George Gower (c.1540-1596) Portrait of a gentleman, traditionally identified as Thomas Arundell, later 1st Baron Arundell of Wardour (c.1560-1639) Inscribed ANΊ DNI 1580 / atatis sua .20 (upper left above the centaur), Non spirat Qui non afpirat (centre left) and charged upper right with the sitter's coat of arms Oil on panel 60.6 x 50.9cm; 23ÎŽ x 20inProvenance: Sold by a descendant of the sitter's family, Christie's, 1874;Henry George Bohn (1796-1884)Possibly Cyril Flower, 1st Baron Battersea (1843-1907); Constance de Rothschild, Lady Battersea (1843-1931); Lionel de Rothschild (1882-1942); Edmund de Rothschild (1916-2009); The Trustees of Exbury HouseLiterature:The Archaeological Journal, vol. xxxi, p.303;Henry George Bohn, Catalogue of the Pictures, Miniature and Art Books, Collected During the Last Fifty Years, (London, 1884) no.82 (as Lucas de Heere);Edward Town and Jessica David, 'George Gower: portraitist, Mercer, Serjeant Painter', in The Burlington Magazine, no. 162 (September 2020), p.732, foot note 8Exhibited: Bath, Victoria Art Gallery, Pictures and Porcelain from the collection of Edmund de Rothschild, 21 May - 2 July 1988, no. 1Thomas Arundell was born into an important and wealthy Wiltshire family. As a young man he was imprisoned for his fervent Roman Catholicism, but proved his loyalty to the crown in 1588 by subscribing £100 towards the defeat of the Spanish Armada. In 1595, Arundell's father provided him with money and horses, in order to serve the Imperial forces against the Turks. Allegedly he was recommended to the Holy Roman Emperor by Queen Elizabeth herself. Arundell repaid this debt on 7 September 1595, when he stormed the breach at Gran, capturing the Turkish standard and replacing it with the Imperial Eagle. For this he was created a Count of the Holy Roman Empire by Rudolf II, and became known as 'the valiant'. However, when he returned to England he refused to renounce this foreign title. His father was furious and disinherited him, objecting to his superior rank, and the Queen committed him to Fleet Prison, saying that 'I would not have a sheep branded with another man's mark'. Arundell was later released, and his fortunes improved under James I. He was created 1st Baron Arundell of Wardour in 1605, and appointed Colonel of the English regiment in the Spanish Netherlands, serving under Albert VII, Archduke of Austria. In the same year he was briefly suspected of complicity with the Gunpowder Plot, having been named by Guy Fawkes under torture. He died in 1639 at the family home of Wardour Castle, and was buried in Tisbury. His was succeeded by his son Thomas, who was a prominent royalist in the Civil War.The identification of the sitter as Thomas Arundell was first proposed by Henry Bohn in the late nineteenth century. The dating of the work supports this identification, although the presence of the crescent moon in the coat-of-arms suggests that it may be Thomas' younger brother William Arundell (d. 1592).
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Attributed to Aelbert Cuyp (Dutch 1620-1691)Portrait of a gentleman holding a compass Oil on panel, oval 94.5 x 75.5cm; 37ÎŒ x 29ÎŽin Provenance: Sir Gregory Osborne Page-Turner, 4th Bart; His sale, Phillips, London 19-20 April 1815, lot 177, where bought by Alexander Baring, 1st Baron Ashburton, as Aelbert Cuyp, self-portrait (£75: 12s); Lord Ashburton, The Grange, 1890; His collection purchased as a whole by Agnews and others, August, 1907; Lionel de Rothschild (1882-1942); Edmund de Rothschild (1916-2009); The Trustees of Exbury House Literature: J. Smith, A Catalogue Raisonnι of the Works of the Most Eminent Dutch, Flemish and French Painters, vol. V (London, 1834), no. 268, as Aelbert Cuyp; G. F. Waagen, Works of Art and Artists in England, vol. II, (London, 1838), p. 283, as Cuyp; E.W.Moes, Iconographia Batava (Amsterdam, 1897), p.215, no. 1871 - 3 & 5, as Cuyp; F. Cundall, The Landscape and Pastoral Painters of Holland (London, 1891), p. 163, as Cuyp; E. Michel. 'Une famille d'artistes hollandaise: Les Cuyps', in Gazette des Beaux-Arts, p.114, as Cuyp; C. Hofstede de Groot, A Catalogue Raisonnι of the Works of the Most Eminent Dutch painters..., vol. II (London 1909), pp. 29-30, no. 70, as Cuyp; A. Chong, Aelbert Cuyp and the Meanings of Landscape, PhD. Dissertation, (New York University, 1992), no. C141 (under rejected works, on the basis of a black and white photograph) Exhibited: London, Royal Academy, Winter Exhibition, 1890, no. 91, as Aelbert Cuyp; London, Royal Academy, Dutch Pictures, 1450-1750, Winter Exhibition, 1952-1953, no. 480, as Cuyp; London, Thos. Agnew and Sons, European pictures from an English County, 1957, as CuypWe are grateful to Dr. Alan Chong for the attribution of this work on the basis of photographs.
Nicolas de Largilliθre (French 1656-1746) Portrait of Monsieur Aubert, General Director of the Bridges and Roads of France, three-quarter-length, by a writing table Inscribed A Monsieur/M*nsi*** Aubert/Controlle* gιnιral des Ponts/ Chaussιe de france Oil on canvas laid on panel 134.5 x 103cm; 53 x 40½in Provenance: Arnold S. Kirkeby (1901-1962); By whom given to Los Angeles County Museum of Art in 1955; By whom sold, Sotheby's, New York, 10 January 1991, lot 82; Christie's, London, 7 July 2010, lot 186, where purchased after the sale by the executors of the late Edmund de Rothschild (1916-2009); The Trustees of Exbury House Literature: R. Brown, Bulletin of the Art Division, Los Angeles County Museum, VIII, 1957, pp.8-9, no. 4; S. Schaefer and P. Husco, European Paintings and Sculpture in the Los Angeles County Museum of Art (Los Angeles, 1987), p. 53, illustrated, as dated c. 1735; To be included in the forthcoming Catalogue raisonnι de l'Oeuve de Nicolas de Largilliθre, by Dr Dominique Brκme, as a work of c.1725-1730
Sir William Beechey RA (1753-1839) Portrait of a lady, three-quarter length, traditionally identified as Anne, Duchess of Cumberland (1743-1808), seated in a white dress Oil on canvas 127 x 101.5cm; 50 x 40in Provenance: Sotheby's, 14 March, 1990, lot 68, where purchased by Edmund de Rothschild (1916-2009) after the sale;The Trustees of Exbury House
Louise Jopling (1843-1933) Portrait of the Hon. Mrs Eliot Yorke (nιe Annie de Rothschild) (1844-1926) Signed with monogram and dated 1877 Oil on canvas 76.5 x 63.6cm; 30 x 25in Provenance: Commissioned from the artist to hang at Aston Clinton House, seat of Sir Anthony and Lady Louise de Rothschild, the sitter's parents; Lionel de Rothschild (1882-1942); Edmund de Rothschild (1916-2009); The Trustees of Exbury House Literature: Louise Jopling, Twenty Years of My Life 1867 to 1887 (London: John Lane, 1925), p.110; Patricia de Montfort, Louise Jopling: A Biographical and Cultural Study of the Modern Woman Artist in Victorian Britain (Routledge-Ashgate, 2017), p. 64 Exhibited: London, Royal Academy, 1878, no. 386 Louise Jopling was originally commissioned to paint Annie Yorke's sister Constance de Rothschild (1843-1931). This painting was exhibited at the Royal Academy in 1876, and was such a success, that she was commissioned to paint this work as a pendant. The portraits of the two sisters hung at Aston Clinton House, Buckinghamshire, the home of their parents Sir Anthony and Lady Louise de Rothschild. As Jopling wrote to her husband "I have got an order!!! To paint Mrs Eliot Yorke's portrait to hang as a pendant to Connie's at Aston Clinton" This work is recorded in the Dr Patricia de Montfort's catalogue of Louise Jopling's work, which is currently being compiled, no. 111
Charlotte de Rothschild (1819-1884)Portrait of Louise de Rothschild (1821-1910), seated, wearing a black dress and a pearl necklace in her hair Signed with monogram and dated 1842 Oil on canvas 35.5 x 30.6cm; 14 x 12in Provenance: Lionel de Rothschild (1882-1942); Edmund de Rothschild (1916-2009); The Trustees of Exbury House
Follower of Michiel Jansz. van Mierevelt Portrait of a young man, bust length, with a ruff and gold buttons Oil on canvas 55.8 x 47.1cm; 22 x 18½in Provenance: Raymond-Barker, Fairford Park; By whom sold, Moore Allen & Innocent, Cirencester, 28 October 2016, lot 148, where purchased by the present private collector
Dutch School 17th Century Portrait of a bearded gentleman, bust-length with a ruff Oil on canvas 56.3 x 46.8cm; 22ÎŒ x 18½in Provenance: Raymond-Barker, Fairford Park; By whom sold, Moore Allen & Innocent, Cirencester, 28 October 2016, lot 149, where purchased by the present private collector
Attributed to Isaac Colonia (Dutch 1611/12-1663) Portrait of a lady in a ruff and fur stole, holding a prayer book Traces of a signature Oil on panel 64 x 50cm; 25Ό x 19Ύin Provenance: Phillips, London, 6 July 1999, lot 135; Bonhams, London, 14 June 2006; Chorley's, Cheltenham, 19 July 2016, lot 246, where purchased by the present private collector
Dutch School c. 1625 Portrait of a lady, half-length, wearing a millstone ruff and lace-trimmed cap Oil on panel, oval 61.2 x 48.7cm; 24 x 19ÎŒin Provenance: In the family of the present owner since at least 1929; And by descent According to a label on the reverse the National Gallery attributed the work to Cornelis de Vos, 23rd December 1959
Attributed to Sir William Beechey RA (1753-1839) Portrait of a young girl, half length, wearing a white dress with pink sash, and a white and pink bonnet Oil on canvas, oval 29 x 24.1cm; 11½ x 9½in Provenance: Paula Peyraud (1947-2008); Bloomsbury, New York, The Paula Peyraud collection: Samuel Johnson & women writers in Georgian society, 6 May 2009, lot 12; Woolley and Wallis, Salisbury, Paintings, 21 March 2012, lot 190
Follower of Francis Cotes Portrait of a lady, half-length, wearing a blue dress and red gown with ermine trim, and pearls in her hair Oil on canvas 81.6 x 65.7cm; 32Ό x 25Ύin Provenance: Messrs. Nash, Son & Rowley, Royston, Antique Furnishings of Cokenach Mansion, 18-19 September 1947, no. 164 (as Francis Cotes); Christie's, South Kensington, The Country House Sale: Pomfret House and Tetworth Hall, 5 November 2008, lot 460
James Sant CVO, RA (1820-1916) Portrait of a young girl, half-length, in a white dress and red sash holding a dove Signed Oil on canvas in a painted oval 76.4 x 63.6cm; 30 x 25in, framed as an oval Provenance: Christie's, South Kensington, Victorian & British Impressionist Art, 10 November 2011, lot 13
![[Anon] British Hunts and Huntsmen, 4 volumes, first edition, engraved portrait frontispieces, plates, illustrations, some spo](https://cdn.globalauctionplatform.com/6f903f01-b92e-4753-bb9b-ac1f003aa4c3/645dad93-be5b-489d-9353-ac1f018089b4/468x382.jpg)
Carmichael, Alexander. Carmina Gadelica. Hymns and Incantations, first edition, 2 volumes, one of 300 sets, text in Gaelic and English, half-titles, portrait frontispiece, occasional light spotting, publisher's original boards, rubbed and soiled, extremities chipped, 4to, Edinburgh: Printed for the Author, 1900
Attributed to Charles Robertson (Irish c. 1760-1821) Miniature Portrait of a Lady with brown hair and blue eyes wearing a plain white dress, head and shoulders on ivory with hairwork reverse with initials 7 x 5.5cms and the companion portrait, probably of a relation (2) The initials on reverse are probably HH (?Holland) and LCT Together with a leather display case for four miniatures. *Both miniatures and frames in good condition
English School c. 1790 Miniature Portrait of an Officer wearing uniform, half length on ivory 6 x 4.75cms, the frame with blue eglomise band on reverse. *Face a little faded and marked (?through damp) on sitter’s right cheek. Areas of paint loss on left side. Frame ok but a few holding pins missing
Attributed to Horace Hone (Anglo Irish 1754 - 1825) Miniature Portrait of a Gentleman c. 1790 wearing grey wig and dark blue coat, head and shoulders on ivory 7 x 5.5cms in red morocco travelling case Formerly identified as a portrait of Edward Barrett Moulton-Barrett (1785 - 1857), father of Elizabeth Barrett Browning. *Generally good, very light foxing. Slight wear to outer case
English School c. 1810 Miniature Portrait of Elizabeth Jane Barrett nee Turner (1800-1886) wearing coral necklace and white dress, half length, on ivory 7 x 6cms and a similar portrait possibly of an older sister or her mother, Mrs Turner, both on black background (2)*Both miniatures a little faded and dirty, wood and paper mache frames worn and dirty
After Charles Hayter Portrait of Elizabeth Barrett Browning entering the porch at Hope End near Ledbury, Herefordshire followed by a dog carrying her hat, oil on canvas 34 x 29cms, in original 19th century rosewood frame.*Dirty varnish, repaired small hole top left, small hole and scratch to paint on right. Frame has small damages including to gilt inner slip
Attributed to Alfred Price Moulton-Barrett (1820-1904) Portrait of Elizabeth Barrett Browning seated on a couch holding her dog Flush unfinished pencil sketch inscribed May 1845, 17.5 x 12cms cf. sketch illustrated as F14, Plate 12 of The Browning Collections: A Reconstruction (ed. Kelley and Coley, 1984)*Edge nicks and noticeable creases overall
Bodoni, Giambattista and the Amoretti Brothers. Ariosto, Lodovico. L'Orlando Furioso, 5 volumes, engraved portrait frontispiece, 1809; Dante Alighieri. La Divina Commedia, 4 volumes bound in two, engraved portrait frontispiece, engraved plate, 1804; Tasso, Torquato. Le Gerusalemme Liberata, 2 volumes bound in one, engraved portrait frontispiece, 1807; Petrarca, Francesco. Rime, 2 volumes bound in one, engraved portrait frontispiece, 1805; Poliziano, Angelo. Le Stanze, engraved portrait frontispiece, 1805, together 10 volumes, light spotting throughout, contemporary polished full diced calf gilt, the arms of Richard Grosvenor, 2nd Marquis of Westminster stamped in gilt on the covers, two volumes with evidence of some worming to joints, occasional scuffing and marks to covers, folio, Pisa: Dalla Tipografia della Societa Letteraria and Florence: Presso Molini (10)
Campo, Antonio. Cremona fedelissima citta et nobilissima colonia de romani : rappresentata in disegno col suo contato et illustrata d'una breve historia delle cose piu notabili..., engraved title, soiled, repaired, engraved dedicatory portrait verso, engraved allegorical frontispiece, 33 engraved medallion portraits and engraved view of a military procession in text, large folding engraved map of Cremona, repaired with minor loss, folding engraved map of the environs of Cremona, 5 architectural engravings on 3 folding plates, minor ink and rust marks, portrait on G3 with small hole, slightly affecting text verso, 8*ii-iii with some discoloration and ink marks, M4 verso soiled, P2 with tear, repaired, P2-3 with light stain, centre, lacks errata, contemporary full calf, rubbed, folio, Cremona: In casa dell' istesso avttore, 1585
Chaucer, Geoffrey. The Works... Compared with the Former Editions, and many valuable MSS., Out of which, Three Tales are added which were never before Printed; By John Urry, first Urry edition, engraved portrait frontispiece, engraved title vignette, engraved portrait of John Urry, 27 engraved vignettes in text, light browning, minor rust-marks to index, eighteenth century calf, rebacked preserving remains of original spine, folio, London: Bernard Lintot, 1721
Common Prayer, English. The Book of Common Prayer, portrait frontispiece, additional engraved title, 53 engraved plates, red ruled throughout, Oxford: John Baskett, 1724, bound with; A Companion to the Altar, ninth edition, engraved frontispiece, London: Edmund Parker, 1721, contemporary full calf gilt, later ?silver corner-ornaments and clasps, 8vo; and two others, late nineteenth century (3)
Dante, Alighieri. La Divina Commedia, 3 volumes, folding engraved portrait, 3 engraved plates, nineteenth century calf-backed boards, spines tooled elaborately gilt, bookplate of Baron Howden of Grimston, 8vo, Rome: Nella Stamperia de Romanis, 1820-22 Provenance: The Library of the Rt. Hon. the Earl of Granard: extracted from Castle Forbes, County Longford, Sotheby's, London, 21 July 1993.
Dickens, Charles. The Life and Adventures of Nicholas Nickleby, first edition in book form, engraved portrait frontispiece and 39 engraved plates, without half-title, spotted, contemporary green full morocco, upper joint broken, lightly rubbed, all edges gilt, 8vo, London: Chapman and Hall, 1839; Bleak House, first edition in book form, engraved frontispiece, additional title (small repair) and 38 engraved plates after Hablot Knight Browne, spotted, contemporary half morocco, spine gilt, rubbed, 8vo, London: Bradbury and Evans, 1853; Little Dorrit, first edition in book form, engraved frontispiece, additional title and 38 engraved plates after Hablot Knight Browne, spotted, contemporary half calf, rubbed, 8vo, London: Bradbury and Evans, 1857 (3)
Gibbon, Edward. The History of the Decline and Fall of the Roman Empire, 6 volumes, volume 1 third edition, volumes 2-6 first edition, engraved portrait frontispiece, 3 folding engraved maps, volumes 2-6 with half-titles,spotted and damp stained throughout, nineteenth century tree calf, worn and defective, bookplate of the Earl of Granard, 4to, London: W. Strahan and T. Cadell, 1777-1788 Provenance: The Library of the Rt. Hon. the Earl of Granard: extracted from Castle Forbes, County Longford, Sotheby's, London, 21 July 1993.
Homer. The Iliad of Homer... Translated by Mr. Pope, 6 volumes bound in 3, first edition, portrait frontispiece, folding engraved plate, without folding leaf of maps, occasional browning, a few leaves severely so, occasional rust-marks, Ee in volume 6 with paper flaw to margin, affecting text verso, contemporary half calf, joints cracked, rubbed, folio, London: W. Bowyer, 1715-1720
Johnson, Samuel. A Dictionary of the English Language..., 2 volumes, sixth edition, engraved portrait frontispiece, occasional very light spotting, contemporary diced calf, joints cracked, volume 2 with head of spine slightly chipped, corners rubbed with slight loss, 4to, London: J.F. and C. Rivington, 1785
Machiavelli, Niccolo. Opere, 8 volumes, engraved portrait frontispiece, 2 folding plates, contemporary diced full calf gilt, the arms of Richard Grosvenor, 2nd Marquis of Westminster stamped in gilt on the covers, volume 4 with some surface abrasion and minor worming to lower joint, bookplate of Merthyr Guest, 8vo, [Florence], 1813
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