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283287 Los(e)/Seite
Los 304
ARSENAL Four 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from July 1978 including Rix, Nelson, Price and Walford. Powling, Jennings, Stapleton and Devine. Young, Brady, O'Leary and Rice. Matthews, Barron, Sunderland and MacDonald. Good
Los 305
ARSENAL Four 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from July 1979 including Rice, Talbot, Walford and Barron. Sunderland, O'Leary, Powling and Hollins. Brady, Rix, Young and Price. MacDonald, Jennings, Devine and Gatting. Good
Los 306
ARSENAL Four 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from September 1981 including Gatting, Peter Nicholas, Rix and Young. Vaesson, Talbot, O'Leary and Wood. Jennings, Davis, Sunderland and McDermott. Hollins, Samson, Nelson and Devine. Good
Los 307
ARSENAL Five 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from September 1982 including Vaesson, O'Leary, Rix and Whyte. Meade, Davis, Woodcock and Wood. Hawley, McDermott, Samson and Talbot. Peter Nicholas, Robson, Chapman and Devine. Hollins, Jennings, Gorman and Sunderland. Good
Los 308
ARSENAL Five 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from July 1983 including Woodcock, Rix, Chapman and Hill. Kay, O'Shea, Robson and Charlie Nicholas. O'Leary, Sunderland, Whyte and Meade. Lukic, Jennings, McDermott and Davis. Samson, Gorman, Talbot and Peter Nicholas. Good
Los 310
ARSENAL Four 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from July 1985 plus 3 loose portraits including Don Howe, John Cartwright, Adams and Hill. Samson, Mariner, Charlie Nicholas and Woodcock. Williams, Allinson, Keown and Hayes. Lukic, Robson, Wilmott and Davis. Caton, Anderson and O'Leary. Good
Los 311
ARSENAL Six 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse. One from July 1986 including O'Leary, Quinn, Rix and Robson and 4 from August 1987 including Groves, Samson, Thomas and Lukic. Smith, Williams and Davis. Rocastle, George Graham, Wilmott and Adams. Winterburn, Hayes, Caesar and Rix. Quinn, O'Leary, Charlie Nicholas and Merson Good
Los 312
ARSENAL Five 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from September 1988 including Dixon, Smith, George Graham and Winterburn. Quinn, O'Leary, Richardson and Merson. Davis, Caesar, Thomas and Rocastle. Wilmott, Adams, Samson and Bould. Merson, Lukic, Hayes and Groves. Good
Los 313
ARSENAL Four 8" X 5.5" black & white Press photographs with 4 portrait insets on each page and paper notations on the reverse from October 1989 including O'Leary, Bould, Groves and Richardson. Marwood, Smith, Merson and Miller. Winterburn, Lukic, Quinn and Campbell. Rocastle, Caesar, Davis and Thomas. Good
Los 640
ARSENAL / HIBRNIAN / PETER MARINELLO Seven black & white Press photographs: small portrait and training shot with Hibernian. 2 small stills at Highbury. 3 large photos of Marinello signing in Edinburgh 2/1/1970 and 2 different shots of him outside the main entrance at Highbury after signing. Good
Los 648
ARSENAL / CRYSTAL PALACE / CLIFF HOLTON Seven black & white Press photographs: with Arsenal 8" X 6" action v. Middlesbrough 22/3/1952, 8" X 6" entering the pitch at Highbury from the dug-out with ball in hand 1957 and 2 different portraits 6" X 4" and 5.5" X 3.5". With Palace, 8.5" X 6" portrait, 8" X 6" action in training and 8" X 6" in match action away v. Middlesbrough 27/2/1965. Generally good
Los 849
TOPICAL TIMES FOOTBALL PANELS Twenty six Topical Times Card, 9.75 inches by 3.75 inches player portrait cards, 14 in colour. The colour cards include Man City’s Dale autographed as well as Crayston-Arsenal, Dodds-Sheff Utd and Soo-Stoke. The Black and White cards include Frank Swift autographed, Stanley Matthews-Stoke and Jackie Milne-Arsenal. Fair to generally good
Los 987
GEROGE CAMSELL / MIDDLESBROUGH A selection of items relating to Camsell. 6 photos: 8" X 6" b/w action X 2 different, 8" X 6" b/w England team group, 8" X 8" colour on the pitch at Ayresome Park, 8" X 7" colour portrait and Sherman's pools portrait. Plus some magazine and photocopied newspaper articles. Generally good
Los 630
A late 19th/early 20th century fabric evening bag, with gilt metal mounts, inset an oval miniature bust portrait of a lady, initialled E H, and a gilt metal evening purse (2)Report by RBFabric purse, some wear/rubbing, a little staining, the clasp is bent, the interior is fitted with a sewn in mirror, which is crazed.The gilt metal evening purse, the clasp is bent, lacks one of the paste stones, a little staining to the interior
Los 186
* Handkerchief. A large handkerchief commemorating W.G . Grace, 1895, fine linen, printed in black with central portrait of the cricketer and his sporting biography within a circular border detailing his centuries from 1866 to 1895, some light age spotting and marks, right-hand corners with very slight fraying to hem, a few small holes, 54 x 58 cm (21.25 x 22.75 in) (Qty: 1)
![* After George Rouse (18th century). Portrait of General George Washington, 1796 [but later], relief profile portrait in](https://cdn.globalauctionplatform.com/6a8824f3-0bbc-4e36-9743-ab6400a2afd7/c14b48f2-75fe-4af2-9b2b-ab6800ef0086/468x382.jpg)
Los 218
* After George Rouse (18th century). Portrait of General George Washington, 1796 [but later], relief profile portrait in wax, most likely late 19th or early 20th century, with incised signature to shoulder 'G. Rouse Sclp', and incised below 'Gen. George Washington 1796', cracked to right hand side (without loss), 28.5 x 22 cm (11.2 x 8.7 in), period maplewood box frame, glazed (Qty: 1)NOTESProvenance: Private Collection, Oxfordshire. Fine portrait of the American general and politician George Washington (1732-1799), first President of the United States from 1789 to 1797, showing him in profile to the right, wearing a military coat with frills at the neck and his hair tied at the back with a ribbon. This work exists in apparently identical versions, dated either 1796 or 1797. Only a few examples of this portrait have appeared at auction in recent years; the last occasion that the 1796 portrait was sold, according to our research, was at Heritage Auctions, February 2007. Little is known of the sculptor, although, according to a letter from the Victoria & Albert Museum, dated 24th November 1932, a wax bust of a lawyer or cleric in a private London collection, dating from the end of the 18th century, signed by him, bears the address Cheyne Walk, Chelsea (from a letter supplied by the present owner).
Los 219
* After Deville (James, 1777-1846). Life Mask of William Blake (1757-1827), 20th century bronzed plaster cast after the original bronze by James Deville of 1823, impressed on the back of the neck 'A66 /PUBd AUG 1 1823 j. DEVILLE, 67 Strand London', some loss of paint, 29cm high (Qty: 1)NOTESJames Deville (1777-1846) was a sculptor and phrenologist employed as an assistant to Joseph Nollekens. Phrenology was popular in the early 19th century following the publications of both Lavater and Spurzheim, and Blake himself was an advocate of this new 'science', in which the shape and contours of the skull are examined to indicate mental capacity and character. Fifty-six years old at the time the mould was taken in 1823, Blake was considered a perfect representation of "imaginative faculty". Very few original copies of Deville's Blake life mask exist, with examples in the National Portrait Gallery, London and the Fitzwilliam Museum, Cambridge.
Los 229
* Dutch School. Portrait of a gentleman, 18th century, oil on canvas, half-length portrait half-profile to right, of a young gentleman wearing a scarlet cloak with fur collar, a white necktie, and a brimmed flat black hat trimmed with a pink ribbon and bow, chipped at edges, 15.3 x 12.2 cm (6 x 4.75 in), framed (Qty: 1)
Los 231
* English School. Portrait of William Shakespeare, probably mid 18th century, oil on canvas, half length portrait of a moustachioed gentleman wearing a buttoned dark jacket and gathered white collar with tassels, a gold earring in his left ear, with part of a painted oval carved wood frame to lower margin, 19th century re-lining and some restoration, 41.2 x 33.4 cm (16.25 x 13 in), framed (Qty: 1)NOTESThis early painting of the bard does not appear to conform to any known painted or engraved portraits.Provenance: Estate of John Lawson (1932-2019).
Los 232
* After Thomas Gainsborough (1727-1788). Head-and-shoulder portrait of Elizabeth Linley, wife of Richard Brinsley Sheridan, circa 1800-1820, coloured pastels on oval paper, signed (somewhat indistinctly) 'Carty' to right margin, 28 x 23 cm (11 x 9 ins), 19th century gilt frame, glazed, inscribed in ink to verso 'purchased July 1948 (Qty: 1)NOTESAn early 19th century copy in pastel after the famous full-length portrait of Mrs Sheridan by Thomas Gainsborough of 1785-86 now in the National Gallery of Art, Washington.
Los 253
* Italian Mannerist School. Portrait of Giuseppe Cesari, il Cavaliere d'Arpino, 1627, black chalk on vellum, signed with initial F lower right, inscribed in pencil to verso in a contemporary hand (possibly the artist) 'Ca Joseph Ca'sari Arpinas Pictor celleb. 1627', outer edges restrengthened with paper to verso,some light toning to outer margins (probably due to paper restregthening), sheet size 211 x 164 mm (8.3 x 6.5 ins), hinge-mounted on 20th century backing card (Qty: 1)NOTESProvenance: Private Collection, Herefordshire, UK. Known as the Cavaliere d'Arpino, Giuseppe Cesari (1568-1640) was the son of the painter Muzio di Polidoro. Arriving in Rome in 1582, he entered the studio of Niccolò Circignani, and was quickly promoted from garzone to junior painter on the team frescoing part of the Vatican Loggie for Pope Gregory XVIII, while still in his teens. Shortly thereafter Arpino was working as an independent artist, and from very early in his career he enjoyed an elite and important clientele. He was mainly employed in ambitious decorative schemes, including a series of decorative friezes at the Palazzo del Quirnale (since destroyed), the sacristy of the Certosa di S Martino in Naples from 1589 to 1591, the cappella Paolina in S Maria Maggiore from 1605 to1612, as well as still extant frescoes in the Palazzo dei Conservatori, Rome. He reached the height of his reputation with the direction of the mosaic decorations for the cupola of Saint Peter's (1603-12). Cesari attained a high social position and was able to buy a palace on the Via del Corso in Rome and another in Arpino. After the death of Pope Clement VIII, however, he fell into disgrace. In 1607, he was falsely accused of possessing firearms and was imprisoned and all his goods confiscated. As part of the negotiations for his release, a settlement was reached through which the nephew of Pope Paul V, Scipione Borghese, gained possession of Cesari's important collection of paintings. He was elected principal of the Accademia di San Luca, the guild of artists in Rome, in 1599, 1615, and 1629.
Los 260
* Dutch School. Portrait of a Young Man, half-length, 17th century, black chalk on thin laid paper, with indication of border or frame to left and lower margin, additional study for a decorative curved frieze to verso in black chalk, numbered 53 to lower edge, sheet size 18.4 x 14.8 cm (7.3 x 5.8 ins), window-mounted (glued to upper and lower left corners only) (Qty: 1)NOTESProvenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.
Los 303
* Both (Jan Dircksz , circa 1618-1652). The Hinny Drover, Via Appia, etching on laid paper, a rare proof before the addition of artist's name to lower left corner and address of Mariette, trimmed to plate margins, some light spotting and marks, sheet size 198 x 272 mm (7.85 x 10.75 ins), hinge-mounted on old card, together with 11 other various etchings, mostly 17th and 18th century including Christian Dietricy (1712-1774), Herd of Cows by a statue of Flora, 1744, etching on laid paper, a good impression, small stain to upper left margin, early 19th century ownership inscription to verso of Joseph Camesing, and other collectors' marks, trimmed to plate margins, sheet size 15 x 19 cm (5.9 x 7.5 ins), Giacomo Piccini, Portrait of Gacopo da Ponte da Bassano Pittore, engraving on laid paper, trimmed to plate margins, etc. (Qty: 12)NOTESHollstein 6; Bartsch volume 5, page 208. From the set of Six Landscapes of the Environs of Rome.
Los 307
* Goltzius (Hubert, 1526-1583). Portrait of Antonio Moro, painter to Philip II of Spain, oval copper engraving on laid paper, with printed text to verso, sheet size 32.5 x 21.5 cm (12.75 x 8.5 ins), window-mounted (Qty: 1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
Los 314
* Rembrandt (Harmensz van Rijn, 1606-1669). Self Portrait, Drawing at a Window, 1648, etching and drypoint on laid paper, a good impression of New Hollstein's eighth state (of nine), trimmed to or just inside the plate mark, very short nick to lower sheet edge (without loss), sheet size 157 x 130 mm (6.3 x 10.1 ins), black and gilt frame, glazed, with 18th century handwritten label to verso 'Rembrandt dessinant, portait fait par lui meme', and further handwritten label below 'From my Brother John. 1828. C:D:', further inscribed with bibliographical details from Munz and A.M. Hind in Michael Jaffé's hand (Qty: 1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997). Hind 229, v. Bartsch/Hollstein 22 v/v. New Hollstein 240 viii/ix. A posthumous impression from the original plate, reworked and strengthened throughout, possibly by Pierre Francois Basan (1723-1797).
Los 315
* Rembrandt (Harmensz Van Rijn, 1606-1669). Self-Portrait with Raised Sabre, 1634, etching on laid paper, a later impression, with reworking, some marks and discolouration to upper outer corners where glued to backing paper, light diagonal crease across the image, trimmed just inside the platemark, sheet size 122 x 100 mm (9.8 x 3.95 ins) (Qty: 1)NOTESHind 109, iii/iii; New Hollstein 134; Bartsch 18.
Los 320
* Van Dyck (Anthony, 1599-1641). Portrait of Pieter Breughel the Younger, circa 1632, etching on laid paper, light overall mount stain, laid down on later backing card, plate size 24.5 x 15.7 cm (9.6 x 6.25 ins), sheet size 31.2 x 21.2 cm (12.25 x 8.3 ins), framed and glazed (Qty: 1)NOTESMauquoi-Hendrickx 2.
![* Fisher (Edward, 1722-1785). Portrait of Kitty Fisher as Cleopatra, [circa 1752], mezzotint on laid paper, proof before lett](https://cdn.globalauctionplatform.com/6a8824f3-0bbc-4e36-9743-ab6400a2afd7/b02235be-6bd6-4116-b866-ab6800ef42cb/468x382.jpg)
Los 321
* Fisher (Edward, 1722-1785). Portrait of Kitty Fisher as Cleopatra, [circa 1752], mezzotint on laid paper, proof before letters, a rich, dark, velvety impression, after the original painting by Sir Joshua Reynolds, depicting the celebrated courtesan Kitty Fisher as Cleopatra dissolving the pearl, after Sir Joshua Reynolds, plate size 36 x 25.5 cm (14.2 x 10 ins), sheet size 37 x 26.3 cm (14.5 x 10.3 ins), window-mounted, together with 5 other engravings, including a proof before letters of the mezzotint portrait of the Countess of Lincoln (1728-1765) by James McArdell after Sir Joshua Reynolds (formerly in the G.E. Russell Collection), trimmed to margins, a proof before title of the mezzotint by Charles Howard Hodges (1764-1837) after Sir Joshua Reynolds of the Countess Spencer, published 16th July 1784, the second state, a fine impression, a mezzotint of Lady Charlotte Greville by John Young after John Hoppner, an engraving by E. Mitchell after Henri Pierre Danloux of the infant George Henry Lord Scott, born 2nd January 1798, published by E. Mitchell, February 1, 1800, and Robert Dunkarton (1744-1811), Miss Horneck, after Joshua Reynolds, published February 20th, 1778, fine mezzotint on laid paper, light spotting to edges, plate size 51 x 35.5 cm (20 x 14 ins), with margins, window-mounted (Qty: 6)NOTESProvenance: Martin Erdmann Collection of Early English Mezzotints and Colour Prints (Sold Christie's, London, November 16, 1937). Chaloner Smith (1883), 18. Catherine Mary Fisher, better known as Kitty Fisher (1741-1767) was perhaps the most notorious English courtesan of the 18th century who was painted by Reynolds no fewer than 7 times. His 1759 portrait of Kitty Fisher as Cleopatra dissolving the pearl depicts a scene recalling the legendary banquet held by Cleopatra to impress Marc Antony, at which she took a giant pearl from her ear, dissolved it in wine and drank it. According to Casanova, Kitty Fisher similarly once ate a £100 bank note on a slice of buttered bread, which had been given to her by Sir Richard Adkins, brother of the beautiful Mrs Pitt, thereby indicating the courtesan's profligacy, as well as her high 'price'. She died in her mid-20s, possibly from the effects of lead-based cosmetics, but more probably from tuberculosis at Bath. She is celebrated in the well-known nursery rhyme 'Lucy Locket lost her pocket/Kitty Fisher found it; There was not a penny in it/Only a ribbon round it.'.
Los 323
* Hoppner (John, 1758-1810, & Wilkin, Charles, 1750-1814). Portraits of Ladies of Rank and Fashion... executed in a manner to unite the high finishing of painting with the spirit and freedom of drawing, published by the Proprietor, Charles Wilkin, Eaton Street, Pimlico, 1797-1803, the complete set of 10 stipple engravings, all proofs before titles, by Charles Wilkin after John Hoppner and Charles Wilkin, all very good or fine impressions, plate size 25 x 19.2 cm (10 x 76 ins), all with wide margins, very pale mount stain, each window-mounted, with original pale blue printed upper wrapper present, and 8 (of 10) of the original printed letterpress descriptive sheets for each image (lacking descriptive leaf for Elizabeth, Duchess of Rutland, and Lady Gertrude Fitzpatrick), some fraying to title leaf, plus 6 duplicate stipple engraved portraits of Lady Catherine Howard, Lady Langham, Charlotte Duncombe, Lady Feversham, Charlotte Susan Maria Bury, Lady Campbell (2), and Gertrude Fitzpatrick, Lady Villiers, and 4 others similar: a stipple engraved portrait of Lady Grenville by Charles Wilkin after John Hoppner, a proof before letters, and 3 smaller oval stipple engravings by Thomas Burke (1749-1815), after Andrew Plimer (1763-1837), depicting Anne Rushout, Elizabeth Rushout, and Rebecca, Lady Northwick, the last 4 prints with short margins and unmounted (Qty: 21)NOTESThe set of ten stipple engraved Portraits of Ladies of Rank and Fashion depict Lady Gertrude Emilia Stuart, Catherine Howard, Henrietta, Lady Langham, Lady Charlotte Feversham, Lady Charlotte Susan Maria Bury, Jane Elizabeth Coke, Viscountess Andover, Charlotte Maria Fitzroy, Countess of Euston, Elizabeth, Duchess of Rutland, Lady Gertrude Fitzpatrick and Charlotte Percy, Countess Ashburnham.
Los 328
* Miniature. Portrait of a gentleman, English, circa 1640, oval oil on copper, head-and-shoulders portrait of a moustachioed gentleman with curly dark brown hair, wearing a white falling collar trimmed with a wide scalloped lace border, over a yellow coat trimmed with gold braid, small hanging hole to upper margin, 7.3 x 6 cm (2.75 x 2.25 in), gilt oval frame (Qty: 1)
Los 329
* Miniature. Portrait of a lady, Continental, early 17th century, watercolour and bodycolour, heightened with gold, on vellum, oval bust length portrait of a young lady with curled flaxen hair and enigmatic gaze, wearing a dress with black skirt and muslin bodice, a black shawl over her head, and a string of pearls around her neck, indistinct letters in gold top right 'MARO ANTE'(?), 60 x 46 mm (2.25 x 1.75 in), later oval gilt metal pendant frame with hanging loop, glazed (Qty: 1)
Los 330
* Faber (John, the elder, c.1660-1721). Portrait miniature of a clergyman, 1712, oval pen & ink head and shoulders portrait on paper, of a gentleman in robes and wig, signed 'J. Faber, Oxon, 1712', 9.5 x 7.5 cm (3.75 x 3 in), gilt oval frame, glazed, inscribed indistinctly in a contemporary hand on verso of frame 'Revd. Mr. Denison(?), University College, Oxford' (Qty: 1)
Los 331
* Miers (John, 1756-1821). Silhouette portrait of a lady, painted head-and-shoulders profile portrait to right, showing a lady with ostrich feather ornaments in her powdered wig, signed lower left within image, image size 6 x 3.5 cm (2.5 x 1.5 in), sheet size 11.3 x 9.2 cm (4.5 x 3.5 in), framed and glazed (Qty: 1)
Los 334
* Miniature. Portrait of a Regency gentleman, circa 1820, watercolour, gouache, and bodycolour on ivory, oval half-length portrait of a portly young gentleman with dark curled hair and side whiskers, wearing a yellow waistcoat and dark blue coat, 55 x 45 mm (2.25 x 1.75 in), oval gold plated brooch frame with drawer handle border, glazed, reverse with mother-of-pearl back, lacking the pin (Qty: 1)
Los 335
* Dighton (Richard, 1795-1880). Portrait of a gentleman, 1825, watercolour with pencil on card, full-length profile portrait to right of a gentleman with side whiskers, his arms folded, wearing a black tail coat and top hat, and blue trousers, signed and dated in pencil lower right within image, some light dust-soiling and small mark to lower left blank corner, sheet size 35.7 x 25.5 cm (14 x 10 in), together with Silhouette Portrait. A Military Gentleman, circa 1846, scissor cut with watercolour, heightened in gold, on card, full-length profile portrait to right, of a young soldier in a red jacket and black trousers with red stripe, a pillbox hat on his head, and carrying a sword in his right hand, toned, annotated in contemporary pencil on verso ' Alas alas my poor friend. Janry 1840', sheet size 35 x 23.3 cm (13.75 x 8.75 in), and another full-length miniature portrait, watercolour on card, of a Regency dandy smoking a cigar, toned, sheet size 24.8 x 17.5 cm (9.75 x 7 in) (Qty: 3)
Los 336
* Lewis (T., active 1808-1830). Silhouette portrait of a clergyman in his pulpit, painted three-quarter length profile portrait to right, on card, heightened in gold, of a clergyman standing in a panelled wooden pulpit with a Bible on the tasselled red cushion before him, the latter with a brass double-branched candelabra on one side, signed in pencilled to left just below image 'Taken by T. Lewis', lightly toned, sheet size 25.1 x 18 cm (10 x 7 in), tipped onto a piece of backing card along right-hand edge, together with: Gapp (J., active 1827-1840) . Silhouette portrait of a young lady, scissor cut, full-length profile portrait to left, of a young lady wearing a full-skirted gown and flower-trimmed bonnet, carrying a pair of gloves, a couple of light fox spots, verso with artist's printed yellow trade label 'Mr. Gapp, the Original and only Profilist, for cutting accurate Likenesses, attends Daily at the Third Tower in the centre of the Chain Pier ... ', sheet size 27.9 x 15.3 cm (11 x 6 in), and six other full-length scissor cut portraits similar, one of a lady, the others of gentlemen, including one annotated to upper margin 'Mr. John (?) by Mr. W. Spence. March. 1825', and one showing a gentleman against a monochrome watercolour landscape with country house (Qty: 8)NOTEST. Lewis is a little-known silhouette artist, and his work rarely appears on the market. He was known to have worked for a time in York, and a defining feature of his portraits is the clear delineation of the sitter's eyelash, as here. J. Gapp is notable as the first silhouette cutter to have been known to work on Brighton Chain Pier. He typically portrayed his sitters with objects in their hands - often gloves - and he generally showed sleeves cut to a point on each side of the wrist, both of which features are present here.
Los 337
* Silhouette. Portrait of a young girl, circa 1840s, painted silhouette on card, heightened in gold, half-length profile to left, of a young girl with her hair in a bun and side ringlets, wearing a chiffon stole over her shoulders, sheet size 13.8 x 11 cm (5.5 x 4.25 in), mounted, together with: Joseph Hume (1777-1855), painted silhouette on card, head and shoulders profile to left, annotated on verso in contemporary pencil 'Allenby artist. 90 Strand', sheet size 10.2 x 7.6 cm (4 x 3 in), contained in a folding envelope sheet addressed 'Joseph Hume Esq M.P. 6 Bryanston Square' A pair of portraits, circa 1840s, scissor cuts mounted on an album leaf, heightened with gold, facing head-and-shoulders profile portraits of a young lady and a young gentleman, each approximately 8 x 4 cm (3 x 1.5 in), with verse in contemporary manuscript on verso, sheet size 22.2 x 18.6 cm (8.75 x 7.25 in), and 30 other 19th century miniature portraits, mostly painted and scissor cut silhouettes, some heightened with gold, including: 2 in contemporary ebonised frames; one annotated on verso 'Dickens by Wilson'; one of Mrs. Austin and Mr. Robt Austin (on recto and verso of same sheet); one of Sir Duncan McDougal; and several of children (Qty: 33)
Los 338
* Silhouette. Portrait of a young lady in an interior, circa 1830s, scissor cut on card, heightened in gold, full-length profile portrait to right, of a young lady with her hair in a bun and side ringlets, wearing a full-sleeved gown, and seated on a chair beside a lyre-decorated pedestal table sporting a double-handled vase containing a rose stem, indistinctly signed lower right within image(?), sheet size 32 x 24.5 cm (12.5 x 9.5 in) (Qty: 1)
Los 354
* Attributed to Sir Thomas Lawrence (1769-1830). A Young Man, believed to be W. Linney Ireland, 1823, coloured chalks on laid paper, heightened with white bodycolour, laid down on card, head & shoulders portrait of a young man with curly hair, resting his right cheek on his hand, and gazing penetratingly, dated in pencil lower right, toned and spotted, verso annotated in early pencil 'W. Linney Ireland, Mancetter Manor', with '(?)' in later ink, and an inscription in the same later hand 'Drawing probably by Sir Thomas Lawrence in 1823. (M. Ireland.)', sheet size 29.2 x 23.3 cm (11.5 x 9.25 in) (Qty: 1)NOTESMancetter Manor is an early 14th century timber-framed hall house in North Warwickshire.
Los 363
* Dighton (Richard, 1795-1880). Portrait of Henry Ralph Lambton, circa 1850, watercolour and pencil on paper, heightened with gum arabic depicting the subject full-length in dark coat and top hat, facing left, holding a walking cane in his right hand, signed in pencil to verso by the artist 'Richard Dighton 6 St. Michael's Terrace, Ecclestone Sq., S:W', additionally inscribed above in pencil (possibly in the artist's hand) 'W.H. Lambton Esq 17 Chesham Place, Belgrave Sqr', size 26 x 18.5 cm (10.25 x 7.25 ins) , framed and glazed (Qty: 1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997). Inscribed by Jaffé to verso 'Henry Ralph Lambton 1824-96 on old backing paper - removed 1957 by M. Jaffé; Christie's, Old Master and British Drawings and Watercolours, 2 July 2019, lot 223 (with four others).
Los 369
* English School. Head portrait of a girl, circa 1850s, watercolour on card, head portrait half profile to left of a young lady with smooth dark brown hair and pensive gaze, verso with shorthand in early ink, 11.1 x 10 cm (4.25 x 4 in), near contemporary polished wood frame, glazed, with old printed label on backboard 'Chas. D. Soar & Son, Carvers & Gilders, 1 Launceston Place, Victoria Grove, Kensington' (Qty: 1)
Los 408
* Roussel (Theodore, Casimir , 1847-1926). Pierrot en Pied (portrait of the Lady A.C.), 1888, etching on laid paper, with plate tone, trimmed to plate margins, signed in pencil on tab, to lower left, 25.5 x 19 cm (10 x 7.5 ins), antique-style gilt frame, glazed, with printed label of Messrs. Gooden & Fox, Printsellers, Publishers and Dealers in Works of Art, 57, Pall Mall label to verso (Qty: 1)NOTESHausberg 10 i/i. A depiction of Lady Archibald Campbell appearing on stage in the role of Pierrot. Whistler also painted her portrait, and made an oil sketch of her performing in the role of Orlando in Shakespeare's As You Like It in 1884.
Los 470
* Besnard (Albert, 1849-1934). Portrait of a Young Woman, colour pastel on paper (possibly laid down on canvas), signed A. Besnard to upper right corner, old, partly legible French customs stamp to lower corner on verso, attractive period black and gilt frame, glazed (Qty: 1)NOTESProvenance: Private Collection, Surrey, England.
Los 475
* Continental School. Portrait of Lonsdale Ragg, 1925, coloured crayons on wove paper, half-length portrait of a clergyman wearing narrow-rimmed glasses and holding an open leather-bound book, against a backdrop of architectural buildings and monuments of Rome, including St. Peter's Basilica, part of the Forum, and a bell tower, painted cartouche lower right with sitter's name and quotation from Dante: ' Lonsdale Ragg Aetat LIX. En La Sua Volontade È Nostra Pace. Par. III. 85' and with monogram and date '19 HR 25' incorporating an arrow, 47.7 x 42.3 cm (18.75 x 16.5 ins), framed and glazed, with framer's small circular label on backboard 'C. Passerelli Roma' (Qty: 1)NOTESLonsdale Ragg (1866-1945) was an Anglican priest and a published Dante scholar. He was born in Shropshire and educated at Christ Church, Oxford and Cuddesdon Theological College. Ragg held various chaplaincy posts on the continent - in Bologna, Venice, Valescure, Bordighera, Cannes and Rome. At the time this portrait was painted he was serving as chaplain of All Saints' Church in Rome, and he subsequently become Archbishop of Gibraltar (1934-1945).
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