Attributed to Nathaniel Hone, 18th centuryPortrait of Miss Mary Venables of Macclesfield, three-quarter length, in a blue dress with white fichu, holding rosesOil on canvas74 x 62cmProvenance: By descent within the family of the sitter; Cheffins, Cambridge, 24 March 2010, Lot 659, where acquired by the vendor;Wood Hall, Arkesden, Essex.Mary Venables was the daughter of John Venables of Macclesfield and married Thomas Bayley.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer is lifting along the fine network of age cracks leading to raised paint and a cupped surface. There are a few small paint losses across the surface. There is some wear and abrasion to the paint layer. Localised retouchings cover some of the age cracks in the sitter's hands and chest but does not appear extensive. The varnish is even but yellowed and slightly dull. There are drips of house paint on the varnish. The frame is in a good condition with some wear to the gilding along the lower edge and sides.
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After Sir Godfrey Kneller (1646-1723) Portrait of Francis Turner, Bishop of Rochester (1637-1700) seated, three-quarter length, in clerical robesInscribed and dated 1683 on gilt frame label, oil on canvas124 x 98cmProvenance: Christie's, Horham Hall sale, Thaxted, Essex, 4 October 1982, Lot 74;Wood Hall, Arkesden, Essex.Francis Turner D.D. (23 August 1637-2 November 1700) was Bishop of Ely, one of the seven bishops who petitioned against the Declaration of Indulgence and one of the nine bishops who refused to take the oath of allegiance to King William III.Condition report: Lined and cleaned. Several chips to the old gilt frame.
English School, c.1810 Portrait of Sir Robert Chester, Master of Ceremonies to King George III, King George IV, King WIlliam IV and Queen Victoria, head and shoulders, in court dress Oil on canvas 74 x 62cmProvenance: Watsons, Broome End Sale, Stansted, Essex, 13 September 1983, Lot 106;Wood Hall, Arkesden, Essex.Sir Robert Chester of Bush Hall, Hertford, was Assistant Master of Ceremonies from 1796-1818 and then Master of Ceremonies from 1818-1847.The Master's duties were to receive foreign dignitaries and present them to the monarch at court.Condition report: Oil on canvas which is unlined and has an artist supplier's stamp for C.E. Clifford of London on the reverse. The canvas tension is slightly slack but in plane. There are a few scattered losses at the edges of the painting but overall the paint layer appears stable. Textural phenomena associated with the drying of the paint layer is evident across the surface with wide drying cracks and an uneven surface. The drying cracks in the face reveal the white ground layer below. The varnish is old and degraded; it has become yellowed, dull and no longer saturates the paint layers below. There is a light layer of surface dirt present. There are scattered losses to the gilded surface of the frame and old areas of damage have been covered in metallic paint.
Circle of Allan Ramsay (1713-1784) Portrait of Robert Chester, head and shoulders, in a grey wig and red cloak Oil on canvas 59 x 49cmProvenance: Wood Hall, Arkesden, Essex.Robert Chester was the son of Sir Peter Chester and grandson of Edward and Judith Chester.Condition report: Oil on canvas which is unlined. The canvas tension is slack with stretcher bar marks and minor undulations. Small tears have started to form along the tacking edges. There is a prominent network of age craquelure across the surface which is slightly raised in areas and pulling the canvas forward. Overall the paint layer is in a stable condition. The varnish is old and yellowed but still glossy. In some areas the varnish has chipped off revealing the cool tones of the original paint layer below, for example in the flesh and cravat. There is a layer of surface dirt and fly spots present. The gilding on the frame is worn with a few chips and losses.
Sir Francis Grant RA (Scottish, 1803-1878)Portrait of John Samuel Wanley Sawbridge Erle-Drax, MP (1800-1887), three-quarter length, seated in a library chair, holding glasses, a landscape beyondOil on canvas125 x 98cmProvenance: The Property of the Trustees of the late Mr J S W S Erle Drax (old label refers), Olantigh Towers, Kent;Wood Hall, Arkesden, Essex.John Samuel Wanley Sawbridge Erle-Drax took the family to its greatest wealth and notoriety, earning himself the nickname 'The Mad Major'. Already a rich man, Samuel married Jane Frances Erle-Drax-Grosvenor in 1827 and added two of her surnames to his own in 1828 to secure her inheritances including Charborough House in Dorset, resulting in the impressive name of John Samuel Wanley Sawbridge-Erle-Drax. He had inherited the vast Sawbridge fortune at the age of fifty-one and spent money prodigiously on work at both Olantigh and Charborough Park, where he was the MP for the nearby 'pocket borough' of Wareham. At Charborough, between 1841 and 1842, John had created one of the longest brick walls in the country using almost two million bricks. This was more than matched by his spending at Olantigh where he added huge picture galleries and Venetian towers giving the later name of Olantigh Towers. By the time he had finished the house was 21-bays wide on the north front - over 200-feet long. When he visited the Great Exhibition in 1862 he purchased one of the two very large fountains which stood at the entrance which was then installed in front of the house at a cost of over £3,000 (the other was purchased by Daniel Ross and installed as the 'Ross Fountain' in the Princes Street Gardens, Edinburgh). This extravagance was also repeated with the interiors and picture collections with his galleries containing works by Ruisdael, Lorrain, Bugiardini, Fidanza, and Melone amongst others.Erle-Drax built his mausoleum, located beside Holnest church in the Blackmore Vale in Dorset, fifteen years before his death. He included in the Byzantine-style design a letter box, through which he arranged to have 'The Times' delivered daily. He died on 5 January 1887, at which time the date was added to the epitaph. The mausoleum was demolished in 1935 and replaced by a flat memorial stone. The Major and his wife sadly did not have children and so following his death in 1887 the house, estate and now superb collections passed to his nephew, Wanley Ellis Sawbridge-Erle-Drax, who again shared his time between Charborough and Olantigh.Condition report: Oil on canvas which has been lined. The canvas tension is slightly slack but the picture is in plane. The paint layer is in a good, stable condition. There are some prominent age cracks, notably running horizontally through the sitter's face. Around the sitter's head and in darker paint passages is a crust like surface, this is likely to be adhesive from the lining canvas and could be removed through cleaning. There are a few scattered retouchings, mainly located in the background. The varnish is slightly uneven due to the adhesive residues. The original gilded surface of the frame has been bronze painted.
Studio of Sir Thomas Lawrence PRA (1769-1830)Portrait of Mrs William Lock (1750-1832), of Norbury Park, half length, wearing a grey dress, white fichu and white lace mob cap, a nosegay of violets at her bosomOil on canvas75 x 62cmProvenance: Frederick Hervey, 1st Marquess of Bristol (1769-1859), and by descent; Sotheby's, Ickworth House, Bury St Edmunds, 'The Ickworth Sale', 11-12 June 1996, Lot 452;Wood Hall, Arkesden, Essex.Frederica Augusta Lock was the youngest daughter of Sir Luke Schaub. She married William Lock of Norbury Park, Surrey, who was painted several times by Lawrence. William Lock was an important collector and supported Lawrence’s career from his earliest days. Lawrence painted Mrs Lock in 1829 and his original portrait, exhibited that year at the Royal Academy, is now in the Nelson-Atkins Museum of Art, Kansas City, Missouri, USA.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer is in a good condition overall, there is a slightly uneven texture in localised areas due the artists' choice of materials and technique. The varnish layer is very uneven, notably in the background where it appears matte and brushy. The frame is in a good condition.
Charles West Cope RA (1811-1890) Portrait of Richard Orlebar Esq (1775-1833) in black coat, yellow waistcoat and white stock, seated, holding a book Inscribed lower left 'Richard Orlebar Esq. / 1826', oil on canvas 74 x 62cm Provenance: The Orlebar family, Hinwick House, Bedfordshire, and thence by descent; Cheffins, Cambridge, 23 March 2011, Lot 585, where acquired by the vendor; Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which is unlined. The canvas tension is slightly slack but the painting is in plane. The paint layer is in a good, stable condition overall. There are localised areas of uneven texture around the sitter's head, caused by the paint layer drying and aging. The varnish is very matte and old dirt is caught in the surface texture. The gilding on the frame is very worn, especially along the lower edge which also has numerous fly spots.
Circle of Sir William Beechey RA (1753-1839)Portrait of Robert, 4th Earl of Buckinghamshire, seated at his desk, in black coat and white stockInscribed l.l. 'Robert, 4th Earl / of Buckinghamshire / 1814', oil on canvas90 x 69cmProvenance: Cheffins, 23 March 2011, Lot 536;Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which is unlined and has a suppliers stamp for Roberson & Miller as well as a tax stamp. The canvas tension is slightly slack but the picture is generally in plane. The paint layer is stable in the centre of the painting but around the edges there are areas of lifting and flaking paint, this is particularly bad along the lower edge where the are numerous losses. The painting has been partially clean with old residues still present in the darker paint passages creating a slightly yellowed cast. The painting is poorly fitted in the frame. There are large losses to the moulding on the frame and the original gilded surface is covered with bronze paint.
English School, c.1840Portrait of a gentleman, seated, half length, in a dark coat, white shirt and black cravatOil on canvas75 x 62cmProvenance: Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which has been lined. The canvas tension is good but there is an undulation at the upper left corner and a tear in the canvas at the turnover edge. An old tear in the sitter's right shoulder has been repaired, the retouching is now visible. The paint layer is stable overall, there is a slightly wrinkled surface texture in areas. There are some prominent, dark age cracks, notable in the sitter's face and shirt. The varnish is very yellowed, matte and uneven. There are some minor scuffs and abrasion across the surface. The frame has suffered from loss and the original gilding is covered with bronze paint.
English School, early 19th centuryPortrait of a gentleman, head and shoulders, in a black coat, yellow waistcoat and white stockOil on canvas70 x 54cmProvenance: Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which is lined. The canvas is in plane and the tension is adequate. The painting is compromised by an old, degraded varnish layer which is dull, yellow and starting to break up creating opaque patches. There appears to be some retouching below the varnish although it is difficult to judge the extent. The paint layer is stable. The frame has suffered from wear and abrasion and the original gilding is covered with bronze paint. One vertical scratch below his ear.
English School, late 19th centuryPortrait of a gentleman, three-quarter length, seated, holding a letterOil on canvas111 x 85cmProvenance: Montague House (old label to the reverse);Wood Hall, Arkesden, Essex.Condition report: Oil on canvas which is unlined. The canvas tension is slack and stretcher bar marks have formed in the paint surface, notably the horizontal cross bar. There are old damages to the canvas which have been repaired and several deformations. In the sitter's right sleeve is an old damage with a raised area of paint. There is extensive retouching across the painting, mainly in the lower half which is fairly well matched to the original. The varnish is clear but slightly uneven. There is some wear to the gilding on the frame.
*Philip Hagreen (1890-1988)Portrait of a priestSigned and dated 1919 l.r., oil on canvas67 x 54cmProvenance: Wood Hall, Arkesden, Essex.Philip Hagreeen trained under Norman Garstin and Harold and Laura Knight in Cornwall and subsequently worked at Ditchling, Sussex, with Eric Gill.*Artist's Resale Right may apply to this lot.Condition report: Oil on canvas which is unlined. There is a sketchy painting on the reverse of the canvas. Numerous small holes have been repaired with canvas patches from the reverse. These holes have been filled and retouched on the front surface of the painting. Paint passages in the lower half of the portrait are flaking with small, scattered losses. The vanish layer is clear but slightly uneven. The frame is in a good condition.
Attributed to William Dobson (1611-1648)Portrait of a boy, head and shoulders, in a black coat and white collar, his hand resting on his heartOil on canvas, in a Dutch gilt and black frame45 x 35cmProvenance: Private collection, London.Condition report: The painting has been lined and cleaned. It is in a good Paul Mitchell frame. Seen under UV: there is overpainting throughout including small dabs to face and larger strokes in the hair, clothing and hand. There is a diagonal line in the lower right corner that looks like an old tear, but we have looked at this under UV light and there is no corresponding retouching, therefore it is either a tear as old as the painting itself, a crack in the paint or an old dent.See additional images.
Attributed to John Riley (1646-1691)Portrait of a gentleman in a long brown wig, gold cloak and lace-trimmed shirt, standing, three-quarter length, his arm resting on a marble ledgeOil on canvas126 x 102cm, unframedProvenance: Private collection, London.It is thought that the sitter is possibly Samuel Pepys.Condition report: Oil on canvas which has been lined. The canvas has good tension and the picture is in plane. Overall the paint layer is in a stable condition. There is some wear and abrasion in thin paint passages and around the sitter's features. There are a few scattered old losses which have slightly uneven fills. There is a large area of retouching on the top of the sitter's wig and in the lower left corner. There are other small, scattered retouchings across the surface which are all well matched to the original. The painting has been carefully cleaned and old residues of varnish remain in some of the darker paint passages. The old degraded varnish causes a slightly mottled effect to the surface. The upper paint layer is even, semi-matte and slightly yellowed but acceptable.
Circle of Pierfrancesco Cittadini (Italian, 1616-1681)Portrait of a lady, half length, in a black dress with ribbons, ruby necklaces and flowers Oil on canvas76 x 63cm, in an 18th century carved giltwood frameCondition report: Has been relined.Horizontal crease running across the width of the painting through sitter's forehead.Craquelure throughout.Surface dirt and dust.Very scattered tiny flakes of paint loss throughout.Some of these have been retouched, in the background especially.A visible patch of retouching to the right of sitter's hair, possibly an old repair.Seen under UV light, scattered dabs of retouching through, including some infilling to the craquelure on the face.Abrasions under frame at extreme edges.Please view additional images.
Philippe Mercier (French, 1689-1760) Portrait of a lady, half length, in a gold dress and blue cloak, with pearl stomacherSigned with initials and dated 1742 l.r., oil on canvas, in a painted feigned oval74 x 61cmProvenance: From a Suffolk country house;Sotheby's, 17 March 1971, Lot 63, and 27 October 1971, Lot 52, where acquired by the vendor.Literature: John Ingamells and Robert Rainer, 'A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier', Walpole Society, p.38, No. 122, XLVI 1976-78, 'location unknown, 74 x 61 HL young woman to half rt. in blue and gold dress, within a painted oval, signed and dated PM f. ano. 1742'.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. There are numerous old tears across the canvas which have been repaired. Retouchings in these areas are slightly matte and discoloured but generally acceptable. There are a few small, scattered retouching across the surface. The varnish is old and yellowed but generally even. There are a few scattered losses to the gilding on the frame.
English School, c.1740 Portrait of a gentleman, three-quarter length, wearing a blue coat and a pink embroidered waistcoatOil on canvas 129 x 100cmCondition report: Oil on canvas which has been lined. The canvas has minor undulations across the surface. An old tear in the sitter's forehead has been repaired. The paint layer is stable, there is some wear and abrasion in the thinner paint passages. There are scattered retouchings in the sitter's face which are slightly discoloured but generally acceptable. The varnish is glossy, even and slightly yellowed. There are scuffs and scratches to the varnish and abrasion around the edges from the frame. A light layer of surface dirt is present on the varnish causing a slight bloom. There are some losses to the corner mouldings as well as to the gilded surface of the frame, some have been toned.
English School, 18th century Portrait of a lady, head and shoulders, in a red and blue dress and green and gold cloak, her hair in long ringletsOil on canvas, in a painted feigned oval72 x 59cmProvenance: From a Hertfordshire country house.Condition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. There are numerous retouchings across the surface, some of which appears slightly matte to the surrounding area. The varnish is clear but slightly uneven. The frame is in a good condition with a few small losses to the gilding and gesso.
English School, 18th centuryPortrait of a lady, head and shoulders, in a blue dress, white fichu and gold cloak; Portrait of a lady, head and shoulders, in a pink dress and silver, green and gold cloak;Portrait of a gentleman, head and shoulders, in a long grey curled wig, red and blue cloak and white stockThree, oil on canvaseach 73 x 60cm, oval, in period frames (3)Provenance: From a Hertfordshire country house.Condition report: Portrait of a Lady in a blue dress, Oil on canvas which appears to be lined. The canvas tension is adequate and the picture is in plane. The paint layer is slightly raised along the lines of craquelure. There is some wear and abrasion in the sitter's hair. The varnish is in a poor condition and is no longer adequately saturating the paint layer below. Areas of retouching have darkened and are visible in the lower half of the painting.Portrait of a lady in a pink dress with green wrap, Oil on canvas which has been lined. The paint layer is stable overall but has suffered from wear and abrasion in the past. There appear to be two campaigns of overpaint. The most recent appears dark under UV and is scattered across the surface, for example on the sitter's nose and below. Older overpaint is present in the flesh and is slightly grey, for example around the abraded curl of hair on the sitter's right shoulder. The varnish is clear, even and semi-glossy. There is some wear and abrasion to the gilding on the frame with a few scattered losses.Portrait of a Gentleman in a large wig, Oil on canvas which appears to have been lined. The canvas tension is good and the picture is in plane. The paint is slightly raised in areas following the age cracks but generally stable overall. The varnish has become dull, grey and cracked overtime. There are scattered retouchings across the surface including in the sitter's face. In the lower section of the painting larger retouchings have become darker over time. The gilded surface of the frame is flaking with small, scattered losses to the surface.
French School, late 18th centuryPortrait of a young boy, in a brown coat and white lace ruff, his hands folded, a Chinese bowl on a table before himOil on canvas36 x 29cm, in a black Dutch frameCondition report: Lined and cleaned. Small scratch lower right. Old stretcher bar marks can be seen from the front. Several chips to the black frame.
English Provincial School (early 19th century)Portrait of Edmund Burton (1760-1820), half-length, in profile, in a blue coat, holding a scroll inscribed 'Edmund Burton Esq / Wolfhamcote / Northants'; and Portrait of Clerke Burton, half-length, in profile, in a brown coatA pair, oil on canvaseach 76 x 63cm, unframed (2)Provenance: By descent within the family of the sitters, Wolfhamcote, Northamptonshire.Edmund Burton owned the manor of Wolfhamcote, Northamptonshire; it is now an abandoned village. There is a memorial to members of the Burton family in the market square in Daventry, Northamptonshire.Condition report: Both unframed, unlined and with scattered paint lossses and scratches. Both portraits inscribed on the stretcher "Dining Room".
English School, early 19th centuryPortrait of a cleric, head and shoulders, his hand resting on a bibleOil on canvas75 x 62cmProvenance: Phillips Son and Neale, 26 March 1973; from a Suffolk country house.Condition report: Oil on canvas which has been lined, the canvas has good tension and is in plane. There are localised areas of raised paint, mainly in the sitter’s head and surrounding area. Old losses in this area have been filled and retouched and appear pale. There is retouching on the sitter's hand which has become pale with age. The varnish is slightly yellowed but even and glossy. A few chips and losses to the gilding on the frame.
Robert Edward Morrison (1851-1924)Portrait of a lady in a black lace mantilla with yellow flowers in her hairSigned and dated 1886 u.r., oil on canvas59 x 49cmCondition report: Oil on canvas which is unlined with a Winsor and Newton supplier stamp on the reverse. The paint layer is in a good condition overall although there is abrasion and loss around the edges caused by framing. There are areas of overpaint in the left hand of the background, the sitter's right shoulder and the sleeve. The overpaint is loosely applied and is fairly well matched to the original. The varnish is clear, even and glossy. The frame is in a good condition with some wear to the gilding at the edges.
English School, 19th centuryPortrait of a gentleman, head and shoulders, in a black jacket, grey waistcoat and black stock;Portrait of a lady, head and shoulders, in a grey dress, a gold watch at her waist, possibly members of the Mandell familyA pair, oil on canvaseach 29 x 24cm (2)Provenance: From a Hertfordshire country house.Condition report: Lined and cleaned. Old note to the reverse "Mandell". The gentleman has some surface dirt.
After Sir Thomas Lawrence Portrait of Arthur Wellesley, 1st Duke of Wellington, half lengthOil on canvas60 x 43cmCondition report: One scratch to Wellington's coat. Light craquelure in places. Varnish has yellowed. Seen under UV light, bloom of varnish makes it very difficult to see retouching. However there appear to be areas flourescing on his coat, in the background, a couple of areas of his face, and a lot of flourescence in the top quarter of the painting. A small repaired hole top right. Some surface dirt. Old stretcher bar marks can be seen from the front. Old gilt frame has chips. A 19th Century copy.
*Frank Owen Salisbury (1874-1962)Portrait of Monica, a young girl with red hair, head and shoulders, in a blue cloak and with a brown ribbon in her hairSigned u.r., oil on canvas76 x 62cmFrank Salisbury won a scholarship to the Royal Academy Schools which he attended for five years and where he won two silver medals and two scholarships, including the Landseer scholarship which funded his to travel to Italy in 1896. Frank Salisbury is best known for his portraiture - his speed in producing portraits stemmed from painting his own twin daughters every morning for an hour and his career began with child portraiture.The present work is, according to an old inscription on the reverse, a study for Salisbury's 'To the Honour of Woman', now in Auckland, New Zealand, a study of a little girl with her mother, seen in Russell Square, London, during the blackout.*Artist's Resale Right may apply to this lot.Condition report: Relined and appears fine - areas of thicker paint in places.
A Russian portrait photograph of Madame Vonlarlarsky, by 'Boissonnas & Eggler of Petersbourg', dressed for one of the Saint Petersburg balls in an exotic costume, signed and inscribed 'En souvenir des charmantes...de Peterhof' 1903-1905,photo 17 x 12cm, 49 x 42cm framed overallThe 1903 Costume Ball is regarded as the most memorable festive event Saint Petersburg ever witnessed during the reign of Tsar Nicholas II. Dedicated to the 290th anniversary of the Romanov dynasty, the celebration took place over two days: a soirée was held on 11 February 1903, and the Costume Ball itself on 13 February. The great masquerade had the Winter Palace as its venue and was attended by most of the nobility of the Russian Empire, robed in resplendent attire in the style of the pre-Petrine era, specially designed by artists A Golovin, I Vsevolozhsky and S Solomko, and tailored by the leading costumiers N Lamanova, I Kaffi, A Ivashchenko and Y Ivanova. The garments gloriously married sumptuousness with elegance; at the time, the ball had been described as not just 'a magnificent spectacle, but a perfect work of art'.Nicholas II, for example, was dressed in 'the ceremonial costume of Tsar Alexei', comprising a kaftan and cloth-of-gold robe, tsar’s cap and staff – now kept in the Kremlin Armoury – while Empress Alexandra Fyodorovna was attired in a costume befitting Tsarina Maria Ilyinichna Miloslavskaya. All the ladies-in-waiting wore sarafans gowns and kokoshnik headdresses, while their male escorts were garbed in the uniforms of 17th-century streltsy soldiers or falconers.
A MIXED LOT:- A late Victorian vesta case engraved with a penny piece on one side & "24th May", and the portrait of a smoker on the other, a sugar caster, a Chinese filigree card case, another card case, initialled, a reeded vesta case, a stamp case, a napkin ring, initialled, two small boxes and two pin dishes; the caster 6.6" (16.8 cms) high; 13.3 oz (11)
AN EDWARDIAN ART NOUVEAU HAND MIRROR embossed with the portrait of a young girl with long wavy hair behind a flowering plant, by Williams Ltd., Birmingham 1909, together with a quantity of inlaid tortoiseshell dressing table items (pin trays, brushes, a mirror, etc.); the embossed mirror 11" (28 cms) long (10)
A LATE 18TH CENTURY ENAMELLED COPPER SNUFF BOX rectangular with an engraved gilt-metal mount, the base and sides and cover printed en grisaille with vignettes of amorous putti in garden settings, the cover interior painted with the polychrome portrait of a pensive young lady in her boudoir, 1760-70; 3.75" (9.5 cms) long
A VICTORIAN PUZZLE-OPENING VESTA CASE with rounded corners, engine-turning and a small inscription, by Thomas Johnson, London 1872, a spark-striker, a dual compartment early vesta case by Thomas Johnson, London 1864, a late Victorian engraved vesta case and a plated book match holder with the relief portrait of a hound; the latter 2.25" (5.7 cms) long; 5.2 oz weighable silver (5)
ADMIRAL LORD RODNEY:- A rare fan with bone guards carved and pierced and pierced bone sticks, paper leaves printed in sepia with a portrait of the admiral standing on the French and Spanish flags flanked by allegorical figures of Britannia and Neptune with sea creatures, 18th century; 28 cms George Brydges Rodney(1718-1792) had a distinguished naval career, becoming a rear admiral by 1759. For a different example c.f. p. 114 of the Fan Museum Greenwich exhibition "Fans:War and Peace" 2009-2010. Also Schreiber no: 18, unmounted fan leaves, portraits.
AN EARLY 19TH CENTURY PORTRAIT MINIATURE of a young lady wearing a blue-trimmed white dress and pearls, her hair in ringlets, in a gilt-metal oval frame with suspensory chains, and filigree and blue enamel border, the reverse enamelled in blue over a wavy engine-turned ground; the portrait signed lower right "Boss.."; 3.55" (9 cms) high
A mid 19th Century circular pocket watch case converted to a locket: the glazed cover panel with a portrait photograph of a bearded gentleman within a surround of seed pearls, the three colour gold foliate reverse set with turquoise and flat garnets, approximately 42mm overall diameter, 23gms gross weight.
English School early 18th Century-A miniature portrait of a gentleman,: head and shoulders with short dark fringe and blue eyes wearing a blue fringed shirt, oval, 3.5cm, together with a miniature portrait of a gentleman said to be H Lambrey Esq., of Tangier, Hampshire wearing a long dark wig, 5.5cm, and two miniature portraits of Walter Vavasour [1744-1820]. [4]
![Circle of Samuel Shelley [1750-1808]-A miniature portrait of a lady, said to be Mrs Warnaby,:-head and shoulders, with blue e](https://cdn.globalauctionplatform.com/b62c9512-977a-47ad-a541-abde0119dcc2/f8127dbd-6e5e-4ff1-bd2d-abfa0101b324/468x382.jpg)
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283284 Los(e)/Seite