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283287 Los(e)/Seite
Los 682
Portrait of Baron and Baroness Zündt von Kentzingen, both half length, he possibly wearing the Insignia of the Order of the Red Eagle oil on canvas, unframed (a pair) 83 x 64cmCondition report: Both paintings have been lined. There is extensive wear and scattered losses across the surface of both. Retouchings have now discoloured and are poorly matched to the originals. The surface has lost its original texture, the canvas weave is now prominent due to lining.
Los 685
Portrait miniature of a lady, in a puce dress inscribed to the reverse 'Painted by Miss Biffin / Born without hands / Liverpool / 1846' watercolour on ivory 9.5 x 7cmFootnote: Sarah Biffin was born without arms or vestigial legs and was only 94 cm high. At a young age she was contracted under the service of a showman named Emmanuel Dukes, who presented her at fairs and sideshows as an attraction. Mr Dukes taught Miss Biffin how to paint, holding the paintbrush in her mouth, originally in order to increase her appeal for the public who came to watch her. However, she soon became a talented artist, and a demand grew for her work, which initially consisted of mainly landscapes and portrait miniatures. During her appearance at St. Bartholomew’s Fair in 1808, the Earl of Morton paid Miss Biffin a visit. He was so impressed with her skill at draughtsmanship that he sponsored Sarah and arranged private lessons for her by the Royal Academy painter, William Craig. Her popularity grew and she was accepted into the Royal Academy and awarded a medal by The Society of Artists in 1821. She was commissioned by the Royal Family to produce their portraits in miniature, including Queen Victoria. She was even mentioned by Charles Dickens in Nicholas Nickleby and Martin Chuzzlewit. After her patron the Earl of Morton passed away, Queen Victoria awarded her a civil pension, and she retired to Liverpool.Condition report: Watercolour on ivory. With card backing.
Los 678
Portrait of a young girl, three-quarter length in a puce dress with a basket of flowers oil on canvas, oval 100 x 80cmCondition report: Oil on canvas which has been lined. The picture is in plane and the paint layer is stable. There is some wear and abrasion, notable in the landscape in the background of the picture. There are a few scattered retouchings which are poorly matched to the original. The varnish is matte and yellowed with a thick layer of surface dust present. The gilded frame has been bronze painted.
Los 675
Portrait of Lady Mary FitzAlan, Duchess of Norfolk (1540-1557) head and shoulders, in red, wearing a magnificent jewel oil on panel 47 x 31cmFootnote: Provenance: Sale, London, Sotheby's, 11th October 1961, lot 98, as English School, 16th Century as of an unknown lady, for £20, where acquired by the present owner's father and thence by descent Literature: cf. Diana Scarisbrick, “Jewellery in Tudor and Jacobean Portraits at New Haven”, in Apollo, vol. CXXVI, no. 309, November 1987, p. 326 The sitter was the second daughter and in her own right, eventual sole heiress of the 19th (or 12th) Earl of Arundel and married in 1555 as his first wife, Thomas, 4th Duke of Norfolk (1537/8-1572) Earl Marshall of England. The following year her first child, Lady Anne, died shortly after birth. Then in 1557, on the 28th of June, she gave birth to a healthy son, Philip, who was christened four days later at Whitehall Palace in a gold font with King Philip II of Spain standing sponsor in person, whilst Mary lay dying. She lingered for eight weeks and was buried with great pomp in the Church of St Clement Dane. Like his father, Philip FitzAlan Howard (1557-95) fell foul of Elizabeth I's deep fear and distrust of Mary, Queen of Scots (whom the 4th Duke had conspired to marry as his fourth wife and thus restore Catholicism to England with him as 'King consort') and was stripped of all his honours for adhering to the Catholic faith. He died in the Tower after ten years of imprisonment and was canonised in 1970. Yet in 1660, Lady Mary's great-great-grandson was restored to the Dukedom of Norfolk and thus brought together the vast FitzAlan and Howard estates and possessions. A three-quarter length portrait of Lady Mary, painted by Hans Eworth to commemorate her celebrated marriage in 1555 (see Roy Strong, 'Hans Eworth Reconsidered', in The Burlington Magazine, May 1966, vol. 108, no. 758, pp. 222+225-231+233) passed to her sister Jane who had married the 1st and last Lord Lumley (of the 1547 creation) and later passed into the collection of the Dukes of Hamilton (see Strong, ibid). It is today in the Yale Center for British Art at New Haven, Connecticut. Hans Eworth was very much painter to the old Catholic circle at the court of Queen Mary I (see Strong, ibid) and an 18th century copy of the Eworth original, increased to full length, is today at Arundel Castle, in the collection of the present and 18th Duke of Norfolk. The literature (Strong, ibid) records no other repetition of any other original or any other likenesses of Lady Mary. The present head-and-shoulder reduction of the Eworth prototype is therefore an important and apparently rare image of the sitter who was, in her short life, at the very centre and at the pinnacle of influence and power in England during the reign of the Catholic Mary I. The young Lady Mary, as would be expected of a woman of her rank, was well-educated and was reputedly capable of translations of ancient text from Greek to Latin (see BL, Royal MSS 12 A. i-iv) and she was by all accounts a sweet-natured and pious girl (see Neville Williams, Thomas Howard, 4th Duke of Norfolk, Barrie & Rockliff, London, 1964). Though Mary FitzAlan died as a result, the child she bore, in living to adulthood and producing his own male heir, secured the fortunes and future of what can fairly claim to be the 'first family of England' after the Royal House itself. We are grateful to Dr Ian Tyers who has confirmed that the oak this panel came from, was still growing in 1557, the year Duchess Mary died. He has proposed that the tree would have been felled between 1562 and 1580 and the panel used within that time frame. Thus the image was made after the Protestant Elizabeth had succeeded to the throne but before the time Catholic conspiracies and plots were being unravelled by Burghley and Walsingham and before the sitter’s son, Saint Philip, Earl of Arundel came under suspicion and was cast into the Tower of London. The Getty Index lists three paintings identified as of the Duchess of Norfolk (no sizes provided) which may possibly be the present painting. One in particular from its description as being on panel and of “The Duchess of Norfolk, time of Henry the Eight, white shirt and collar, jewel at her breast”, which was sold in Samuel Oxenham, London on 1st June 1832, lot 189, is the most probable option.Condition report: Oil on panel, formed from a single board with the wood grain running in a vertical orientation. The panel has an extreme convex warp. In localised areas the paint layers are raised following lines of craquelure and there are a few scattered losses. Along the edges of the panel are numerous small losses. In the sitter's face, vertical stress cracks have become dark with age and are slightly prominent. The thinly painted passages of the sitter's features and hair are worn, possibly through over cleaning in the past. Overpaint is very localised to small, historic damages. The varnish layer is semi-glossy, even and slightly yellow. The varnish is brittle and there are losses to this layer in the upper left corner and a few light scuffs and scratches. The panel is poorly housed in an oak frame which is not original to the painting. The painted and gilded surface of the frame has suffered from a few knocks and dents.
Los 676
Portrait of a lady, half length, in a black dress with white ruff and headdress, her coat of arms upper right oil on panel 58 x 43.5cmCondition report: Oil on panel. The panel is formed from two board in vertical alignment with a join running down the centre of the picture. There is a cradle attached to the reverse of the painting and the panel is flat. The paint layer along the vertical join is raised and there is retouching along this area. Other areas of retouching across the surface are reasonably well matched to the original. The painting has a thick, glossy varnish layer which is slightly yellowed. The varnish is brittle and has abraded around the edges fur to framing. The frame appears to have intentionally aged and may be modern, but is in keeping with the appearance of the portrait.
Los 679
Portrait of King Charles I, standing half-length in armour, his arm upon his helmet inscribed with indistinct initials and the date 1632 lower right oil on canvas, unframed 127 x 102cmFootnote: After the painting by van Dyck, dating from 1635-6, in the Duke of Norfolk’s Collection at Arundel Castle.
Los 280
WW2 Period King’s Liverpool Portrait Painting.This oil on board portrait depicts Captain Herbert Dutton Lieut of the King’s Liverpool Regiment. He is depicted wearing the 1940 pattern battledress uniform with medal ribbons including the Africa and Italy Star. Unsigned, mounted into modern giltwood frame. Overall Size 24 x 28 inches Captain Herbert Dutton Lunt was appointed a Lieutenant in January 1940. Remaining with the King’s TA he was promoted Major in 1950.
Los 282
10th Royal Hussars Oil Painting of a Mounted Sergeant.This oil on canvas portrait depicts a Sergeant mounted upon his horse. His hussar uniform with Prince of Wales Plume sleeve badge above Sergeant chevrons and plumes are also found to the collar badges. The busby with scarlet bag and white and black plume. Signed left corner “H.R.F. 1916”. Mounted into a modern gilt frame. Overall Size 17 1/2 x 21 1/2 inches.
Los 281
Manchester Regiment Volunteer Officer’s portrait.A very fine example comprising a bust of a post 1881 Officer sporting a peaked forage cap with two part embroidered cap badge and wearing a scarlet patrol tunic with white facings bearing silvered collar badges, 2nd Lieutenant rank and silvered buttons. Coloured photograph on tile in glazed ornate gilt frame (minor cracks) recessed into further velvet lined ebonised frame. VGC (overall approx. 340 x 285 mm)
Los 689
Portrait of Margaret Mathilda Clarke, half-length, reading a musical score signed and inscribed to the reverse 'No. 1 / Music / Painted by Geo. F Clarke / Walpole Street / Chelsea / London' oil on canvas 55 x 45cmFootnote: Provenance: The sitter, Margaret Mathilda Clarke, the granddaughter of the artist, and thence by descent
Los 3648
An Early Dissection Puzzle Depicting A Twenty Cell Cartoon Of Jonny Gilpin 14x9'', 36x23cm (some small parts missing) together with a Victory Industrial Life In England & Wales jigsaw (complete), a Mappa-Mundi Travel Game (unchecked) a Meccano No.3 silver/yellow set, a W Cassel letter block printing set and an embossed card portrait (6)
Los 155
Collection of Spy Vanity Fair cartoon portrait prints, 'Bucks', 'a Cunarder', 'The General', 'A Wet Quaker', 'The South Asian Army', 'Les Episcopacy' and 'The Favourite Jockey'. All within Hogarth frames. Together with a distressed bound volume of Vanity Fair containing some further unframed prints (mainly politicians), various. (B.P. 21% + VAT)
Los 180
After Barbosa, portrait studies of 18th and 19th Century American soldiers, from a limited edition of 920, signed in pencil by the artist. Framed and glazed with washline mounts. Includes South Carolina light horse, The First Virginia Cavalry, The Norfolk light artillery, Governer's Foot Guards of Connecticut, UK Topographical Engineers and the Light Infantry Brigade. (6)(B.P. 21% + VAT) In good condition, rather grubby externally.
Los 106
After Ernest Meissonier (1815 - 1891), a pair of ethings The Reconnaisance & The Advance Guard, with portrait vignettes titled 'Bernardotte1764 - 1844' & 'Lasalle 1775 - 1809', signed in pencil J Paysau, published by Harry Dickins 1905, overall 28.5cm x 34.5cm, and two others, Ernest Stamp, aquatint, 'Reconnaissance in the Snow' with blindstamp, & 'The Halt', signed in pencil,Condition report: All framed and mounted. No obvious faults visible.
Los 11
James Kyd (act. 1855-1875), a portrait of a man, seated beside a kitchen stove, a pipe in his mouth and a sleeping cat at his feet, oil on panel, signed to lower right corner, 37 cm x 28.5 cm in a giltwood frame.Condition report: Some rubbing to the bottom edge where the painting meets the frame, with surface cracking evident to the ligter painted areas. Frame with some wear commensurate with age
Los 394
Four 19th century portrait miniatures on ivory, to include a naval officer in uniform, 8cm x 6.5cm, a gentleman 5.5cm x 4.5cm and two ladies, 7cm diameter and 7cm x 5.7cm8.5cm x 6.7cm; and a 19th century profile silhouette of a lady, 8.5cm x 6.7cmCondition report: The frames worn and tired through age. The portraits appear to be in good order.
Los 1
18th century school, a full length portrait of a nobleman in elaborate red tasselled costume, holding a mirror, oil on slate, 37 cm x 24.5 cm in an ebonised and gilt-finished frame.Condition report: Vertical crack running down the centre, repaired. General surface wear and marks throughout, to include the frame.
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283287 Los(e)/Seite