19TH CENTURY SCHOOL Silhouette portrait of a lady, heightened in gilt, and another of a gentleman, both in maple frames 19.5cm x 17.5cm (approx, overall frame size) Condition Report : not a pair, the lady is finer quality than the gentleman. Judging from the back frames look to have been repaired, though still joints in corners not quite straight Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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LATE 19TH CENTURY SCHOOL Portrait of a lady Oil on board 27cm x 22cm Condition Report : nice muted colours, inscribed verso in pencil 'cleaned by Kay 47 Upper High Street Taunton 27th Oct 1968'. Gilt frame looks original and good condition bar a little rubbing to left side of oval aperture. A few (inactive) worm holes to frame, mostly to back of bottom rail Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
CHAN (CHINESE, CONTEMPORARY) Portrait of an elderly man; and Portrait of an elderly woman Oil on board and oil on canvas Each signed lower right, each 58cm x 43.5cm, uniformly framed. Condition Report : both pictures and frames in good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
EARLY 19TH CENTURY ENGLISH SCHOOL Portrait of a lady and gentleman, a pair Oils on canvas 30cm x 24cm Handwritten inscriptions verso 'said to be the grandfather/grandmother of Rev G Thomson' Condition Report : oils have been revarnished. Mostly good, a couple of areas which look to have been retouched, eg to the right of gentlemans chin. Old glass with imprefections, minor losses to gilt frames Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ENGLISH SCHOOL Portrait of Charles Webb le Bas as a young boy Oil on canvas 59cm x 49cm labelled verso 'portrait of C W de Bas aged 6 years' Condition Report : relined. some areas of canvas look to have been re-touched. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
19TH CENTURY ENGLISH SCHOOL Portrait of a lady Oil on canvas 75cm x 62cm Condition Report : relined, but otherwise canvas in good order gesso frame has been re-gilded, not the most attractive colour finish Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ENGLISH SCHOOL, 19TH CENTURY Portrait of Charles Le Bas Oil on canvas 76cm x 62cm Provenance: by family descent Condition Report : looks good overall, overall craqulure, but stable. gilt frame a pleasing colour with no real losses. relined. labels verso for 'J & H Reeve, London', a handwritten label 'wax polished with microcrystalline wax (Dr Plenderleiths recipe) 1961' and a handwritten biography of the sitter Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
19TH CENTURY ENGLISH SCHOOL Half length portrait of a lady Oil on canvas 38cm x 30cm Condition Report : overall craquelure. gilt frame has some losses Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ATTRIBUTED MOGENS GAD (1887-1931) Self-portrait Oil on canvas Bears signature in pencil to stretcher on reverse 94cm x 70cm Condition Report : canvas in good condtion, frame a little tatty in places Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ENGLISH SCHOOL, 19TH CENTURY Portrait of Charles Webb Le Bas Oil on canvas Labelled verso with biographical details of the sitter: 'Charles Webb Le Bas, Principal of East India Co. College Haileybury - painted on his retirement in 1844 by 'Mr Morton' Gt. Gt. Grandfather of Raleb', another label 'Wax Polished with microcrystalline wax (Dr Plenderlieth's Recipe) 1961' and remnants of old restorer/framer's label 126cm x 100cm Condition Report : fine quality and a pleasing presence, relined, clear evidence of damage from back, diguised well eonough from the front to not easily be noticed Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
AN ETUI early 19th century, the shagreen effect body set with two hand-painted oval portraits of seated couples, two gilt metal mounts 'SOUVENIR' and 'D'AMITIE', and with a velvet lined fitted interior, 9.5cm high (lacking contents; one portrait loose; exterior surface with patches of loss).
MILITARIA - GRENADIER GUARDS A framed montage, comprising a black and white group portrait of the 3rd Battalion, Grenadier Guards, Sergeants' Mess, Farewell Parade to H.M. The Queen, 1960; three tickets for the associated inspection at Buckingham Palace; an accompanying printed letter from the Queen, on Buckingham Palace headed paper; and a booklet, mounted to depict the Queen's Colour of the 3rd Battalion, all mounted as one, overall 49cm x 86.5cm, framed and glazed (some items creased prior to framing).
POSTCARDS - ASSORTED Approximately 192 cards, comprising real photographic views of Gupworthy Farm, Withiel Florey (by Vickery, Luxborough); The Grange, Lympstone (publ. by Currie & Cliffe); Darland Banks, Chatham; and a portrait of a soldier at camp (by Vowles, Porlock); with views of Cloutsham Meet [hunting]; Church & Hills, Winscombe; Huntsham Court, Bampton (two different); Spurgeon's Tabernacle, London S.E.; a Sikh Policeman, Singapore; Hongkew Market in Shanghai; Louis Wain artist-drawn poodles 'We looked out for you' (Davidson Series 6086, creased) and cats 'When the cat's away' (Tuck Series 1782, creased and soiled); a Fry's Cocoa artist-drawn advertising card; and others, (album).
POSTCARDS - ASSORTED Approximately 290 cards, British and overseas, comprising a real photographic portrait of General Booth (Rotary Photographic series 2122E); views of Holcombe; Main Street & Town Hall, Keswick; Club Nautico, San Sebastian; and others, including artist-drawn and greetings; together with a quantity of modern and oversize cards, (small album and loose).
POSTCARDS - GERMANY Approximately eighty-eight cards, comprising a printed portrait of Major Hans Philipp, Luftwaffe fighter ace, after a photograph by Hoffman, 15cm x 10.25cm; fifteen mainly naval shipping cards, 15cm x 10.5cm; and a family group of seventy-two mainly topographical cards, circa 1927-40, including real photographic views of Hauptbahnhof, Dusseldorf; Konigsallee, Dusseldorf; Bismarckecke und Niederwall, Bielefeld; and Jahnplatz, Bielefeld, (loose).
POSTCARDS - TOPOGRAPHY, SOCIAL HISTORY & OTHER Thirty-one assorted cards, comprising real photographic views of The Schools, West Wycombe; Park Farm, West Wycombe; The Pedestal, West Wycombe; a Devon County Dairy School group portrait (inscribed verso in a later hand 'Kings Nympton'; a set of four Dagenham Girl Pipers portraits; six Warwick Pageant scenes; a signed portrait of Anton Lang [Oberammergau]; and others, (loose).
[MISCELLANEOUS]. LEATHER BINDINGS Milton, John. Paradise Lost, for Rivington et al., London, 1817, full calf, the spine in decorative compartments gilt, engraved portrait frontispiece, vignette half title page, octavo; and six assorted other works, full (5) and half-leather (1) bound, all octavo, (7).
C* Bowie (20th century) - portrait of John Rupert Siddall QMLt 1902 6th Iniskiling Dragoons seated in a room interior wearing a blue shirt, his sleeves rolled up holding a newspaper, his binoculars and gun holster nearby, signed, oil on canvas, unframed, 27" x 34" * His full military record is written on a later label and is sold with the picture, the artist Charles S. Bowie served in The Scots Guards in 1902 and received QSA 5bras.
* After Giovanni Francesco Barbieri, Il Guercino (1591-1666). The Samian Sibyl, oval oil on board, head and shoulders portrait, half-profile to left, of a young female wearing red and bronze robes, a green and red headdress, and pearls in her hair and ears, her eyes gazing upwards, verso with faint pencil inscription and Christie's black ink stencil 'ECS73', 21.8 x 17.7cm (8.5 x 7ins)Qty: (1)NOTESProvenance: Christie's South Kensington, Christie's Interiors, 9th September, 2008, lot 194.
* Attributed to Charles Francisco Burney (1760-1848). Evelina, circa 1780-1800, oval watercolour with touches of black ink, on pale cream wove paper, depicting a young woman, seated, half-length, in fashionable dress wearing a bonnet tied under her chin, head slightly tilted and facing the viewer, arms folded and resting on a table, 275 x 234 mm ( 10.9 x 9.25 ins), period gilt frameQty: (1)NOTESProvenance: David Talbot-Rice (1903-1972); thence by descent. An imagined portrait of the innocent heroine of Fanny Burney's classic novel Evelina, or the History of a Young Lady's entrance into the World, first published in 1778. Fanny Burney's brother, the artist Charles Burney, is known to have made three illustrations of scenes from his sister's novel which were exhibited at the Royal Academy in the same year.
* Reynolds (Joshua, 1723-1792). Portrait Sketch in Profile of Thomas Gainsborough (1727-1788), pencil on laid paper, inscribed to upper margin in an old (19th century) hand in pencil 'Caricature of Gainsborough by Reynolds', with additional miniature study to verso in pencil of a mother and toddler with two seated older ladies, some marks and minor soiling, diagonal crease to lower right blank corner, sheet size 70 x 95 mm (2.75 x 3.75 ins), tipped-on to old cream laid backing paperQty: (1)
* Manner of Jacques Stella (1596-1657). The Penitent Magdalene, circa 1640, oval gouache on vellum, three-quarter length portrait of Mary Magdalene, standing before an ivy-clad rocky cliff face with hands clasped, an open book on a grassy rock against a skull in front of her, and a landscape vista beyond, 10.5 x 8.5cm (4 x 3.5ins), oval frame, glazedQty: (1)
* Suyderhoef (Jonas, circa 1613-1686). King Charles I and Queen Henrietta Maria, circa 1650, two etchings with engraving after the portraits by Anthony van Dyck, the decorative borders by Pieter Soutman, on laid paper with watermark, plate size 405 x 282 mm (16 x 11.1 ins), sheet size 430 x 307 mm (17 x 12 ins), except the portrait of Henrietta Maria trimmed to plate mark, together with: Franciscus de Moncada, & Albertus, Archidux Austriae, circa 1650, two etchings with engraving on laid paper, with watermark by Suyderfhoef, after Anthony van Dyck, with borders by Pieter Soutman, both generally in good condition, with narrow blank outer margins, sheet size 410 x 280 mm (16.1 x 11 ins), plus: Louys (Jacob, circa 1595-1673). Philip the Good, Duke of Burgundy, circa 1650, etching with engraving on laid paper with watermark, after Pieter Soutman, with margins, sheet size 440 x 305 mm (17.3 x 12 ins), and: Van Sompel (Pieter, circa 1600-after 1644). Isabella Clara Eugenia, 1644, etching with engraving on laid paper with watermark, after Pieter Soutman (after van Dyck), trimmed to plate margins, sheet size 405 x 268 mm (16 x 10.5 ins)Qty: (6)NOTESO'Donoghue, Catalogue of Engraved British Portraits, 86 & 24; New Hollstein 271 (for Franciscus de Moncada); Hollstein 9 (for Philip the Good).
* Rembrandt (Harmensz Van Rijn, 1606-1669). Self-Portrait with Raised Sabre, 1634, etching on laid paper, a later impression, with reworking, some marks and discolouration to upper outer corners where glued to backing paper, light diagonal crease across the image, trimmed just inside the platemark, sheet size 122 x 100 mm (9.8 x 3.95 ins)Qty: (1)NOTESNew Hollstein 134; Bartsch 18. Hind 109.
* Van Dalen (Cornelis, II, circa 1602-circa 1665). Portrait of the painter Sebastiano del Piombo, after Titian, 1648-1664, engraving on laid paper, proof before letters, a fine rich impression, with margins, plate size 412 x 292 mm (16.25 x 11.5 ins), sheet size 510 x 387 mm (20 x 15.25 ins), hinge-mounted in 20th century card window mount, together with: Pontius (Paulus, 1603-1658). Portrait of Daniel Seghers, after Jan Lievens, circa 1630, fine engraving on laid paper, with partial Strasbourg Lily watermark, a proof before the addition of the engraver's and publisher's names (Maarten van den Enden), trimmed to plate margins, 265 x 202 mm (10.4 x 8 ins), hinge-mounted to 20th century card window mount, plus: Neefs (Jacobus, 1610-1660). Portrait of the painter Martin Ryckaert, after Van Dyck, circa 1630, engraving on laid paper, a very good, dark impression, trimmed just outside the plate mark, plate size 264 x 202 mm (10.4 x 8 ins), sheet size 269 x 206 mm (10.6 x 8.1 ins), hinge-mounted on 20th cardQty: (3)NOTESVan Dalen: Hollstein 111, i/iv. From the series of 34 engraved portraits titled Variarum imaginum a celeberrimis artificibus pictarum Caelaturae, based on the picture collection of Gerard Reynst. Pontius: Hollstein 126, listed by the BM as a copy in reverse, the pencil note added to the mount of the present work claims this version has priority. Neefs: Hollstein 90; Wibiral 113.
* Silvestre (Israel, 1621-1691). Veue du Chasteau de Fontainebleau, du costé du grand Canal, & Veue du Chasteau de Fontainebleau, du costé de l'Orangerie, 1678/1679 respectively, two copper engraved views, each with printed caption in French and Latin, plate size 375 x 505 mm (14.75 x 20 ins), with margins, a few minor marks (generally in good condition), matching old black and gilt frames, glazed, together with: After Antoine Watteau (1684-1721). Les Delassements de la Guerre, & Recrue allent joindre le Regiment, two etchings, the first published by Gersaint, Paris, the second by Thomasin, and published by Chereaux, Paris, some spotting to the first work, both framed and glazed, plus Larmessin (Nicolas de, 1684 - 1755). La Soriée, after Nicolas Lancret, published by N. De Larmessin, Paris, framed and glazed, and other French antique engravings, including portraits of Boileau by Drevet after Rigaud, 1706, R. Cooper, View of the City and Castle Hill of Nice, a lithographic portrait of Madame Tallien, with contemporary autograph letter attached to the back of the frame by the Comtesse née Tallien de Calamus(?), three engraved music broadsides entitled The Sleighted Lover, The Delirious Lady, and The Submissive Admirer, all by George Bickham, a large engraved view entitled La Peche a la ligne by Benazech after Vernet, dated 1771, etc., all framed and glazedQty: (18)
* Attributed to Charlotte Avarne (1749-1826). Portrait of a lady, watercolour, heightened with bodycolour, on ivory, oval half-length portrait, half-profile to left, of a lady in a grey curled wig, wearing a frilled turquoise and white dress and white muslin fichu, 50 x 36mm (2 x 1.5ins), set into the hinged lid of a contemporary oblong octagonal ivory box, lid with 25mm crack, interior of base lined with blue velvet, and mirror set inside lid, overall size 99 x 46mm (3.75 x 1.75ins), housed in original oblong octagonal red morocco case lined with cream silk, together with an autograph letter signed by T. Francis Forth and dated 1949 relating to the provenance of the item, annotated in pencil in the hand of Arthur Jaffé with notes pertaining to attributionQty: (1)NOTESProvenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964.
* After Mary Beale (1633-1699). Portrait miniature of King Charles II (1630-1685), late 17th century, oval oil on tin, head & shoulders portrait, half-profile to left, of Charles II wearing a full-bottomed curled brown wig, plate armour comprising cuirass and spaulders, and a white lace jabot, sometime re-varnished, later manuscript annotation on verso identifying sitter, 75 x 60mm (3 x 2.25ins), loose backing card with printed green circular label 'H.J. Hatfield & Sons Ltd', oval yellow metal pendant frame with hanging loop, glazedQty: (1)NOTESMary Beale's small-scale three-quarter length portrait of Charles II, executed around 1675, was itself a copy after a portrait by Sir Peter Lely. The friendship between the two artists is well-documented, and Mary Beale frequently produced copies of Lely's works, often in a reduced format.
* Bogle (John, 1756-1803). Archie Campbell, 1779, watercolour, heightened with bodycolour, on ivory, oval head & shoulders portrait, half-profile to right, of a bewigged gentleman wearing a grey coat and white necktie, intialled and dated lower right, verso inscribed in later mansucript 'Archie Campbell by John Bogle 1779', 31 x 26mm (1.25 x 1ins), enclosed in an oval metal frame set with a border of pink stones, glazed, housed in an early 19th century circular red roan case lined with velvet and silkQty: (1)NOTESProvenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. Scottish artist John Bogle trained at the recently founded Foulis Academy in Glasgow in the 1760s. He moved to London in 1770 where he exhibited at the Royal Academy between 1772 and 1794, including a self-portrait of 1772, returning to Edinburgh in 1800. Bogle painted a miniature of the novelist Fanny Burney in June 1783 and apparently accompanied her to the trial of Warren Hastings at Westminster Hall in 1790. A contemporary wrote of the artist: 'He excelled in small likenesses, was a little lame man, very proud, very poor and very singular'.
* Borthwick (Alfred Edward, 1871-1955). Portrait of Tamara Talbot-Rice, circa 1925, oil on board, signed lower right, additionally inscribed to verso Mrs Talbot Rice, and with artist's name and address A.E. Borthwick, 8 Merchiston Crescent, Edinburgh, 112.5 x 61 cm (44.25 x 24 ins), period gilt moulded frame, glazed (glass cracked to upper right corner)Qty: (1)NOTESRussian émigré Tamara [Elena] Talbot-Rice (née Abelson, 1904–1993) was a scholar of Russian and Byzantine art. After fleeing the Russian Revolution, she studied at Oxford in the early 1920's, where she met her future husband David Talbot-Rice. With a number of other students at Oxford, they formed part of the salon or open house at 37 Broad Street provided by their G.P. Herbert E. Counsell (better known to them as "Doggins"), which included Evelyn Waugh and Harold Acton, later providing inspiration for Waugh’s Brideshead Revisited. Tamara and David Talbot-Rice initiated and curated the 1958 exhibition Masterpieces of Byzantine Art at Edinburgh, subsequently also shown at the Victoria and Albert Museum,?the first exhibition of Byzantine Art in Britain. Tamara was the author of many publications on Russian and East European art and culture, including Russian Art (Penguin, 1949); The Scythians (London, Thames and Hudson, 1957); The Seljuks in Asia Minor, (London, Thames and Hudson, 1961); Icons (London, Batchworth, 1962), and Ancient Arts of Central Asia (London : Thames & Hudson, 1965). Alfred Borthwick was a painter in oils and watercolour of portraits, as well as landscapes and religious studies (occasionally including stained glass window design). He trained at Edinburgh, London and the Academie Julian in Paris, settling in Edinburgh. He employed a free, wet style in the manner of the Scottish and Hague schools. Elected ARE 1909, RSW 1911, ARBA 1927, RSA 1938, President of the RSW 1932-51. Exhibited RA 7, RSA 88, GI 33, RSW 93, RI 1, AAS 12, L 8. :iterature: Elizabeth Talbot Rice, editor. Tamara: Memoirs of St. Petersburg, Paris, Oxford and Byzantium (London, Murray, 1996). Herbert E. Counsell. Thirty-seven The Broad, the memoirs of an Oxford doctor (London: Hale, 1943).
* Attributed to A. Charles (active 1785-1800). Silhouette of Georgiana, Duchess of Devonshire, oval black painted silhouette, three-quarter length portrait, profile to left, of a seated lady, wearing a wig embellished with feathers and a veil, and a corsage of flowers in her dress, toned and marked (show-through from reverse?), 12.4 x 9.7cm (5 x 3.75ins), oval verre eglomise mount and gilt moulded frame, with printed labels on verso pertaining to provenance, and with early manuscript note 'Reframed since the Sale'Qty: (1)NOTESProvenance: Francis Wellesley Collection; Christie's, The Wellesley Collection of Silhouette Portraits, June 19th, 1917, lot 23, attributing the work to A. Charles. Literature: Illustrated in One Hundred Silhouette Portraits, Selected from the Collection of Francis Wellesley, Oxford: Horace Hart, 1912, plate XXIV. Famed beauty Georgiana Cavendish, Duchess of Devonshire, née Spencer (1757-1806), was notorious for her political activism, gambling addiction, and unorthodox domestic arrangements. Her best friend was also her husband's mistress, and Georgiana tolerated a ménage à trois for many years. She herself bore a child out of wedlock.
* Attributed to George Engleheart (1753-1829). Portrait of an officer, purported to be Captain John Lucie Blackman (1793-1815), Coldstream Guards, oval watercolour and gouache on ivory, head and shoulders portrait of a young military gentleman, dressed in a scarlet tunic with gilt epaulettes, a white sash across his breast bearing the badge of the Coldstream Guards, and a gilt gorget at his neck, 81 x 63mm (3.25 x 2.5ins), tortoiseshell frame with oval yellow metal floral borderQty: (1)NOTESBritish soldier John Lucie Blackman fought in the Peninsular War and was killed, aged 21, at the Battle of Waterloo on 18th June 1815; as the enemy was retreating he was struck in the temple by a musket ball which killed him instantly.
* English School. Portrait miniature of a bewigged gentleman, 1695, oval oil on copper, head & shoulders portrait of a young gentleman, wearing a curled brown wig, dark purple coat, and white lace cravat, dated and indistinctly initialled lower right, paint surface slightly chipped to lower edge, 56 x 47mm (2.25 x 1.75ins), contained in a later oval blind-tooled red morocco case (hinge partly detached)Qty: (1)
* English School. Portrait miniature of a gentleman, circa 1830, oval watercolour and gouache on ivory, half-length portrait, half-profile to right, of a gentleman seated beside a window, wearing a black coat and necktie, his right hand resting on a book, 45 x 37mm (1.75 x 1.5ins), yellow metal brooch frame, with decorative wreath borderQty: (1)
* English School. Portrait miniature of a young gentleman, circa 1790, oval watercolour on ivory, head & shoulders portrait, profile to left, of a dark-haired young gentleman wearing a blue and white striped waistcoat, a white cravat, and a brown coat, a leather strap with buckle across his right shoulder, a little rubbed, signed indistinctly to right margin 'J. Rus[...?]', 50 x 40mm (2 x 1.5ins)Qty: (1)
* English School. Portrait miniature of King Charles I (1600-1649), circa 1640, oil on copper, head & shoulders portrait of Charles I wearing a black doublet, slashed at the sleeves to reveal pink lining and a white chemise, a large white collar, and a gold medallion on a blue sash ribbon around his neck, small hole in upper edge, 80 x 63cm (3 x 2.5ins), oval brass frame, glazed, housed in a later oval black shagreen case, base lined inside with green velvetQty: (1)
* English School. Portrait miniature of King Charles II (1630-1685), late 17th century, oil on laid paper, laid down on copper, oval head & shoulders portrait, half-profile to right, of Charles II wearing a full-bottomed curled brown wig, white lace jabot, and patterned gilt coat, 65 x 48mm (2.5 x 2ins), oval wooden frame, with circular paper label on verso 'Sotheby's Lot No 22, Oct 1998'Qty: (1)
* English School. Portrait of a lady, probably mid 19th century, head and shoulders portrait of a young lady, half-profile to left, wearing a hat and a gown with frilled white neckline, re-lined and with some re-touching, 89.6 x 74.3cm (35.25 x 29.25ins), 19th century gilt moulded frame with oval aperture, with Christie's black ink stencil 'JK496'Qty: (1)
* English School. Portrait of an Officer of the Light Dragoons, early 19th century, watercolour and gouache on ivory, oval half-length portrait, half-profile to right, of a dark-haired young gentleman wearing a frogged scarlet coat, 72 x 58mm (2.75 x 2.25ins), oval ebonised frame, glazed, together with: Portrait of a military gentleman, early 19th century, watercolour and gouache on ivory, oval half-length portrait, half-profile to left, of a fair-haired young gentleman wearing a blue coat with gold epaulettes, 77 x 65mm (3 x 25ins), ebonised frame, glazed, Portrait of a Napoleonic period British officer, circa 1810, reverse painting on glass, oval half-length portrait, profile to left, of a military gentleman wearing a scarlet coat with gold epaulettes and a plumed bicorn hat, 115 x 87mm (4.5 x 3.5ins), framed and glazedQty: (3)
* English School. Portrait of a young gentleman, early 19th century, oil on canvas, half-length portrait, half profile to left, of a dark-haired young gentleman wearing a black coat and waistcoat with matching necktie, some minor marks and flaking of paint, small hole towards upper left (with crude repair on verso), 76.2 x 63.8cm (30 x 25ins), gilt moulded frameQty: (1)
* English School. Portrait of Lieutenant General Sir William Nicolay (1771-1842), Royal Engineers, watercolour and gouache with pencil, on card, oval half-length portrait, half-profile to left, of a young military gentleman wearing a blue coat with epaulette on right shoulder, and a top hat with a bearskin crest embellished with rosette, 128 x 97mm (5 x 3.75ins), oval ebonised frame glazed, label on verso with printed memorial to the sitter, and a note added in late 19th century manuscript detailing his wifeQty: (1)NOTESLieutenant General Sir William Nicolay was a British army officer present at the Battle of Waterloo. The printed memorial on the verso reads: 'He served his sovereign and country, with honor and distinction for a period of 52 years. In India, with the Royal Artillery; in the West Indies, with the Royal Engineers; in the Peninsula and at Waterloo, in command of the Royal Staff Corps. also, as Governor and Commander in Chief of the following colonies: of Dominica from 1824 to 1831; of St. Christopher, Nevis, Auguilla, and the Virgin Islands in 1832; of Mauritius and its Dependencies from 1833 to 1840.' In this portrait, which likely dates from his service in India, William Nicolay is wearing the uniform of the Royal Engineers. The distinctive type of headdress - a top hat with a bearskin crest - is seen in portraits and paintings relating to the Siege of Seringapatam in 1792, where Nicolay served as a Lieutenant in the Royal Engineers.
* Eye Miniature. Portrait of lover's eyes, circa 1820s/30s, oval watercolour on ivory, depicting a pair of youthful feminine grey-green eyes, dark eyebrows, and a slightly upturned nose, 24mm x 36mm (1 x 1.5ins), blue velvet mount, set into oval hinged yellow metal and brown morocco case, lid lined with blue moiré silk, 50 x 65mm (2 x 2.5ins)Qty: (1)NOTESA rare example of the curious practise of painting a portrait of a person's eye or eyes divorced from the rest of his or her visage, save with the inclusion sometimes of a nose or some curls. The fashion for this type of portraiture was short-lived, beginning around 1785 and petering out in the 1830s. Such enigmatic and intimate portraits were usually commissioned as a love token to present to a beloved, although some were painted in memory of one deceased.
* Forrer (Antoni, 1802/3-1889). Trade packet of hair, in original box, 1836, small engraved paper packet, watermarked 1836 and folded to enclose a lock of brown hair, engraved on front 'A. Forrer, Artiste en Cheveux, 93, Oxford Street, London', and annotated in contemporary manuscript on front 'Hair left' and on back 'Moore Esq. Hair for a chain Octr 29/36', toned, closed tear on front, contained in original cardboard box, extremities rubbed and split at corners, pull-off lid with A. Forrer's engraved label, box 66 x 77 x 19mm (2.5 x 3 x .75ins), together with a 19th century cream silk-lined oval red leather portrait miniature case, containing a carved ebony box lidQty: (2)NOTESA rare survival from the workshop of renowned craftsman Antoni Forrer, one of the most skilled exponents of braided hairwork working in the 19th century. Forrer was a Swiss jeweller from Winterthur who settled in London, establishing a studio which employed a staff of 50 and included Queen Victoria amongst its clientele. The pieces he fashioned out of lacquered woven hair were unbelievably intricate, his trade label stating that he produced 'All kinds of ornament in hair ... crosses, earrings, brooches, chains, watch-guards, &c.'. Forrer died in 1889 aged 86.
* English School. Portrait miniature of Charles James Fox (1749-1806), circa 1790, oval watercolour and bodycolour on ivory, shown with powdered hair, brown coat and white neckcloth, gilt frame with eye-hook and card backing with various ink markings, 6 cm (2.25 ins)Qty: (1)NOTESFox was a prominent British Whig statesman and arch-rival of the Tory politician William Pitt the Younger. He served as Britain's first Foreign Secretary during the ministry of the Marquess of Rockingham in 1782, returning to the post in 1783 under Lord North. He subsequently spent the following 22 years facing Pitt and the government from the opposition benches of the House of Commons. He became noted as an anti-slavery campaigner, a supporter of the French Revolution and a leading parliamentary advocate of religious tolerance and individual liberty.
* French Revolution. Portrait of Antoine Barnave, early 19th century, pencil on a blue painted ground on paper laid on card, circular portrait, profile to right, of a bewigged young gentleman, within a gold border, lettered to upper edge 'Barnave' in gold, unframed but loosely glazed, gold decoration and lettering rubbed and some adherred to glazing, diameter 37mm (1.5ins)Qty: (1)NOTESProvenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. French politician and orator Antoine Barnave (1761-1793) was a prominent and influential figure in the early part of the French Revolution. He favoured a constitutional monarchy, and wrote a series of letters to Marie Antoinette to that end. However, this clandestine correspondence led to his downfall; he was condemned for treason, put on trial and sent to the guillotine.

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