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Preisdatenbank abonnierenOne volume, ' Shakespeare's Dramatic Works with Explanatory Notes ', a new edition to which is now added a copious index, by Reverend Samuel Ayscough, two volumes in one but lacking the index, published London, 1790 by John Stockdale, frontis is a portrait of Shakespeare. An important work ' Ayscough ' was assistant librarian of the British Museum
One volume ' Her Majesty Queen Mary, an Authoritative Portrait of a Great Lady in her Years as Queen Mother ', by Louis Wulff M.V.O. Sampson, Low, Marston and Co. Ltd, Gilbert Street, London, bound in gilt tooled vellum and signed - Mary R. 1950 (warping to the boards and slight foxing to the covers, early and late pages)
A Parian type Aristo and Tasso jug, with profile portrait roundels, Samuel Alcock & Co, printed marks and no. 184, 21cm; a white stoneware 'Arabic' jug, probably Samuel Alcock & Co, named, 19cm; a white glazed Marriage Procession jug, probably Minton, no. 119 on a scroll, 16cm; and a large white stoneware Samuel & Eli jug, probably T & R Boote, Britannia Metal hinged lid, 27cm.
Nicholas Hilliard (British 1547-1619) The Second Great Seal of Elizabeth I, the crowned Queen sitting on a horse, the surround with inscription, in a later circular frame with four painted roundel's, portraits to one side, a portrait, hands and a crest to the other, on a tapered, fluted, splayed column and circular base, 73cm high, the frame associated CONDITION REPORT: The seal impression is rubbed and the waxing around the surround in places is slightly illegible especially on obverse, some other chipping to border. Suspended in stand by pigskin, not clear how it is attached. Later stand, circular roundels scratched and two of the portraits are faded. Circular frame with hinge to each side. Gilded stand with some chipping to the beaded borders. Fluted base rubbed and slight splits to the step base.
David Hockney RA (British, born 1937)/Portrait of Cavafy in Alexandria (SAC 47; Tokyo 47)/etching and aquatint from 'Illustrations for Fourteen Poems by C P Cavafy'/signed and dated '66 in pencil, numbered 45/75, published by Editions Alecto, 36cm x 23cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
A plate decorated a portrait of Sir Roy Strong by Yaacov Agam with border of scrolls, 16.5cm diameter, contained in a marbled paper lined glazed case/Note: Yaacov Agam was born in Palestine in 1928, the son of a Rabbi. A period of imprisonment by the British, as a member of the Israeli resistance, placed him among men of many ages and backgrounds which made him realise that art must find a new language. At an exhibition in Paris in 1953 through his artwork, he became respected as the earliest pioneer of kinetic art
Piet Esser (Dutch 1914-2004) bronze portrait medallion of William Shakespeare, 56mm diameter, a Westminster School 450th Anniversary commemorative medallion, a gilt metal commemorative medallion of Igor Stravinsky, New York City Ballet, June 18 1972, a George V 'Rocking Horse' crown, 1935 and sundry royal commemorative coins CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Attributed to Abraham van Blijenberch (Flemish, 1575/6-1624)/Portrait of a Melancholy Man/half length, wearing a black doublet with lace collar/circa 1615/oil on panel, in a painted oval, 56cm x 42.5cm/Note: Although damaged this belongs to a series of late Elizabethan and Jacobean portraits depicting men in one of the classic attitudes of melancholy with his forehead resting on his right hand and his left resting on a ledge, the collar is of a kind which can be dated circa 1615. The painter belongs to the new wave of artists who came to England from the Netherlands in the second half of the reign of James I. Abraham van Blijenberch was in England from 1617-1622 when he painted members of the court interested in or active in the arts. His portrait of William Drummond of Hawthornden (Scottish National Portrait Gallery) dated 1612 bears a close resemblance/Provenance: purchased at Wilkinsons, Doncaster 22nd June 2014, lot 428 CONDITION REPORT: Panel has been reinforced with horizontal spars. It has been cleaned and the paint is thin on much of the surface, there are areas of restoration and over painting to his ruff cuffs and hands.
Alexander Galloway (Scottish act. 1794-1812)/Portrait miniature of a Gentleman/traditionally said to be Samuil Greig (1778-1807) wearing a blue coat with white stock/watercolour on ivory, 5.5cm x 4.5cm/the frame with fine hair scroll panel to the reverse/Note: Captain Samuil Samuilovich Greig (1778-1807) was the Russian Consul in London, he married Mary Somerville. They had two sons, one of whom, Woronzow Greig (1805-1865) became a barrister and scientist. Another son, Ivan Samuilovich Greig (1776-1802) travelled to China but was never heard of again. His grandson Samuil Alexeyvich Greig (1827-1887) was the Russian Minister of Finance 1877- 80, a General-Lieutenant he took part in the defence of Sebastopol during the Crimea War. He is buried in Smolenskoe Lutheran Cemetery in St Petersburg CONDITION REPORT: Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions
Pauline Denyer (Contemporary)/Portrait Miniatures of Sir Roy Strong/a pair/signed with initials and dated 97/watercolour on ivorine, oval, 9.5cm x 7cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Simon Redington (British, born 1958)/Portrait of Sir John Gielgud/aged 84, in his last theatrical role as Sir Sydney Cockerell in the production of 'The Best of Friends' by Hugh Whitmore at the Apollo Theatre, January 1988/signed and dated '88, numbered 15/30/etching, the plate 35cm x 26.6cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Godfrey Argent (1937-2006)/Sir Roy in the 1968 Beaton Exhibition/contemplates a photograph of the Queen Mother and Prince Charles taken at the Coronation in 1953/photograph, 18.5cm x 18.5cm/Note: Argent owed his photographic career to Sir Gerald Templer, in 1967 he became the official photographer of the National Portrait Gallery's National Photographic Record, Sir Roy Strong, then the new director, worked with Argent opening up that Record to reflect the changed society of the 1960s CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Sir Cecil Beaton (1904-1980)/Portrait study of Lady Diana Cooper in a wide-brimmed hat/inscribed verso/pencil, 25.5cm x 22cm/Note: Legendary beauty and friend of Beaton, this sketch came from his studio, the dress would suggest the late 1930s. It was through Beaton that Sir Roy Strong met the sitter and became a friend CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Sir Cecil Beaton (1904-1980)/Sir Roy Strong flanked by the be-ruffed grandees in the group portrait commemorating peace with Spain in 1604 in the National Portrait Gallery/photograph, 35.5cm x 35cm/Note: Taken by Beaton in July 1967 for Vogue, for what editor Beatrix Miller called her discoveries, a gallery that included all the up and coming young stars of the 1960s CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Sir Cecil Beaton (1904-1980)/Richard Buckle, the ballet critic, Sir Roy Strong and behind him Joe Predera, Buckle's assistant, in the landmark exhibition of Beaton Portraits at the National Portrait Gallery in the autumn of 1968 /inscribed 'For Roy - from Cecil'/ photograph, 19.5cm x 29cm/Note: This was the first exhibition of a living photographer in a national institution, the seminal event which began the transformation of the National Portrait Gallery CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
David Bailey (born 1939)/Sir Roy Strong dressed in the London style of the Swinging Sixties/wearing a Regency style velvet jacket with a silk cravat tied in a bow/photograph, 28cm x 28cm/Note: In 1971 the National Portrait Gallery gave space to a Welsh Arts Council Exhibition entitled 'Snap, Instant Image 1971', it was partly a manoeuvre by Roy Strong to cross portrait barriers that would have upset the Trustees if staged as a purely Gallery event, Bailey was the photographer, David Hockney the artist and Gerald Scarfe the cartoonist. Strong sat for Bailey attired as the photographer wanted, Bailey emerged as one of the photographers who visually defined Swinging London, born in 1939 he emerged seemingly almost from nowhere and from 1960 onwards was one of the photographers who visually defined an era CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Norman Parkinson (1913-1990)/Sir Roy Strong, recently knighted, is posed in a gallery depicting the baroque period, 1983/photograph, 35cm x 24.5cm/Note: Norman Parkinson was a portrait and fashion photographer who worked for Vogue from 1945 to 1960 and from 1969 produced a steady series of royal images CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Tessa Traeger (born 1938)/Sir Roy Strong, 2002/photograph, 34cm x 37cm/Note: Taken for the exhibition at the National Portrait Gallery and the book, Tessa Traeger and Patrick Kinmouth, A Gardener's Labyrinth: Portraits of People, Places and Plants CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Astrid Zydower (1930-2005)/Sir Roy Strong, 1965/typed label verso/pencil, 27cm x 21cm/Note: The earliest portrait by an artist of the sitter. Strong had met Zydower in 1963 when he was engaged to work on the portraits in the Quarter Centenary Shakespeare Exhibition at Stratford-upon-Avon in 1964. They remained lifelong friends until her death in 2005. The drawing depicts the sitter when he was an Assistant Keeper at the National Portrait Gallery, two years later he was to become its director/Provenance: Given by the artist to the sitter CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Provenance: Property of Sir Roy Strong CH, FRSL
Paul Brason (born 1952)/Portrait of Sir Roy Strong/looking to his right/signed/pencil, 24cm x 17.5cm/Provenance: With presentation inscription from the artist to the sitter's wife Julia Trevelyan Oman CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Bryan Organ (born 1935)/Portrait of Sir Roy Strong/facing front/signed and dated 1970/inscribed to both the sitter and his wife Dr Julia Trevelyan Oman/pencil, 45cm x 31cm/Note: This is a pencil study for the portrait of Sir Roy in the National Portrait Gallery CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
David Hockney, RA (born 1937)/Portrait of Richard Hamilton at Cadaques/full-length seated (SAC 126; Tokyo 118)/signed and inscribed 'for Roy and Julia from David H Oct 1971' in red crayon (on the occasion of their wedding)/artist's proof/etching, 35cm x 28cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukPaper has been laid down unevenly although there are no creases.
David Hockney, RA (born 1937)/Portrait Study of Sir Roy Strong/half-length, in profile/pencil, 33.5cm x 25cm/Note: this study was drawn at Cecil Beaton's House on Whitsun weekend, 1969 CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukThe paper has very slightly discoloured.It is not signed.From Roy Strong's personal collectionWe confirm that it is by Hockney.
Julia Trevelyan Oman (1930-2003)/Self-Portrait/oil on canvas, 76cm x 67cm/Note: Found amongst the sitter's studio on her death in 2003. The sitter always refused to sit for her portrait until she suddenly decided she would sit for Paul Brason in the final months of her life, this portrait was given to Perennial and now hangs in The Laskett CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Provenance: Property of Sir Roy Strong CH, FRSL
A Dutch Delft Royal portrait dish, of lobed form, painted in blue, green and yellow with a central portrait of King William with initials 'WR' amongst tulips, flowers and ribbons, circa 1700, 34cm wide CONDITION REPORT: Small rim chip with associated hairline crack to rim at 4 o'clock. Usual chipping to rims and crazing to glaze.
A Sèvres style oblong dressing table tray painted with a central portrait of a court beauty, within turquoise ribbon and flower garland borders, 18cm long, a Dresden blue-ground bottle vase, a bell similar and a small two-divisional basket, all with imitation marks CONDITION REPORT: Some chipping to edges/corners of square feet otherwise good condition
Two Minton portrait plates, painted by J Keeling, circa 1890, with historical revival portraits of women reserved on a mottled turquoise ground, signed and with impressed marks (one broken and poorly repaired) and a Minton plate painted in the style of Coleman with Eve holding an apple below an oak tree, inscribed MAF/1877, with impressed marks, 26.5cm diameter max CONDITION REPORT: One of the portrait plates (lady with the turban) broken into 3 pieces and glued, the other portrait plate without damage, two scratches to front, the earthenware plate in good condition
English School, early 17th Century/Portrait of Anne Shirley, Widow of John Brooke/three-quarter length, wearing a black dress and holding a book in one hand, the other resting on a chair/inscribed 'ANO DNI 1603 AETATs 47' and with a coat-of-arms upper left/oil on panel, 111cm x 88cm/Note: Anne Shirley (1554-1608) was the daughter of Francis Shirley of Staunton Harold, Leicestershire (1515-1571) and Dorothy Gifford and wife of John Brooke (died 1598) of Madeley Court, Shropshire. John's father, Sir Robert Brooke (died 1558) was a major jurist, MP for the City of London in five Parliaments and Speaker in 1554, the same year in which he was made Chief Justice of the Common Pleas. John was his son by his father's first wife, Anne Waring whom he married in 1537. John inherited the Madeley Court estate which had been purchased by his father in 1544 and which was to be the family seat for two centuries, although he did not obtain it until after the death of his father's second wife, Dorothy Gatacre, about 1572. He was responsible for the handsome gate house which still survives; the house is now a hotel. The Brookes were conservative in religion and latterly recusant. By the middle of the 18th Century the family had slipped from prominence as the estate was divided and sub-divided, this portrait presumably descending by way of one of these fragmentations. It depicts the sitter as a widow in black clasping a prayer book with one hand, the other resting on an opulent chair upholstered with gilt nails and fringing. The latter are carried out over gold leaf, a technique abandoned by the new wave of artists in the 1590s. The perspective of the chair is typically Elizabethan and a parallel treatment occurs in George Gower's famous Armada Portrait of Queen Elizabeth I. The extraordinary attenuated rendering of the hands could form the basis for identifying other works by what must have been a provincial artist/Provenance: The portrait turned up in a local saleroom in Pontrilas, minus its identity which, thanks to the coat of arms top left, was established by a member of the College of Arms. Purchased at a sale at Nigel Ward & Co., Pontrilas, Hereford, 2nd July, 2011, lot 310 CONDITION REPORT: Paint has in the past lifted, this has been re fixed to surface and areas of loss repainted, this is particularly prevalent in her dress. Areas of her face and ruff have been restored and touched in. The painting has been heavily cleaned and restored.
Walter Westley Russell RA (1867-1949)/Portrait of a Lady/wearing a green dress and standing beside a fireplace/signed lower left/oil on canvas, 127.5cm x 101cm (unframed) CONDITION REPORT: There is a tear upper left and another centre of canvass, see images attached.The painting is not framed and the margins are scuffed where a frame once was, otherwise surface is a little dirty.
Entertainment, Circus, Cinema etc, a collection of 30+ items, mostly 1920's to 1950's including 11 Circus programmes & flyers inc. Blackpool Tower Circus programmes for 1957, 61, 67, 68 & 69, Prince's International Circus 1958, also Cody's Circus etc, Butlin's Holiday Camp flyer (undated), 1920's Film adverts including Harold Lloyd, Beau Geste (Ronald Colman) Film Flyer 1926, Film Pictorial Star Portrait Album (Jean Harlow cover), The Modern Boy's Film Star Album (Will Hay to cover) etc (mostly gd/vg)
AFTER FRANCIS COATES (19TH CENTURY) Portrait of John Jervis, Earl of St.Vincent, circa 1769 Oil on canvas 49 x 39in. (124.5 x 99cm.) Provenance: John Jervis, The Earl St. Vincent (1735-1833), Meaford Hall (removed 1943 when Hall sold), and thence by descent. The source painting is located at the National Portrait Gallery, No. NPG2026Footnote: Admiral of the Fleet the Right Honourable Sir John Jervis, Earl of St. Vincent (1735-1823) was one of the most towering naval personalities of the 18th century and it was largely due to him that Nelson’s abilities were recognized and rewarded. Born in Meaford, Staffordshire, his parents moved to Greenwich when his father was appointed Solicitor to the Admiralty and Treasurer of Greenwich Hospital whilst John was still a child. His father wanted him to go into the Law, but John determined on a career at sea and, after much parental opposition, entered the navy on 4th January 1749 as an able seaman in the 50-gun 4th rate H.M.S. Gloucester. After seeing action in the Mediterranean and North America in the Seven Years’ War (1756-63), his promotion to Captain came in 1760. When he participated in the battle of Ushant in July 1778, he was in command of the 80-gun Foudroyant and went on to distinguish himself on several occasions during the later stages of the American War of Independence, most notably on all three of the expeditions to relieve Gibraltar. After the War, he entered politics, became an M.P. and married, and in 1787 was promoted rear-admiral. In the general promotion following the outbreak of war with Revolutionary France, he was made vice-admiral (1st February 1793) and his first wartime appointment was to command the fleet sent to secure Britain’s West Indian possessions. After initially capturing the French islands of Martinique and Guadeloupe in successful amphibious operations in cooperation with General Sir Charles Grey, Guadeloupe was quickly recaptured by the French and Jervis returned home with his reputation somewhat tarnished. Despite this temporary setback, he was nevertheless promoted to Admiral in June 1795 and was appointed to one of the most prestigious commands in the navy, namely the Mediterranean fleet. This was already a perilous time for Britain and, once Spain entered the war on the French side, the situation in the Mediterranean became graver still, to the extent that Jervis was soon forced to withdraw his fleet to the safety of the Tagus at Lisbon. From there, Jervis could monitor the Spanish fleet’s activities and it was from here that he emerged to confront the Spaniards off Cape St. Vincent in February 1797. In recognition of his great victory against such superior odds, he was elevated to the peerage as Earl of St. Vincent the following June. In the wake of Nelson’s daring at the recent battle, St. Vincent’s subsequent support for his protégé is well-documented, but it did sometimes cause friction with several of St. Vincent’s fellow flag officers. Moreover, as he grew older, St. Vincent’s temper often got the better of him and reached a point in 1800 when the King had to forbid all the infighting at the Admiralty. St. Vincent’s health was also rather indifferent at this time, but he was still given command of the Channel fleet and kept an exemplary blockade of Brest from May to September 1800. With the formation of a new government early in 1801, St. Vincent accepted the role of First Lord of the Admiralty, a position he held until another change of government forced him to resign in May 1804. After William Pitt’s death in January 1806, St. Vincent agreed to return to sea to command the Channel fleet, but his failing health and the collapse of the new administration led to his official retirement in March 1807. Occasionally seen in the House of Lords thereafter, he was created G.C.B. in January 1815 and finally appointed Admiral of the Fleet in July 1821. He died in March 1823, aged eighty-eight, and as he was childless, the earldom became extinct although his viscountcy devolved to his only surviving nephew, Edward Jervis Ricketts.Condition report: Needs to be cleaned, 2 holes, paint chipping, would benefit from a re-line.
THOMAS HUDSON (BRITISH, 1701-1779) Portrait of Catherine [‘Kitty’] Jervis, circa 1755 Oil on canvas 49 x 39in. (124.5 x 99cm.) in a contemporary carved giltwood frame Provenance: John Jervis, The Earl St. Vincent (1735-1833), Meaford Hall (removed 1943 when Hall sold), and thence by descent; Exhibited City Museum and Art Gallery Birmingham: Exhibition of Treasures from Midland Homes 1938Footnote: Catherine ‘Kitty’ Jervis (1733-1756) was born in Stone, Staffordshire, the sister of Admiral John Jervis (1734-1823). Catherine married Jeremiah Smith of Great Fenton in Stoke, and died during childbirth in 1756. This picture is nearly identical to one of Lady Oxenden in the collection of the Art Gallery of New South Wales, Australia, where the sitter can be seen using the same clothing and props. According to their www site, this picture has recently been re-assessed as a work by Joseph Wright of Derby (1734-1797) which would have made sitter and artist approximately the same age at 20 years.Condition report: Relined, very good condition, will benefit from a clean.
JAMES GODSELL MIDDLETON (BRITISH, 1826-1872) Portrait of Mary Anne Jervis (1812-1893) Oil on canvas 49 x 39in. (124.5 x 99cm.) Provenance: The Earls St. Vincent and thence by descent; Exhibited at the Royal Academy 1831Footnote: Lady Mary Anne Forester (1812-1893), born Mary Anne Ricketts, daughter of the 2nd Viscount and Viscountess St. Vincent, in North Staffordshire. Known for her singing talents, Mary Anne was also known for a rumoured amorous connection between herself and the Duke of Wellington. In 1840, she married Dyce Sombre. Mary Anne filed for a Commission of Lunacy against her husband and the pair separated in 1843. Sombre died in 1851 and Mary Anne married a second time in 1862 to George, 3rd. Lord Forester, who she also survived. In the later years of her life, Lady Forester contributed to numerous philanthropic causes and various community projects.Condition report: Relined, needs to be cleaned, old retouching throughout.
Ø A GROUP OF PORTRAITS FROM THE ROTHERAM FAMILY comprising a portrait miniature of a naval officer, watercolour on ivory, cased, circa 1820 -- 3 x 2½in. (8 x 6.5cm.); a silhouette portrait of a lady, identified as Mary Warren, 19th century, framed, overall approx. -- 6 x 5in. (15 x 12.5cm.); a silhouette portrait of a lady, 19th century, framed, overall approx. -- 5 x 4in. (12.5 x 10cm.); an oval miniature portrait of a lady, watercolour on ivory, 18th century, cased -- 2½ x 1¾in. (6.5 x 4.5cm.) (4) Provenance: Captain Edward Rotheram (1753-1830) and thence by descent.Condition report: Generally good.
Ø ATTRIBUTED TO HUGH DOUGLAS HAMILTON (1739-1808) Portrait of a lady identified as Dorothea Rotheram, wife of Captain Rotheram, circa 1790 Coloured chalks 9½ x 7½in. (24 x 19cm.) in oval frame; together with a miniature portrait of a lady in mourning, identified as a daughter of Captain Rotheram, watercolour on ivory, circa 1830, framed, overall approx. -- 5 x 4½in. (13 x 11.5cm.) (2) Provenance: Captain Edward Rotheram (1753-1830) and thence by direct descent.Condition report: Good condition.
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![THOMAS HUDSON (BRITISH, 1701-1779) Portrait of Catherine [‘Kitty’] Jervis, circa 1755 Oil on canvas 49 x 39in. (124.5 x 99cm.](https://cdn.globalauctionplatform.com/2868a735-29dc-4d17-810a-acfc00a43eb5/93d25933-64c2-418d-b6f7-acfc0104a935/468x382.jpg)
