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Los 99
Francisco de GoyaFuendetodos 1746 – 1828 Bordeaux, zugeschriebenPortrait eines JungenÖl auf Leinwand, doubliert43 x 34 cm, mit Rahmen 53 x 45 cmDieses fesselnde Portrait eines blassen Jungen zeigt ihn leicht lächelnd mit lockigem Haar, gekleidet in einer eleganten schwarzen Jacke über einem weißen Hemd. Der graue Hintergrund lenkt den Blick auf das ausdrucksstarke Gesicht des Jungen, der den Betrachter mit einem schelmischen Blick anlächelt. Dieser direkte und verspielte Ausdruck verleiht dem Werk eine lebendige Persönlichkeit und lässt den Betrachter in die Welt des Porträtierten eintauchen.Francisco de Goya, ein herausragender Vertreter der spanischen Malerei des 18. und 19. Jahrhunderts, wird häufig als Wegbereiter der modernen Kunst betrachtet. Seine Werke reichen von majestätischen Porträts der spanischen Königsfamilie bis hin zu düsteren, emotionalen Kompositionen, die die Schrecken des Krieges und die menschliche Natur thematisieren. Goya war bekannt für seine Fähigkeit, Emotionen und Charakterzüge seiner Modelle einzufangen, was sich in diesem Portrait des Jungen eindrucksvoll zeigt.Das zugeschriebene Werk steht im Kontext von Goyas späterer Schaffensperiode, in der er vermehrt mit verschiedenen Stilen experimentierte. Sein Interesse an der Darstellung von Kindergesichtern und -figuren spiegelt nicht nur die gesellschaftlichen Veränderungen seiner Zeit wider, sondern auch seine persönliche Beziehung zu Themen wie Unschuld und Vulnerabilität. Diese Porträts, oft von einer spürbaren Intimität geprägt, laden den Betrachter ein, die komplexe Psychologie der Dargestellten zu erkunden.Insgesamt vermittelt dieses Portrait eine Kombination aus Verspieltheit und Tiefe, die für Goyas Kunst charakteristisch ist, und bietet gleichzeitig Einblicke in die kulturellen und künstlerischen Strömungen seiner Zeit.
Los 1002
Étienne Barthélémy Garnier, French 1759-1849 - Portrait of a young lady, three-quarter length, seated in a garden; oil on canvas, signed, dated, and inscribed lower right 'Steph. Barth. Garnier. / Parisüs[?]. 1805', 114.5 x 81.5 cm Provenance: Anon. sale, Sotheby's, Monaco, 30th June 1995, lot 78 (sold for FRF 150,000); Pyms Gallery, London, F686 (label attached to the reverse) Note: The subject of the present work is unusual in the context of the artist's oeuvre, which is dominated by history paintings on classical and religious themes. The unidentified and sensitively rendered woman is portrayed leaning on a rock, flanked by a rosebush and her basket, with a rolling landscape unfolding behind. Born in Paris, Garnier studied art under the painter Joseph-Marie Vien (1716-1809). He received second prize in the Prix de Rome of 1787 and first in 1788 with a painting on the subject 'The Death of Tatius', beating Louis Girodet (1767-1824). He lived in Rome until 1793. Condition Report: The canvas is taut on the stretcher and sits well in the frame.Relined. The paint surface is stable on the support. Settled craquelure throughout. A clear and even layer of varnish throughout. Minor abrasion around the edges of the canvas from contact with frame. Some further minor abrasions, some marks and minor surface dirt. No other visible defects.Under UV lamp, some very minor scattered infilling to craquelure and spots of retouching (see images).In very good condition overall.
Los 1060
Leonard Baskin, American 1922–2000 - Othello Young, Male Portrait, 1973; woodcut on paper, signed lower right 'Baskin' and numbered lower left '664/200', image size 32.1 x 17.2 cm Provenance: Pyms Gallery, London Note: this is one of a series of ten woodcuts the artist produced in 1973 to illustrate Shakespeare's classic drama 'Othello', following his edition of 'Titus Andronicus' in 1970. This was printed at Baskin's Gehenna Press, founded in 1951.
Los 1041
Stephen Ward, British 1912-1963 - Portrait of a woman seated in a pink dress;oil on canvas, signed lower right 'Stephen Ward', 55.9 x 45.8 cm (unframed) (ARR)Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Note: Ward is perhaps best known today for his involvement with the infamous 'Profumo affair', but he was also celebrated for his portrait paintings, which he sold alongside his work as a society osteopath.
Los 1098
William Crozier, Irish 1930-2011 - Greta, 1962; oil on canvas, signed on the reverse 'Crozier', 91.2 x 91.2 cm (ARR) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, purchased c.2010 Exhibited: Arnolfini Gallery, Bristol ‘William Crozier. Paintings 1959/63’, 30th March-26th April 1963, no.16; Pyms Gallery, London, 'William Crozier: Early Work', 9th June-20th July 2010, cat. no.36, illus. p.63 (titled 'October, 1962') Note: a photo-record of the work is included in the Arthur Tooth & Sons archive, no.C3627. The present work marks a major turning point in the artist's career as he came to full aesthetic maturity. He had held his first solo exhibition a few years before at the Parton Gallery in 1958 and in works such as 'Greta, 1962', he combines an understanding of European gestural painting with his own individual subject matter, isolating figures against a deeply coloured landscape in a manner reminiscent of Francis Bacon. The subject of the work is unknown, but at the time Crozier frequently made paintings referencing close female friends. Crozier would exhibit a number of these works with the celebrated gallery Arthur Tooth & Sons, London, in 1962 and 1963, and they would help cement his work on an international stage. A number are now in public collections, such as 'Fallen Man II, 1961' (Glasgow Museums Resource Centre), 'Self-Portrait, 1961' (Ruth Borchard Collection) and 'White-Eyed Buzzard, 1962' (Kirklees Museums and Galleries). The interest in works by Crozier of this period has continued with the in 2011, the Imperial War museum purchasing ‘Bourlon Wood, 1961' in 2011 and the National Gallery of Ireland purchasing ‘Flanders Fields, 1961’ emphasising the importance of this period in the artist's oeuvre. With thanks to the Estate of William Crozier for their assistance in the cataloguing of this work.
Los 1071
Ben Shahn, American 1898-1969 - Portrait of Wilfred Owen (cover for ''Poems'' by Wilfred Owen); woodcut (engraved by Leonard Baskin), signed and inscribed along bottom edge 'Ben Shahn Leonard Baskin sculp', 29 x 23 cm (sheet) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery
Los 1042
Stephen Ward, British 1912-1963 - Portrait of a woman in a blouse; oil on canvas, 50.8 x 40.9 cm (unframed) (ARR) Provenance: The Collection of Mary and Alan Hobart, Founders of Pyms Gallery Note: Ward is perhaps best known today for his involvement with the infamous 'Profumo affair', but he was also celebrated for his portrait paintings, which he sold alongside his work as a society osteopath.
Los 1051
Leonard Baskin, American 1922–2000 - William Blake, 1961; ink and watercolour on paper, signed lower right 'Baskin' and titled, dedicated and dated upper left 'Blake for Roy from Leonard and Lisa 1981', 17.8 x 14.5 cm Provenance: Roy Davids; Bonhams, London, The Roy David's Collection Part II, 29th March 2011, lot 265; Pyms Gallery, London Note: Baskin was deeply influenced by the writings and philosophy of William Blake, his life acting as a guide, in particular in his production of printed books. This image is derived from the famous Death Mask of William Blake in the collection of the National Portrait Gallery in London. Roy Davids was the Head of the Manuscript and Book departments at Sotheby's for many years and amassed an important collection of works, that also included pieces by Henry Moore, Michael Ayrton and Lynn Chadwick.
Los 1043
Bill Brandt, British 1904-1983 - Jack Butler Yeats in his Dublin studio, 1946; gelatin silver print, signed lower right 'Bill Brandt', 24.6 x 19.3 cm (sheet) (ARR)Provenance:the Artist;Mr Tim Vignoles, Surrey, purchased from the Artist (according to a copy of a letter from the Artist);Sean Sexton; Pyms Gallery, London, stock no.E719, purchased from the above, 2nd February 1990 (according to the gallery archive)Note:a letter from the Artist to the purchaser on his letterhead accompanies this lot, dated 16th December 1982Literature:Bill Brandt, 'Portraits', National Portrait Gallery Publications, London, 1982, pl.16 (illus.) (according to the gallery archive)
Los 1099
Francesco Clemente, Italian b.1952 - I (Self-Portrait), 1982; woodcut in colours, signed lower right 'Francesco Clemente' and number lower left 'AP' from an edition of 10, image size: 36 x 50.8 cm (unframed) (ARR) Provenance: Phillips, London, Evening & Day Editions, 25th January 2018, lot 218; The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, purchased from the above
Los 84
Joseph Nollekens (British, 1737-1823): A carved marble portrait bust of William Pitt the Younger (British, 1759-1806)The sitter looking slightly to dexter, signed and dated to the rear Nollekens Ft. 1810, the waisted circular socle inscribed to the front R.T HON. BLE WILLIAM PITT, BORN MAY 28.TH 1759, DIED JAN.Y 23. D 1806, 71cm high overall, 43.5cm wide, 28cm deep approximatelyFootnotes:ProvenanceChristie's, South Kensington, London, 9 April 2003, Lot 492.Private collection.Sotheby's, London, Old Master Sculpture & Works Of Art, 4 December 2018, Lot 113. William Pitt the Younger (1759-1806) became Prime Minister at the age of 24 in 1783. Critical of King George III's influence on Parliament, he sought to limit the monarchy's authority. His greatest opponent was Charles James Fox, with whom he shared a common goal of promoting parliamentary reforms that would enhance freedom. He served in office for nearly half his life and led the nation through the most tumultuous years of the Napoleonic Wars, dying at the age of 46. However the constant stress of his years in power exacerbated by copious amounts of port (ironically recommended by his own doctor for ill health) left him utterly drained. Those who saw him in his final weeks described him as a frail and worn-out man with lifeless eyes and a hollow voice. This was undoubtedly because although Lord Nelson's triumph at Trafalgar had averted an imminent invasion, Napoleon's decisive victory at the Battle of Austerlitz made him supreme ruler of continental Europe. This devastating defeat shattered the fragile alliance that Pitt had spent years carefully crafting. The news of Austerlitz was widely perceived as the final fatal blow to Pitt's political career and he reputedly uttered the immortal words, 'Oh my country! How I leave my country...' just prior to his untimely death in early 1806..Nollekens's sculpture of Pitt, who became Britain's youngest prime minister, remains one of his most renowned works, despite being created during an unflattering period in Pitt's life. During the Premier's lifetime, Pitt and Nollekens had a disagreement over the inscription on a sculpture commemorating three naval captains: William Bayne, William Blair and Lord Robert Manners. The monument remained unveiled for several years after its completion because Pitt refused to supply the eulogy. In frustration, Nollekens turned to the monarch for help, enraging Pitt, who refused to pose for the artist. As a result, Nollekens's portrait of Pitt, which was ultimately created using a death mask, was completed posthumously. The original sculpture, created in 1806, can be found in the possession of the Earl and Countess of Rosebery at their residence, Dalmeny House, located just outside Edinburgh. The offered bust exhibits similar characteristics to this bust, including finely carved locks of hair to the sitters' head. Nollekens and his workshop are thought to have produced over seventy replicas of this celebrated bust, providing the sculptor with a steady income in the later part of his life.A comparable bust of William Pitt was sold Christie's London, 7 December 1993, lot 88, signed and dated 'Nollekens Ft. 1807'. Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).Related LiteratureAileen Dawson, Portrait Sculpture, A catalogue of the British Museum Collection c.1675-1975, British Museum Press, 1999.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 21
A collection of four second half 18th century carved and pierced mother of pearl folding fansProbably Frenchthe first with vellum leaf, the obverse decorated in black/red grisaille and colours with a trompe l'oeil subject of three old master style engravings and a fly on a lace ground with fine trellis border, the reverse with a trompe l'oeil oval of further folded engravings on a lace ground flanked by colourful flower sprays, the carved and pierced sticks heightened in gilt with figural, trellis and floral vase ovals and smaller profile portrait, bird, pagoda and floral canted rectangular medallions, the guard sticks similarly decorated, the second fan with vellum leaf painted in colours, the obverse with a figural pastoral scene depicting courtiers at leisure and play and rustics at their various labours before an extensive landscape with ruins and extensive fields and hills, the reverse with a sparser scene of a courtly couple in a garden parkland, the carved and pierced sticks with putto cartouches and foliate scrolls heightened with gilt, the guard sticks similar decorated, the third fan with vellum leaf painted in colours, the observe depicting a old testament figural scene, probably Mordecai in royal apparel with the Tribe of Benjamin, the reserve with an extensive landscape with figures before a ruined building, the elaborately carved and pierced sticks with figural cartouche decoration of a courtly couple, and putti heightened and flowers and scrolls heightened with gilt and polychrome enamels, the guard sticks similarly carved and decorated with putti and scrolls, the fourth fan with painted vellum leaf, the obverse depicting a pastoral figural scene with courtly figures at leisure and grazing sheep, within a fruiting vine and shell border, the reserve with a central figural vignette of a courtly couple in a landscape with sinuous flowering boughs, the carved and pierced sticks with cartouches of figures and putti and scrolls, the guard sticks with similar pierced decoration revealing red foil grounds, the first fan 50cm wide, 27.5cm long overall, the second fan, 43cm wide, 26cm long overall, the third fan, 47cm wide, 29cm long overall, the fourth fan, 41cm wide, 26cm long overall (4)Footnotes:ProvenancePrivate UK Collection.For further information on this lot please visit Bonhams.com
Los 22
A collection of three second half 18th century carved and pierced tortoiseshell folding fans and a further tortoiseshell folding fanProbably French, the first probably produced for the Spanish marketThe first fan with vellum leaf painted in colours, the obverse depicting the Surrender of Port Mahon, Minorca by General Blakeney within gilt scrolling floral cartouche border on a blue ground, the reverse depicting a fort and two war ships within a similar border, the carved and pierced gilt and silvered sticks to the obverse inset with coloured spangles centred by an oval with a courtly couple on mother of pearl ground flanked by two smaller ovals surmounted by urns and love birds, the guard sticks each with a mother of pearl caved putti supporting oval glazed plaques, one inset with a painted ivory portrait miniature of a lady, the other with a painted mother of pearl monogram, the second fan with vellum leaf painted in colours, the obverse depicting a classical figure scene with Venus and Vulcan before an extensive landscape, the reverse with a similar oval vignette depicting the 'Crowning of Flora', the sticks with yellow metal piqué formalised foliate decoration, the guard sticks with incised carved gilt foliate and figural decoration, the third fan with vellum leaf painted in colours, the obverse decorated with a classical figural scene of Apollo and the Muses within a floral scrolling border, the reserve with vignette of a lyre flanked by two putti within a similar border, the sticks and guard sticks finely inlaid with yellow metal putti, birds, classical figures and foliate scrolls, the sticks additionally interspersed with piqué work, the fourth fan with vellum leaf painted in colours, the obverse decorated with a seated shepherd and two rustic maidens in a naturalistic setting, within a figural, vase and foliate gilt border, the reverse undecorated, the sticks and guards sticks undecorated, the first, 46cm wide, the guard 26.5cm long overall, the second, 50cm wide, the guard 28cm long overall, the third, 50cm wide, the guard, 29cm long overall, the fourth, 47cm wide, the guard, 28cm long overall (4)Footnotes:The item that comprises part of this lot containing ivory has been registered in accordance with the Ivory Act (Section 10) Ref 6K6X3MCS (Tortoiseshell folding fan with vellum obverse leaf depicting The Surrender of Port Mahon, Minorca by General Blakeney, one guard with an inset painted ivory miniature of a lady).ProvenancePrivate UK Collection.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Los 62
A fine Charles II silk embroidered dressing boxLate 17th centuryOf typical rectangular form edged with silver and silk woven braid, the whole elaborately decorated with embroidered polychrome silk, with painted and embroidered oval portrait of a noblewoman to the lid, enclosed by three dimensional delicate brass wire and silk leaves, the outer sides, with silk and covered wire stylised flowers, satin stitch animals and leaves with French knots, the sides satin stitched and couched satin stitched, with fitted mirror and silver braid, secret drawers and pin cushion to compartmented pink silk lined interior, raised on wooden bun feet, the base with Inventory number D976, with modern perspex cover and shallow plinth, velvet topped, support,16.5cm high, 36.6cm wide, 27cm deep overallFootnotes:ProvenanceProperty of a London Collector.Out of the various methods of textile production, it was embroidery that remained domestically produced. It was a task considered appropriate for the home and was undertaken by women of all levels of society, from daughters of professional families to aristocratic women including Bess of Hardwick. The techniques were learnt by completing samplers before developing into more elaborate pieces used for clothing and as decoration for luxury items, the skills to be admired and the subject matters serving as moral lessons. Subjects being naturalistic, pastoral and often being biblical, and at this time of political and religious upheaval, and loyalties were sometimes implied through the inclusion of particular figures. Several included crowned figures of Kings and Queens, representing Charles I or Charles II and Henrietta Maria or Catherine of Braganza. For a similar example see Christies The Longridge Collection Needlework Casket, 29th Oct 2019.For other recently offered larger embroidered caskets, designed as compartmentalised work or dressing boxes, with tops lifting to reveal a mirrored internal lids, see Sotheby's London, 21 March 2003, lot 27, and another similar example was offered at Christie's New York, 15 April 2005, lot 25, and notes a coffer top with mirror reflecting a hand coloured transfer printed hunting scene. Other similar caskets, beautifully worked with more elaborate appliqué and raised work, were offered at Sotheby's London, 30 November 2001, lot 3, Phillips London, 11 February 1997, and Phillips North East, 2 February 1993, this later example dated 1662 in seed pearls and the initial B.P. All have similarly designed lockplates and are applied with the metal braid.For further information on this lot please visit Bonhams.com
Los 48
A pair of George IV silver sauce tureensWilliam Bateman, London 1829Oblong bellied form, with shell and acanthus rims, and naturalistic twisted foliate handles with bifurcated upper junctions, with polished bellied sides, raised on four scrolling acanthus feet capped with floral embellishment, the lift off shaped cover with a removable acanthus leaf handle, with a crest engraved to both the body and cover of the BUTLER family the Marquess and Earl of Ormonde, height 13cm, length 25.5cm, weight 31.65oz. (2)Footnotes:These are the arms associated with the BUTLER family of Ireland. Enobled first as Earls Ormonde in 1328. They were in 1642 created Marquesses of Ormonde, in 1681 Dukes of Ormond in the Irish Peerage and in 1682 in the English Peerage, both titles having been forfeited by 1758. The principle of the BUTLER family in 1829 at the time of assay was James Wandesford BUTLER (1777-1838) 1st Marquess of Ormonde, previous 19th Earl of Ormonde and 12th Earl of Ossory. The considerable number of sub families generated by the main family make specific identification very difficult. The name BUTLER is associated with many of the principal families of Ireland.Miniature Image: James Wandesford BUTLER (1777-1838) 1st Marquess of Ormonde, Bonhams, Fine Portrait Miniatures, 23rd November 2011, lot 99.For further information on this lot please visit Bonhams.com
Los 79
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Samuel Bateman DashwoodThe sitter with curling hair looking to dexter, his shoulders clad in classical folded drapery, signed and dated to the rear Nollekens Ft./1812, raised on turned circular socle, 68cm high overall, 45cm wide, 27cm deep approximatelyFootnotes:ProvenanceChristie's South Kensington, 18 September 2002, lot 568;Private UK collection.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 110.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233).LiteratureI. Roscoe, E. Hardy and M. G. Sullivan, 'A Biographical Dictionary of Sculptors in Britain, 1660-1851', London, 2009, p. 909, no. 306This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 80
Joseph Nollekens (British, 1737-1823) A carved white marble bust of Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834)The sitter looking slightly dexter, his shoulders clad in folded classical drapery, raised on a turned circular socle, 67cm high overall, 47cm wide, 23.5cm deep approximatelyFootnotes:ProvenanceProbably commissioned by the sitter Lord George Augustus Henry Cavendish, later 1st Earl of Burlington of the 2nd Creation (1754-1834), 1812;Then by descent to his son William Cavendish, 7th Duke of Devonshire (1808-1891);Then by descent to Peregrine Andrew Morny Cavendish, 12th Duke of Devonshire (b. 1944), Chatsworth House, Derbyshire;Sold Sotheby's, Chatsworth: The Attic Sale, 5-7 October 2010, lot 364.Sothebys London, Old Master Sculpture & Works Of Art, 4th December 2018, lot 109. ExhibitedLondon, Royal Academy of Arts, 1813, no. 925.LiteratureDevonshire House Inventory, 1892, possibly p. 37, in the South Sitting Room 'Bust of Cavendish';Chatsworth Handlist of Paintings and Sculpture, nd, 28;A. Graves, The Royal Academy of Arts, A Complete Dictionary of Contributors and their work from its foundation in 1769 to 1904, London, 1905, p. 382;S. Upton, 'Private Chatsworth', The World of Interiors, October 2001, p. 248;I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain, 1660-1851, London, 2009, p. 909, no. 314George Cavendish was the third son of William Cavendish, 4th Duke of Devonshire and his wife the former Lady Charlotte Boyle, daughter of Richard Boyle, 3rd Earl of Burlington. He later became Earl of Burlington of the second creation, a title held by his maternal forebears. Famously wealthy, Burlington purchased Burlington House from his nephew, the 6th Duke of Devonshire, and constructed London's Burlington Arcade along the west side of his residence, which itself was significantly elaborated.Joseph Nollekens was the foremost sculptor of the late Georgian period. Born into a family of Flemish painters and trained by Peter Scheemakers, he earned numerous awards from the Society of Arts, which enabled him to travel to Rome to study the works of Michelangelo and 'other greats' (see J. T. Smith, 'Nollekens and His Times, London, 1829'). In Rome, Nollekens collaborated with the celebrated Italian scuptor Bartolommeo Cavaceppi, restoring and replicating antiquities, and gained a strong reputation for his skill in modeling and carving marble. Upon his return to London in 1771, he was elected an associate of the Royal Academy and became a full Royal Academician the following year. Nollekens quickly established himself as a leading portraitist, with John Kenworthy-Browne noting that 'in portrait busts Nollekens scarcely had a rival.' His talent for capturing and animating likenesses made his works exceptionally popular in England (J. Kenworthy-Browne, 'Nollekens, Joseph (1737-1823), Sculptor', Oxford Dictionary of National Biography). His notable sitters included figures such as actor David Garrick, King George III, and many prominent individuals of the time.In addition to his acclaimed portrait busts, Nollekens produced significant mythological works, including pieces for Wentworth Woodhouse, now displayed at the Victoria and Albert Museum in London and the J. Paul Getty Museum in Los Angeles. Nonetheless, he is best known for his portrait busts, as evidenced by the soaring prices, which rose from 50 guineas in 1771 to 150 guineas by the end of his career. The Romantic painter Henry Fuseli favourably remarked, 'in a bust he stands unrivalled... (but) for a group of figures, I should have recommended Flaxman; but for a bust, give me Nollekens' (Smith, op. cit. p. 233)This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 51
A fine 17th century German parcel-gilt tankardAugustin Heyne, Breslau, circa 1619 Of cylindrical form, a hinged cover with embossed floral and cherub decoration, topped with scrolling finial, with a winged thumbpiece, a cast scrolling handle with caryatid winged Minerva, around the body features six silver shaped vertical panels finely engraved with six of the 'Nine Worthies', each portrait stamped below with their Latin names, 'JOSVE DUX, IVDAS MACHABEVS, HECTOR TROIANVS, ARTVS REX, IVEIVS CAESAR, DAVID REX', below the later panel engraved with '1619' each bordered with parcel gilt foliate, cherubs and masks, the domed spreading foot embossed banded decoration, height 16.5cm, diameter 12.5cm, weight 22oz.Footnotes:The Nine worthies were nine historical, scriptural and legendary figures, which during the Middle Ages were viewed as the personification of chivalry, their lives were studied as by those who wished to achieve chivalric status. The Nine were the three pagans: Hector, Alexander the Great and Julius Caesar, three Jews: Joshua, David and Judas Maccabeus and the three Christians: King Arthur, Charlemagne and Godfrey of Bouillon. The present tankard depicts six of these nine worthies those depicted are: Hector, Julius Caesar, Joshua, David, Judas Maccabeus and King Arthur. Literature: Die Breslauer Goldschmiede, Breslau, 1906, page 82. Possibly records this tankard (Deckelkanne) by Augustin Heynes, also stamped 1619, the difference is in one panel the depiction records that 'Carolus Magnus (Charlemagne)' where this present lot depicts Julius Ceasar.Augustin Heyne, was son of Goldsmith Augustin Heyne, Burger and Meister 1602, married 5th November 1602 Margareta, the daughter of the churchwarden Balthasar Theime. He died 5th October 1631.Augustin Heynes works scare appear on the open market. The present example bears similarities with an example of another of Heyne's work sold at Sotheby's New York, Silver lot 62, 17th October 2008.Another similar example, by Breslau maker Veit Koch, is illustrated Deutsche Gold Schmiedekunst From The Germanischen National Museum, 1987, page 134, Kat.41.The etchings of the Worthies are after the original etchings by Nicholaes De Bruyn (Flemish 1571-1656) originally published in 1594 by Assueres Van Londerseel (Flemish 1572-1635) in Antwerp for 'Ornament Designs with Portraits of Kings and Heroes', with four states of the engravings. Examples of these prints are held in The Victora and Albert Museum, the British Museum and a complete bound collection is held in the Schulich-Woolf Rare book collection. The engraving present on the tankard bears very close stylistic similarities with the original etchings by De Bruyn.For further information on this lot please visit Bonhams.com
Los 812
3rd-4th century A.D. With facetted shoulders, disc bezel with low-relief portrait bust. Cf. Ruseva-Slokoska, L., Roman Jewellery, Sofia, 1991, item 206, for type. 5.76 grams, 25.26 mm overall, 17.31 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13) (1 in.). [No Reserve]Acquired on the London art market in the late 1980s-1990s. From the family collection of an East London, UK, gentleman.
Los 3220
67 BC. Rome mint. Laureate head of Apollo to right, club as control mark behind / Horseman galloping to right, holding whip and reins; C • PISO • L • F • FRVG and A below. Crawford 408/1b; RSC Calpurnia 24d. 3.86gr, 19mm, 6h. ().Good Very Fine. Bankers' marks to obverse. Charming Apollo's portrait struck in high relief.From the collection of a gentleman, acquired on the London art market in the 1990s.
Los 2088
18th-19th century A.D. Portion of the rim and body from a silver bowl; with scalloped rim, high-relief detailing of bunches of grapes, leaves and tendrils; inner band of profile portrait busts in beaded circular frames. 133 grams, 17.5 cm (6 7/8 in.). [No Reserve]From the property of late Mr SM, London, UK, 1969-1999.
Los 2066
19th-20th century A.D. Comprising a rhomboid hoop and inset an amethyst cabochon, with intaglio portrait bust of a king or god (Herakles?) looking right. Cf. for the original Greek prototype of portrait Spier, J., Ancient Gems and finger rims, Malibu, 1992, fig.234 (banded Heracles); for the 19th shape of ring cf. Chadour, A.B., Ringe/Rings, Die Alice und Louis Koch Sammlung/The Alice and Louis Koch Collection, volume II, Leeds, 1994, fig.1158; for the neoclassical portrait Scarisbrick, D., Wagner, C., Boardman, J., The Beverley Collection of Gems at Alnwick Castle, The Philip Wilson Gems and Jewellery Series, London, 2016. 5.87 grams, 25.14 mm overall, 19.14 mm internal diameter (approximate size British R, USA 8 1/2, Europe 18 3/4, Japan 18) (1 in.).From a private family collection formed since the early 19th century, thence by descent. Property of a New Zealand legal professional. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12330-223720.The engraved head probably is depicting a Greek king or a Roman emperor from the Antonine Dynasty of the 2nd century A.D. The style of engraving does not assist with making a firm identification, but a cameo with a similar subject is in the Guy Ladriére collection and the head is attributed to Emperor Hadrian (Scarisbrick, Wagner, Boardman, 2016b, no. 40). The subject was extremely popular in modern times, and identification with Heracles is also possible.
![Circa 250-187 BC. Head to right, wearing bashlyk / ΥΠΑΙoΡo[..], Nike standing facing, head to left, holding long palm in exte](https://cdn.globalauctionplatform.com/1b6a38e9-536d-44fb-87f8-b2130091a1fa/b96256d1-efc1-4b07-a3d5-b21300994920/468x382.jpg)
Los 2646
Circa 250-187 BC. Head to right, wearing bashlyk / ΥΠΑΙoΡo[..], Nike standing facing, head to left, holding long palm in extended right hand. Unrecorded ruler but cf. Roma, E-81, 607 for 'ΥΠΑΙ' (Ariarathes) and HGC 9, 493b for a similar reverse (Antiochos III). 5.00gr, 17mm, 11h. ().Good Very Fine. Unpublished and unique; of great historical and numismatic importance.Ex 'V' gentleman's collection, Switzerland. From the property of a North London, UK, gentleman.It is not rare when a coin can be the only evidence about the existence of a person or city from the past. On this particular coin, it is the enigmatic inscription of YΠΑΙΟΡΟ that makes it difficult to attribute. No city or ruler is recorded with this name and the only ancillary evidence we have is its similarity to some other types. First of all, the style of the leather helmet (called bashlyk, common for the Cappadocian bronzes) and the lack of the royal title, refer us to the king of Cappadocia, Ariaramnes. The Roma's example is the only other example who bears the abbreviated legend YΠΑΙ. On the other hand, the reverse type and style of legend resemble the bronze coins of Antiochos III struck in Southern Coele-Syria (SC 1100a; HGC 9, 493b). It is not certain whether the name refers to a city or to a ruler. Bronze coins of Ariaramnes can have the name of the mint abbreviated (cf. Simonetta 9a&b), but it is considered unusual in this period to have a bronze coin with a full ethnic and the portrait of the ruler. It is very likely that we are dealing with the name of a Cappadocian ruler who was active for a short period in the second half of the 3rd to the first part of the 2nd century and participated in the recovery of the outlying provinces of the Seleucid Empire from Antiochos III.
Los 3700
Time of Shōwa (1926-1989). Portrait of Wake no Kiyomaro to right / Goou Jinja Shinto Shrine in centre. 142mm x 81mm. ().Lot sold as seen.Acquired on the UK art market; Property of an Essex, UK, collector.This currency was first issued in 1930 by the Bank of Japan but then used, with variants, as a military banknote as Japan expanded their occupation of China in 1938. This variant has two red seals on the front.
Los 3522
1952-2022. Royal mint. Dated 1992. Designs by Raphael David Maklouf and Christopher Ironside. ELIZABETH II D · G · REG · F · D · 1992, third crowned portrait of Queen Elizabeth II to right, wearing the George IV State Diadem; RDM in small lettering on truncation / TEN PENCE 10, part of the crest of England, lion passant guardant royally crowned; denomination around. KM 938b; S F4. 6.45gr, 25mm, 12h. ().Near Fine. Double struck of Queen's portrait; partially brockage of obverse legend on both sides. Half destroyed reverse.Acquired on the UK art market; Property of an Essex, UK, collector.
Los 3521
1952-2022. Royal mint. Dated 2014. Designs by Ian Rank-Broadley and Matthew Dent. ELIZABETH · II · D · G REG · F · D · 2014, fourth crowned portrait of Queen Elizabeth II to right, wearing the Girls of Great Britain and Ireland tiara; IRB in small lettering beneath truncation / FIFTY PENCE, lower section of the Royal Shield, denomination below; MD in small lettering to lower right. KM 1112; S H18. 7.95gr, 27mm, 12h. ().Very Fine. Rare double struck of Queen's portrait.Acquired on the UK art market; Property of an Essex, UK, collector.
Los 2641
Time of Marcus Aurelius, circa AD 161-180. Pseudo-autonomous issue. AN-TI-OCH, draped bust of Hermes to right, with head assimilated to portrait of youthful Commodus; caduceus over shoulder / COLO-NIAE, garlanded altar. RPC IV.3, 7376 (temporary). 2.06gr, 16mm, 6h. ().Good Very Fine.From the collection of a London antiquarian, formed since the 1980s.
Los 196
2nd-3rd century A.D. Finely carved in hard white limestone; the facial features framed by swept-back locks of wavy hair enclosed by a loosely draped palla headdress held onto a low turban by a segmented diadem with high-relief ornament, with drop earrings at the sides; a necklace of graduated beads at the throat, soft fabric stola covering the chest and shoulders; the arched brows above large almond-shaped eyes with carefully worked pupils, small pert mouth with full lips, smooth cheeks and brow; unworked to the reverse; mounted on a custom-made stand. Cf. Michalowski, K., Palmyre, Fouilles Polonaises, 1960, Warszawa-Paris, 1962, fig.192; Muzeum Narodowe w Warszawie, Sztuka Palmyry (Art of Palmyra), Warszawa, 1986, pls.10,23; Fortin, M., Syrie, terre de civilisations, Québec, 1999, figs.336-337; Gabucci, A. (ed.), Zenobia, il sogno di una regina d'oriente, Milano, 2002, no.25 (for the typology of the portrait). 29.95 kg, 50 cm including stand (19 3/4 in.).[A video of this lot is available to view on Timeline Auctions Website]From a private UK collection, since at least 1971. Acquired from Rupert Wace Ancient Art Limited, Old Bond Street, London W1, UK, in 2001. From the private collection of Mr M.R. Davis, Bristol, UK. Accompanied by a copy of a stamped and signed Art Loss Register declaration dated 1st March 2001. Accompanied by a copy of a conservation report by restorer David Singleton dated 26th June 2001. Accompanied by a copy of the 23th February 2001 invoice (£34,000); a copy of the illustrated listing with reference number C230; plus communications regarding acquisition. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12339-224541.The sculpture is a good example of 2nd-3rd century A.D. Palmyrene female funerary portrait types. The amount of jewellery displayed in these portraits could be a direct reflection of the wealth of the family, and certainly reflected the jewellery possessed by the owner of the grave.
Los 1949
16th-17th century A.D. Cupboard door with rounded frame, carved central ring with foliage clusters above and below, profile portrait bust wearing a helmet with pivoting visor; fixing points to reverse for lock and hinges. 742 grams, 38.5 x 27.2 cm (15 1/4 x 10 3/4 in.).Private collection, London, UK.
Los 3698
2015. Portrait of Queen Elizabeth II at right, Bank of England in centre, image of Elizabeth Tower (housing Big Ben) over transparent window at left / Portrait of Sir Winston Churchill at centre, at left a view of Westminster, home of the UK government, and the Elizabeth Tower (housing Big Ben) from London’s South Bank, looking across Westminster Bridge. Part of motto on the Nobel Prize in literature Inventas vitam iuvat excoluisse per artes with meaning It is beneficial to have improved (human) life through discovered arts depicts on medal above the building. P# 394. 125mm × 65 mm. ().Lot sold as seen.Acquired on the UK art market; Property of an Essex, UK, collector.
Los 6
Highmore (Joseph, 1692-1780) Study for a family group portrait, oil on board or thick paper, inscribed on reverse 'Sketch of a family piece/ designed to be drawn by /Mr Highmore of my father : mother and their six children/ that is their attitudes not likenesses', sheet 213 x 298 mm (8 3/8 x 11 3/4 in), affixed onto plexiglass backing, minor scuffs and small nicks to extremities, framed, [circa 1730]Provenance:Collection of John and Eileen Harris*** A similar oil study by Highmore, albeit slightly larger, is held in the Yale Center for British Art, Paul Mellon Collection [see acc. no. B1981.25.353]. Very few oil sketches are recorded, but those that are relate to large scale compositions; for instance The Family of E. Lancelot Lee, 1736 (Wolverhampton Art Gallery).
Los 22
Chambers (Sir William, 1723-1796) Design for decoration and furniture of the hall at The Hyde, Ingatestone, Essex, pen and greyish-black ink, grey wash, annotated in pencil and brown ink, with additional elements added in pencil, on laid paper with partial watermark of Strasbourg lily, sheet 273 x 380 mm (10 3/4 x 14 7/8 in), slightly rough edges, minor nicks to extremities, some browning and surface dirt, unframed, [circa 1760]; together with Chamber's bookplate, and a portrait of Chambers in soft-ground etching by a young William Daniell after George Dance, 1793, framed (3)Provenance: Collection of John and Eileen HarrisLiterature:Harris, John, Sir William Chambers: Architect to George III, 1996, pp. 135-136, illus. fig. 191cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970Exhibited:Sir William Chambers: architect to George III, 1996-7, Courtauld Gallery, London and National Museum, Stockholm, no. 151*** Fine drawing showing the 'elevation of an end of the hall', with colour notes and materials intended to be used, such as 'portland stone' and 'Dead White'. Additional pencil sketches have been added in over the pen and ink, suggesting further elements to embellish the original design. Chambers started work on the great hall at The Hyde in 1761, where he fashioned out 5 rooms that partially housed the collection of antiquities collected by Thomas-Brand Hollis, now held in the Fitzwilliam Museum, Cambridge. Sir William Chambers RA was a Swedish-Scottish architect, based in London. Among his best-known works are Somerset House, and the pagoda at Kew. Chambers was a founder member of the Royal Academy. Said to have been the major rival of Adam in British Neoclassicism. Chambers was more international in outlook (his knighthood being originally a Swedish honour) and was influenced by continental when designing for British clients. A second visit to Paris in 1774 confirmed the French cast to his sober and conservative refined blend of Neoclassicism and Palladian conventions.
Los 43
Haydon (Benjamin Robert, 1786-1846) Portrait of the architect Charles Heathcote Tatham (1772-1842), black, red and white coloured chalks on buff paper, signed with initials and dated '1823' in the lower right, further inscribed 'Mr C. H. Tatham by Haydon' in the lower left corner, sheet approx. 480 x 380 mm (18 3/4 x 14 7/8 in), under glass, small puncture in the upper left quadrant, just above the sitter's forehead, scattered spotting and surface dirt, framed, 1823 Provenance: Collection of John and Eileen Harris *** The British Museum hold another portrait of Tatham, the English architect and collector of classical antiquities, also drawn by Haydon. The BM sketch, again also from 1823, was undertaken a year after Mrs Tatham attended Mrs Haydon at the birth of Haydon's son, Frank; the artist and architect are said to have waited together in the painting room. One of the two drawings must have been the drawing for which Tatham paid Haydon £10. [cf. Brown and Woof, Haydon exh. cat., 1996, no. 105]. In 1802 Tatham designed the sculpture gallery at Castle Howard, Yorkshire, and did work at Naworth, Cumberland, for the Earl of Carlisle; and in 1807 the picture gallery at Brocklesby Hall, Lincolnshire, for Lord Yarborough. His etchings for the designs of these galleries, both in the severe classical style in vogue at the time, were published in 1811. He later designed the rebuilding of Roche Court at East Winterslow, Wiltshire for Francis Thomas Egerton in 1804–5, and the mausoleum at Trentham, Staffordshire for George Leveson-Gower, 1st Duke of Sutherland, 1807–08. Before 1816 he designed for the Duke of Bridgwater the portion of Cleveland House, St. James's, which lay to the west of the gallery.
Los 53
English School (19th century) Curzon Lodge, Old Brompton, London, oil on panel, 405 x 625 mm (15 3/4 x 25 1/2 in), manuscript label verso that reads '"Curzon Lodge"/ Old Brompton./ The house of Willian Judd Esquire/ Born 6th April 1782- Died Oct. 1859./ London, craquelure, some surface abrasion and losses, discolouration to varnish, unframed, [c. 1850]Provenance:Collection of John and Eileen Harris*** A family portrait of Mr. and Mrs. William Judd of [?]Gurzan Lodge, Old Brompton and family dressed as Gentlefolk and Gypsies, by William Hemsley (1819–1906), was sold at Sotheby's in 1979. The Lodge appears to have been part of the network of market gardens, nurseries, inns and and tea houses and above all isolated houses found in Old Brompton in the 19th century.
Los 10
Kent (William), After. Her Majestys Library in St James's Park, by Paul Fourdrinier, an elevation of an interior wall of the library, engraving, platemark 395 x 265 mm (15 1/2 x 10 1/2 in), good margins, under glass, minor surface dirt, framed, 1737; together with two further framed prints, including a very scarce impression of Elisha Kirkall's title page, for 'Academy Figures Drawn from the Life by L. Cheron and done in Chiaro Oscuro by E. Kirkall', and the portrait 'Jacobus Gibbs Architectus, 1747', after Willam Hogarth, framed, 18th century (3)Provenance:Collection of John and Eileen Harris*** Queen Caroline commissioned William Kent to erect a library building at St James’s between the years 1736-7, and included bookcases on either side of fireplaces with panels and busts above.
Los 5
Thornhill (Sir James, 1675-1734) Portrait group of two architects and young boy, possibly Sir Christopher Wren and family, pen and brown ink, brown wash, red chalk, partial ink and chalk borderline, on laid paper without watermark, image 140 x 184 mm (5 1/4 x 7 1/4 in), sheet 185 x 232 mm (7 1/4 x 9 1/8 in), laid onto paper support, some handling creases, minor surface dirt, framed, [circa 1715]Provenance:Collection of John and Eileen Harris *** There are a number of similar drawings by Sir James Thornhill held in institutional collections that compare very closely with the present sheet, including 'Design for a portrait of an architect or a painter' [Yale Center for British Art, Paul Mellon Collection, acc. no. B1975.4.955], and 'Portrait of a Geographer, Wife, and Child' [Art Institute Chicago, acc. no. 1922.1604]. The Leonora Hall Gurley Memorial Collection, Art Institute Chicago, also holds a number of other single figure portrait studies in ink by Thornhill, which all appear to uphold the attribution.The most likely architect would be Sir Christopher Wren (1632-1723), his son Christopher Jnr (1675-1747), aged 39, and his grandson (another Christopher) who was born in 1711. The globe in the background could relate to the portrait of Sir Christopher Wren in the Sheldonian Theatre, Oxford, begun by Antonio Verrio before 1707 and completed by Sir Godfrey Kneller and Thornhill. Thornhill got the commission to decorate the dome of St Paul’s in 1714, which might provide an approximate date for this drawing if it does depict the Wrens.We are grateful to Charles Hind for his assistance in cataloguing the present drawing, and for his identification of the sitters.
Los 50
English School (circa 1840s) Elevation, plan and profile of an realised project for Emma Cust, Countess Brownlow (1791-1872), pen and ink, watercolour, on wove paper without watermark, inscribed in pencil to lower right corner 'Lady Brownlow', sheet 285 x 350 mm (11 1/4 x 13 3/4 in), old folds and handling creases, minor spotting and surface dirt, unframed, [circa 1840]; together with a pencil study of a section of Harlaxton Manor House, dated Sept. 1855, before it was torn down in 1857, a pen and ink study of an unidentified ruined English castle by another hand, and three others, including a bust portrait of man attributed to Juan Antonio López, all unframed (19th century) (6)Provenance:Collection of John and Eileen Harris*** Lady Emma Sophia Edgcumbe, Countess Brownlow (1792-1872), eldest daughter of Richard Edgcumbe, 2nd Earl of Mount Edgcumbe (1764-1839) and Lady Sophia Hobart (1768-1806), third daughter of John Hobart, 2nd Earl of Buckinghamshire (1723-1793), was married in 1828, as the third wife, to John Cust, 1st Earl Brownlow (1779-1853), but bore him no children. Countess Emma Brownlow built Belton Lodge in the 1840s, on Higher Lincombe Road overlooking the sea and often went to stay in Torquay, Devon.
Los 23
Carter (Thomas, fl. 1729-1795) Attributed to. Portrait bust, traditionally understood to be the architect William Adam (1689-1748), showing a man in an open necked shirt with buttoned coat beneath drapery, furrowed brow, long pointed nose and thin downturned lips, marble, inscribed verso ''Sir Isaac Newton/ By Roubiliac', 55 cm (21 1/2 in), on a turned socle, total height approx. 67 cm (26 1/4 in), a few small nicks to edges of drapery and elsewhere, [circa 1740] *** Formerly identified as Isaac Newton and attributed to Louis-Francois Roubiliac (1702-1762), with presumably later inscriptions verso. There are variant bust versions on William Adam's tomb in Greyfriars Church Edinburgh, and an example held in the Scottish National Portrait Gallery; the latter is attributed to Henry Cheere (1702-1781). Both, however, appear to show a slightly younger William Adam than the present bust portrait. [See John Fleming, Robert Adam and his circle, 1962, p. 324]. William Adam was born near Kirkcaldy in Fife, and went on to become the most prolific and distinguished Scottish architect of the early eighteenth century, designing and building numerous country houses and public buildings, and often acting as contractor as well as architect. His individual, exuberant style built on the Palladian style, but with Baroque details inspired by Vanbrugh and Continental architecture. Particularly renowned for his design of country manors such as Hopetoun House and Duff House (the latter of which now displays part of the National Galleries of Scotland’s collection), William’s architectural legacy was eclipsed only by that of his son." [National Galleries of Scotland].
Los 44
Heaphy (Thomas, 1775-1835) Portrait of an art collector or dealer, full-length, as yet unidentified, standing beside a portfolio of drawings and various antiquities, watercolour and bodycolour, over pencil under-drawing, signed and dated '1823' in the lower left corner, sheet 593 x 415 mm (23 3/8 x 16 1/4 in), under glass, laid onto board, minor scuffs, framed, 1823Provenance:Collection of John and Eileen Harris*** The drawing held in the hand of the gentleman appears to be a portrait of the English architect, Inigo Jones (1573-1652), while the classical statue is a reproduction of the "Apollino" in the Uffizi, Florence, and the vase a Grand Tour interpretation of a Greek red-figured krater.
Los 47
English School (circa 1830s) Detailed interior study of the House of Commons, St Stephen's Chapel, before being destroyed by fire on 16th October 1834, pen and ink, black chalk, on several sheets of joined tracing paper, numerous measurements and inscriptions, total sheet 345 x 565 mm (13 1/2 x 22 1/4 in), tipped onto later wove paper support with watermark date '1838', some losses to sheet, rough edges, nicks and tears, surface dirt, unframed, [circa 1830s] Provenance: Collection of John and Eileen Harris *** The layout, architectural features, lamps and other details match those as found in Sir George Hayter's monumental painting The House of Commons, 1833, held in the National Portrait Gallery (NPG 54); the painting depicts the first session of the new House of Commons on 5 February 1833 following the passing of the Great Reform Act in 1832. The angle of the composition and framing of the view is almost exactly the same as Hayter's painting, possibly suggesting that it may have been used as a plan or guide for the painting itself.The Palace of Westminster, the medieval royal palace used as the home of the British parliament, was largely destroyed by fire on 16 October 1834. The blaze was caused by the burning of small wooden tally sticks which had been used as part of the accounting procedures of the Exchequer until 1826. The sticks were disposed of carelessly in the two furnaces under the House of Lords, which caused a chimney fire in the two flues that ran under the floor of the Lords' chamber and up through the walls.The resulting fire spread rapidly throughout the complex and developed into the largest conflagration in London between the Great Fire of 1666 and the Blitz of the Second World War.
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