BELL J. (Pubs). La Belle Assemblee or Bell's Court & Fashionable Magazine. Vol. 1, parts 1 & 2 for 1806 & 6 other various vols. Hand col. & other eng. fashion plates, eng. music on fldg. sheets & other illus. Half calf. 1806-1818. (8).Condition:No Vol 15. Some browning and staining throughout all, also some splitting. Fashion plates in each vol. as listed, plus extra portrait and other miscellaneous plates include folding music/song plates.List of fashion plates only, does not include portraits and other miscellaneous plates.1806 - Vol 1 pt. 1 - 11 plates. Vol 2 pt. 2 - 8 plates, some folding.1807 - Jan - July - 12 plates. July - March, 1808, - 10 plates. Vol 2 - Jan - June - 12 plates.1814 - Vol 9 - New Series - 12 plates (Jan - June)1816 - Vol 14 - New Series - 12 plates (July -Dec)1817 - Vol 16 - New Series - 12 plates (July - Dec)1818 - Vol 17 - New Series - 12 plates (Jan - June)
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19th Century carved coconut Bugbear carved and incised in the round with portraits of Antoni Joseph (Prince Józef Antoni Poniatowski), Napoleon and Marie Louise. The base is decorated with a palm leaf mandala and each portrait is separated by palm tree carvings.8cm (3in) wide, 8cm (3in) deep, 12cm (5in) highQty: 1
Small group of mainly watercolour portraits to include oval full-length study of a lady in a landscape in Georgian style, 6cm x 3.5cm, another oval study of an Inuit or Native American, mid 19th Century portrait study of a lady with ringlets, signed Fisher 1843, etc (5) Condition: Scratches to one frame, otherwise sound. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Michael Grimsdale (British, 20th Century) - Elephant, charcoal on canvas, signed and dated '92, 91cm x 71cm; together with a double portrait, charcoal on paper, signed and dated '91, 40.5cm x 53cm, framed and glazed Condition: **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Arts & Crafts-style sheet brass charger with profile portrait of 'Sir Galahad', old depository label of F.L. Pettman Ltd verso, 61cm diameter Condition: Metal fatigue including staining and discolouration to field as per images. Rim is creased and torn in places, general scuffing and tarnishing, scratching etc, sold as seen. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
ENGLISH SCHOOL, late 17th century A full-length portrait of Charles II standing in an interior with a plumed headdress on a table to one side, oil on canvas, 72cm x 50cm, in a carved giltwood frame with an ebonised inner slip, and the companion painting of James II standing in front of a fluted classical pillar and a red drape with a tasselled fringe (2)
ASCRIBED TO JOHAN JOSEPH ZOFFANY (1733-1810) A full-length portrait of a woman with a plaque to the frame inscribed "A portrait of Mrs Nicholas Pierce wearing a Circassion Dress at the fancy dress ball at The Mansion House in honour of the marriage of the sister of George III to the King of Denmarkâ€, oil on canvas, 230cm x 145cm. Provenance: The painting apparently commissioned by Thomas Pelham-Holles (1693-1768), 1st Duke of Newcastle and Prime Minister of Great Britain between 1757 and 1762
GEORGE BEARE (fl. 1740-1749) A portrait of William Coles of Salisbury (1701-1789) depicted half-length, the sitter wearing a white wig resting on his shoulders, an open brown tunic over a waistcoat with gold buttons and brocade, signed "G. Beare pinxt" lower left, feigned oval, oil on canvas, 75cm x 62cm; together with the companion portrait of his wife Jane Coles (1708/9-1801), depicted half-length together with her cat, signed "G. Beare pinxt" lower right, feigned oval, oil on canvas, 75cm x 62cm, original giltwood frames (2). George Beare was a portrait painter who worked mainly in the West Country. Little is known of his training, but some fifty signed paintings, all dated between 1744 and 1749, suggest a knowledge of Philip Mercier (1691-1760) and particularly of William Hogarth (1697-1764), with whom he has sometimes been confused. Â William and Jane Coles of The Close, Salisbury, Wiltshire had one daughter, also called Jane (c.1742-1801), who married Thomas Hutchings Medlycott (1729-1795) on 16th September 1766. Medlycott was a practising barrister and MP for Milborne Port, Somerset, between 1763 and 1770 and again in 1790. The Medlycott Family owned Ven House in Milborne Port throughout the 18th and 19th centuries, until they sold much of the estate between 1918 and 1925. The house itself was let to a succession of tenants until Sir Hubert Mervyn Medlycott sold it in 1957. Â A memorial to William and Jane Coles, together with their daughter Jane Medlycott and granddaughter Jane Paget Ainslie, can be found in Salisbury Cathedral today.
ATTRIBUTED TO SIR PETER LELY (1618-1680) A portrait of 'The Winter Queen' Elizabeth Stuart (1596-1662) Electress of the Palatinate and Queen of Bohemia, c. 1661, the sitter depicted three-quarter length, seated, wearing a black dress with jewels at her breast and on her shoulders, a rose-lined mantle, pearl necklace and earrings, her left hand gesturing towards a crown placed on a table beside her, landscape beyond, oil on canvas, 127cm x 100cm.Provenance: The Collection of Harold Arthur Lee-Dillon, 17th Viscount Dillon CH FBA (1844-1932), Ditchley Park, Oxfordshire. Included in the catalogue of paintings at Ditchley, 1908. The Auction of Viscount Dillon's Collection, Sotheby's, London, 24th May 1933, lot 68, catalogued as Sir Peter Lely. Private Collection, Wiltshire.Literature: 'The Ditchley Pictures' Tancred Borenius for Country Life, 13th May 1933. An article detailing the collection prior to its dispersal at Sotheby's noted that "Few English country houses can rival Ditchley with regard to the extent and interest of the series of portraits which have accumulated on its walls. The portrait of Elizabeth Stuart offered here was included in the article "The portrait of Elizabeth, eldest daughter of James I, Electress Palatine and Queen of Bohemia ('The Winter Queen') deserves more than a passing mention, since it obviously dates from the last few months of her life, when, after the Restoration, she came back to England as a widow in May 1661, to die in February of the next year." Borenius continued "Portraits of 'The Winter Queen' dating from the time of her marriage (1613) or shortly after are far from scarce, but there is a peculiar interest in this portrait, which shows her old and disillusioned, after her eventful and disappointing life, and yet distinctly cheerful in her outlook on life."
CIRCLE OF GODFREY KNELLER (1646-1723) A portrait of King William III, depicted three-quarter length, the moarch depicted wearing the sash of the Order of the Garter over a suit of armour and holding a baton aloft in his right hand, his left hand resting on his hip above the hilt of his sword, with fingers forming a W, a helmet with feather plume beside him, landscape beyond with castle to the distance, oil on canvas, 127cm x 102cm
SIR GODFREY KNELLER (1646-1723) A portrait of Susannah Gregory (née Papillon, b. 1700, m. 1726) A portrait of Susannah Gregory (née Papillon, b. 1700, m. 1726), depicted three-quarter length holding a small bouquet of flowers, wearing a blue dress with a red wrap, seated in a garden landscape with red sky beyond, oil on canvas, 127cm x 102cm
THOMAS BEACH (1738-1806) A portrait of William Craven, 6th Baron Craven, depicted three-quarter length, his right hand resting on a cane and his left in his pocket, wearing a powdered wig 'en queue' and a blue silk waistcoat under his pale green jacket, oil on canvas, 127cm x 100cm. William Craven, 6th Baron Craven (1738-1791) was an English nobleman. He was the son of Rev John Craven of Staunton Lacy, Shropshire and succeeded his uncle, William Craven, as Baron Craven in 1769. In 1775, he built Benham Park at the site of Benham Valence in Speen, Berkshire where he lived with his wife, Lady Elizabeth Berkeley. The marriage, however, was not a success. Both Elizabeth and her husband indulged in affairs, notably Elizabeth's scandalous liaison with the French ambassador, the Count of Guines, in 1773, which even made it into the pages of the Morning Chronicle. Eventually Elizabeth left him in 1780 to travel in Europe. They had issue of three sons and four daughters. After his death on 27 September 1791 at age 53 in Lausanne, Switzerland, she married the Margrave of Anspach. It was Lord Craven who, in 1780, built the original Cottage at what is now an English Premier League stadium Craven Cottage,Fulham.
ASCRIBED TO MARCUS GHEERAERTS THE YOUNGER (circa 1561/62-1636) A portrait of a young gentleman wearing a lace ruff and a red sash, bust-length, oil on panel, 56cm x 44.5cm, in a giltwood frame carved with tulip heads and crossheads and with scrolling acanthus leaves. Provenance: Apparently sold at Messrs Christie, Manson & Woods on July 22nd 1932 for the Bramley family of Badmondisfield, Hall, Suffolk. Private collection, Dewlish, Dorset. Marcus Gheeraerts became a fashionable portraitist in the last decade of the reign of Elizabeth I, under the patronage of her champion and Pageant-Master Sir Henry Lee. He later became a favourite portrait painter of James I and Queen Anne of Denmark. Although raised in England, the artist's work reflects a continental aesthetic very different from the flat modelling of features and pure brilliant colours associated with other Elizabethan artists. Indeed, stylistically his work is more akin to the portraits of Frans Pourbus.Â
Mounted official portrait of Her Majesty Queen Elizabeth II and His Royal Highness Prince Philip in large gilt frame. Hand signed by the original photographer Anthony Buckley and Dennis Constantine. The photograph dimensions are 23.5" X 19" and the overall size including the frame are 38" X 28". Perspex is in place of glass.
Circle of Marcus Gheeraerts the Younger (Bruges 1561-1635 London)Portrait of a gentleman, three-quarter-length, in black costume, with a sword inscribed and dated 'AETATIS SVAE, 36/ Ao, DNi, 1609' (upper left)oil on panel92.6 x 74.2cm (36 7/16 x 29 3/16in).Footnotes:ProvenanceSale, Christie's, London, 28 January 1983, lot 5With Richard Philp, London, 1984, where purchased by the present owner's late fatherFor further information on this lot please visit Bonhams.com
Italian School, 18th CenturyPortrait of Pope Gregory XI, seated three-quarter-length inscribed 'PA GRE XI DE/ BEAUFORT CANILLAc' (centre left); charged with the sitter's coat-of-arms (upper left)oil on canvas94.2 x 68.9cm (37 1/16 x 27 1/8in).For further information on this lot please visit Bonhams.com
Follower of Sir Anthony van Dyck (Antwerp 1599-1641 Blackfriars)Portrait of a lady, half-length, in a brown dress and blue wrapoil on canvas 73.6 x 62.2cm (29 x 24 1/2in).Footnotes:ProvenanceWith Olivia Rumens, Ludlow (according to a label on the reverse)For further information on this lot please visit Bonhams.com
Circle of Michael Dahl the Younger (Stockholm circa 1659-1743 London)Portrait of a lady, said to be Lady Crew, bust-length, in a red dress bears inscription '*e Lady Crew/Honble. Ld. Crew.' (centre left)oil on canvas, corners made up62.2 x 48.8cm (24 1/2 x 19 3/16in).Footnotes:The present portrait most likely depicts Anne, daughter and co-heiress of Sir William Airmine, 2nd Baronet, who was the second wife of Thomas Crew, 2nd Baron Crew (1624-1697) after they married in 1674.For further information on this lot please visit Bonhams.com
Circle of Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)Portrait of a lady, three-quarter-length, in a black dress with white collar and cuffs, arranging flowers at a draped ledge, on a balcony oil on canvas49.5 x 44.5cm (19 1/2 x 17 1/2in).Footnotes:ProvenanceWith Dennis Vanderkar Gallery, London, 1963 (as Jacob Esselens)Sale, Bonhams, London, 25 April 2007, lot 195, where purchased by the present owner's late fatherFor further information on this lot please visit Bonhams.com
Follower of Sir Godfrey Kneller (Lübeck 1646-1723 London)Portrait of a gentleman, traditionally identified as Francis Popham, half-length, in a brown coat, within a painted oval oil on canvas77.1 x 63.6cm (30 3/8 x 25 1/16in).Footnotes:ProvenanceChristopher W. Popham, Helston, Cornwall (according to a label on the reverse)For further information on this lot please visit Bonhams.com
Alexander Cooper (London 1605-1660 Stockholm)Portrait of a gentleman, bust-length, in black watercolour and bodycolour on vellum, oval2.9 x 2.5cm (1 1/8 x 1in).Footnotes:ProvenancePrivate Collection, SwedenThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 Blackfriars)Portrait of Virginio Cesarini (1595-1624), bust-length, in clerical dress oil on canvas55.3 x 46.7cm (21 3/4 x 18 3/8in).Footnotes:Virginio Cesarini was a poet and defender of Galileo who was a courtier in the service of Cardinal Barberini, the future Pope Urban VIII. The present composition, which shows Cesarini in clerical dress, is related to van Dyck's portrait of circa 1623-4 in the Hermitage, Saint Petersburg.For further information on this lot please visit Bonhams.com
Circle of Giovanni Andrea Sirani (Bologna 1610-1670)Saint Cecilia in Ecstasyoil on canvas 64.5 x 54.5cm (25 3/8 x 21 7/16in).Footnotes:The rediscovery of Saint Cecilia's tomb in her church in Trastevere in Rome by Cardinal Sfondrato and his ensuing promotion of her cult, provides a likely explanation for the popularity of Saint Cecilia in 17th century art. Sfondrato commissioned from Guido Reni a half-length portrait of the Saint holding a violin, which became a popular motif for Reni and his followers, who produced multiple copies and variations of the subject.For further information on this lot please visit Bonhams.com
Nicolaes Maes (Dordrecht 1634-1693 Amsterdam)Portrait of a gentleman, standing three-quarter-length, holding his gloves signed and indistinctly dated 'JN°/MAES. 166*' (on column, centre right, strengthened) oil on canvas87.2 x 68.3cm (34 5/16 x 26 7/8in).Footnotes:ProvenanceSale, Sotheby's, Amsterdam, 7 May 2008, lot 74 (unsold)Collection of the late David Tron, UKDr. Leon Krempel endorsed the attribution to Nicolaes Maes at the 2008 sale and suggested a date of the mid-1660s.For further information on this lot please visit Bonhams.com
Johann Melchior Wyrsch (Buochs 1731-1798)Portrait of a young boy and a girl, traditionally identified as Antoine and Gabrielle de Bouzies, with a goat inscribed with identifying inscription and dated 'peint a Besancon/ au mois de Mars par Wyrsch 1772.' (on reverse)oil on canvas, unlined46.2 x 37.4cm (18 3/16 x 14 3/4in).Footnotes:ProvenanceCollection of Col. R.N Bull, by whom bequeathed to Collection of Alice B. Wilson, in 1939 (both according to a label on the reverse), and thence by descent to the present ownerThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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