abundance of pride, which partly manifests itself in the painting and patching of the face. In 1683, another Puritan text, “England’s Vanity, or the Sin of Pride” is printed, a text which again damns the abundance of Pride in England. The author, talking specifically of patches, calls them “the very tokens of death”.While “England’s Vanity” begins as an address to all mankind, it quickly begins to concern itself solely with women, comparing painted and patched women to Jezebel, the infamous whore of Babylon. This speaks of a societal misogyny that fears the ability of women to change their appearance. Perhaps it was because patching and wearing cosmetics gave women the power to present themselves as they wanted, that the Puritans were so critical of the practices. Perhaps it was that the Puritans really believed that if women could improve their appearance, men would not be able to resist themselves from being tempted by them and would fall into sin. In either case, the texts show that the male authors were particularly indignant to the art of patching on women. Patching, then, posed a problem for the Puritans. The idea of changing one’s appearance opposed their theology that God has made everyone as they should be, and therefore that to alter one’s appearance was to tamper with God’s creation. This was blasphemous, as tampering with God’s creation was seen to be, in effect, “playing God”. It would also pose a threat to the patriarchal power structures in the religion if it were true that made up women gained some power over men through the act of hiding something from them. The inflammatory indignation with which the Puritans of the late 17th century responded to the fashion of patching and painting seen in these texts is indicative of their fear of it. There was an attempt to make all cosmetic use illegal as early as June 1650, when parliament ordered “an Act against the Vice of Painting and wearing black Patches and the immodest Dresses of women” to be read. The act did not get far as there is no further record of it in Journals of the House of Commons (Downing 21). Even had the Act passed, it is unlikely that the efforts of the Puritans to halt the art of patching and painting would have got very far; indeed even such damning arguments as have been seen here do little to halt the rise of patching as an everyday fashion.’The depiction of a black woman sat alongside, and not subservient to, her companion, at this date is also an important factor to note, where both sitters are depicted as ‘social equals’ denoted by the style of the dress and jewellery.It would appear that the painting here is a moralistic warning to the viewer, set to highlight the mortal dangers of vanity and pride in 17th century Puritan England. Of course, patches came back in to fashion in England under King Charles II who grew up in France and brought the fashionable phenomenon of ‘patching’ back to England with him where it flourished.PLEASE SEE 'SHIPPING / REMOVALS' SECTION BELOW FOR CONDITION REPORT:
Los 569
Seltener vierteiliger StellschirmJapan, Muromachi-Periode138,5 x 245 cmLinker Schirm aus einem Paar. Auf jedem Paneel Portrait eines Priesters aus der Gruppe der Acht Patriarchen der Shingon-Schule, von rechts nach links der 5. Patriarch Zenmui, der 6. Patriarch Ichigyô, der 7. Patriarch Keika, und der 8. Patriarch Kobo Daishi. Auf dem Panel Topfsiegel, das zweite Schriftzeichen nobu.Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung, in den frühen 1960'er-Jahren in München erworben, das abgebildete Foto wird in das Jahr 1967 datiertDie Gruppe der Acht Patriarchen der Shingon Schule (Shingon hasso) wurde im 9. Jahrhundert kanonisiert. Während die ersten beiden Patriarchen legendär sind, haben die übrigen sechs als real existierenden Priester den esoterischen Shingon-Buddhismus in Ostasien entscheidend geprägt. Unter ihnen ist Kobo Daishi der einzige japanische Priester.#1#1Die Folge von Patriarchenbildnissen wird bei shingon-buddhistischen Initiationszeremonien zu je vieren an gegenüberliegenden Wänden der Halle aufgehängt. Anstelle von Hängerollen konnten auch zwei Stellschirme à vier Paneele dienen, die den Anwärtern die Traditionsfolge seiner Religion vor Augen führte. Die Bildhaftmachung von Überlieferungslinien von Lehrer zu Schüler wurde im Buddhismus seit jeher praktiziert. Die Achtergruppe Shingon Hasso ist in der Kunstgeschichte erstmalig belegbar in der Wandmalerei der Pagode des Daigoji bei Kyoto aus dem Jahr 952. In der Heian-Zeit ist dann ihre Darstellung kanonisch und ikonographisch festgelegt und wird seitdem mehr oder weniger unverändert fortgeführt. Die bekanntesten Sets dieser Patriarchenportraits befinden sich in japanischem Tempelbesitz oder bedeutenden japanischen Museen. Alle Dargestellten tragen einfache und immer gleiche Mönchsroben. Identifizierende Attribute sind Gebetsschnur, vajra und Handgestus (mudra). Vor der Sitzbank stehen Schuhe und Wasserkanne. Nur der chinesische Mönch Keika wird zusammen mit einem Akolythen wiedergegen. Die obere Gestaltung des Bildfeldes hingegen variiert bezüglich der namentlichen Identifizierung und den biographischen Angaben zu den Priestern. So gibt es Schriftfelder, die sich über die ganze Bildbreite ziehen, ein einzelnes Schriftfeld jeweils rechts, oder in großen Schriftzeichen geschrieben der jeweilige Name. Bei den vorliegenden Bildnissen sind die Schriftfelder frei geblieben. Buddhistische Malerei und auch solche Patriarchenportraits wurden von anonymen Werkstätten meist arbeitsteilig ausgeführt. Diese Bilder sind nicht signiert, höchstens aus einer rückwärtigen Aufschrift könnte ein Datum oder ein Name hervorgehen. Das im vorliegenden Fall ein Siegel angebracht wurde, ist ungewöhnlich. Siegel in Form eines archaischen chinesischen Bronzegefäßes wurden von den Malern der Kano-Schule und Zen-Mönchen ab dem 16. Jahrhundert verwendet. Das Siegel hier ist atypisch, da es nur ein einziges Paar Henkel gibt und diese am Hals angebracht sind und nicht wie üblich am Korpus oder auf dem Gefäßrand aufsitzenKleinere Alterssch. und alte Rest., etwas berieben
Los 371
Australian White Wine12 bottles Sidewood Chardonnay 2018; Penfolds Reserve Bin 19A Chardonnay 2019; Castelli Pemberton Chardonnay 2018; Nericon Reserve Chardonnay 2019; Blue Belle Chardonnay 2020; Kesehills Private Release Riesling 2018; Hardys HRB Chardonnay 2017; Peter Lehmann Margaret Semillon 2013; Peter Lehmann Portrait Riesling 2020; Peter Lehmann Wigan Limited Release Riesling 2013; Arras Premium Cuvée Brut; Arras 1501 Brut Elite
Los 3127
Lt. Griffiths, 191 Squadron RAF, a painted mess plaque, a later framed portrait and walking cane inlaid with a mother of pearl propeller. Lt Griffiths was a WWI pilot who survived the war but died piloting a civilian aircraft in the early 1920s. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)
Los 571
DAVID HOCKNEY. A David Hockney original exhibition poster 'Drawing From Life' at the National Portrait Gallery. 76 x 50cm, unframed. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 577
DAVID HOCKNEY. Four books: 'Portrait of David Hockney', by Peter Webb, 1988; 'Pictures by David Hockney', ed. Nikos Standos, reprint 1988 & two other volumes. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 157
MISCELLANEOUS PHOTOGRAPHS: Various late 19th century & early 20th century portrait & group photographs. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Los 275
Reg Miller - British 20th centuryOil on boardHalf length portrait of a lady in a red dress, 82 x 52cm, together withReg Miller - British 20th centuryWatercolourA seated female nude, signed and dated 1954 lower left, 78 x 36cm, unframed, andReg Miller - British 20th centuryWatercolourTree, signed and dated Miller 1958, 74 x 50cm, unframed andReg Miller - British 20th centurySeries of pencil drawingsOne titled "The Siege of Troy" and various other loose watercolours and pencil drawings by the same artist in a folder
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283287 Los(e)/Seite