A DOUBLE PORTRAIT: GAJ SINGH OF JODHPUR AND ANUP SINGH JI OF BIKANER, RAJASTHAN, INDIA, 18TH CENTURY ink and gold with gouache with paper, the two rulers depicted wearing Mughal coats, identified by devanagari inscriptions on the reverse, thin silver border, mounted 20.7 x 14.7cm Gaj Singh of Jodhpur was the first to be given title Maharaja and ruled 1619-1638; Anup Singh Ji of Bikaner was born the same year as Gaj Singh's death and ruled his kingdom 1669-1698.
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A VICTORIAN LEATHER 'EGYPTIANESQUE' STATIONERY BOX, ALEXANDER JONES & CO., LONDON, LATE 19TH CENTURY of pylon form, the black leather stamped with broad hieroglyph filled borders, the lid stamped 'THEOBALDS MUSEUM', the black watered silk-lined interior with cream dividers, with stamp by hinge 'Alex. Jones & Co. 154 Regent St' 27cm wide The Theobalds Museum was a large collection of Egyptian antiquities, amassed by the colourful Valerie Lady Meux (1847-1910). The British Musuem's Egyptologist, Walter Budge, catalogued over 1700 artefacts in the collection. The museum turned down her bequest of the collection however, so it was sold following her death. Apparently Valerie Susan Langdon (otherwise Val Reece) met the brewery millionaire Sir Henry Meux at the Casino de Venise in Holborn, where she entertained the clientele with her banjo playing and singing (more scurrilous gossips inferring that she was also entertained gentlemen privately). Marrying in secret in 1878, the couple enlarged their 18th century mansion, Theobalds, near Waltham Cross, including such improvements as a swimming pool and indoor skating rink. Although shunned by much of society, the Prince of Wales (Edward VIII) and Winston Churchill visited; entertained in the banqueting room of Christopher Wren's Temple Bar, which had been transported from London and re-erected as the estate's gatehouse. Twice painted by Whistler, a third unfinished portrait was supposedly destroyed by the artist following a falling-out with Lady Meux.
CARL HENRIK WREDE (1890-1924): YOUNG WOMAN STRETCHING a patinated bronze figure stretching up from the hips, probably 1920s, signed in the bronze 21cm long The Finnish sculptor Carl Henrik Wrede af Elimä attended the Finnish Art Society's drawing school in 1911-12 and then studied in Paris at the Académie de la Grande Chaumière 1912-1913 (coming under the influence of Rodin and Antoine Bourdelle) and in Rome 1919-1920. Most of his production consisted of portrait busts, including one of Pope Benedict XV (1920, the bronze original apparently in the Vatican collections) until his early death from meningitis. A member of the Swedish/Finnish noble Wrede family, a collection of sixty of his pieces were donated by the family to be displayed at a former family seat, Anjala Manor, from 1972 up to the museum's closure in 2014.
˜A PAIR OF GERMAN PARCEL-GILT-SILVER FIGURES OF MONARCHS, L. NERESHEIMER & CO., HANAU, EARLY 20TH CENTURY modelled after the statues of Clovis I, King of the Franks and Ferdinand I, King of Portugal, with carved ivory faces, each with detachable sword and his heraldic shield, Clovis with spiked crown and full beard, Ferdinand with hinged visor to his helmet, each on a cut-cornered square plinth with openwork cast foliate sides, stamped '925', Reichsmark and maker's mark 24.5cm high The original statues of 1509 are part of an extraordinary set of twenty-eight early 16th century larger-than-life bronzes by a number of artists, which surround the cenotaph of the Holy Roman Emperor Maximilian I at the Hofkirche in Innsbruck. The story goes that there was no known portrait of Ferdinand, hence the visor.
English School, 19th century, Portrait of a gentleman wearing a head scarf, unsigned, oval, watercolour on paper, 12.5 x 9cm, 5 x 3.5in, set in a gilt-metal frame, together with another similar, 3 x 2.5cm, 1.25 x 1in, set in gilt-metal frame with decorative gilt fabric mount with scrolling detail (2).Condition report: The paintings are both in good, original condition with strong colours. The paper below the larger portrait has browned universally across the painting and there is some minor craquelure across the more impasto areas. The paintings are both framed and glazed.
Lionello Balestrieri (Italian, 1872-1958), Portrait of a seated lady, signed, oil on canvas, 49.5 x 36.5cm, 19.5 x 14.5in.Condition report: The painting is in good, original condition. The canvas appears slightly slack and the stretcher marks are visible running parallel to the edges of the canvas. The mountboard has yellowed universally. The painting is framed but not glazed.
Todd White (American, b.1969), Portrait of a lady holding a wine glass, signed, ink drawing, 32 x 24.5cm, 12.5 x 9.75in.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has the odd minor scuff and scratch commensurate with age.
Harold Riley (1934-), Female portrait, signed and dated '69, pastel, 38.5 x 23.5cm, 15.25 x 9.25in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has the odd knock and scuff commensurate with age.
After Sir Godfrey Kneller (British, 1646-1723), Portrait of Captain Edward Dod, Royal Navy (1688-1763), unsigned, oil on canvas, 88.5 x 70cm, 35 x 27.5in.Condition report: The painting is in good, restored condition. There is extensive craquelure across the surface of the painting and the canvas appears slack, with the stretcher marks visible running parallel to the edges of the canvas. Under UV light there is evidence of overpainting and restoration visible, with several corresponding patches on verso. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Tom Hackney, 20th century, Portrait of a lady, oil on canvas, 70.5 x 103cm, 27.75 x 40.5in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.
Albert William Holden (British, 1848-1932), Portrait of a cavalier, signed, oil on panel, 17.5 x 12.5cm, 6.75 x 5in.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is ornately gilt framed but not glazed. The frame has knocks and losses.
James Lawrence Isherwood F.R.S.A., F.I.A.L. (1917-1989), Portrait of Princess Margaret and her son - Viscount Linley, signed and dated '62, indistinctly titled on verso, with certificate of authenticity and also a photograph of the artist stood alongside this painting, oil on board, 79.5 x 54cm, 31.25 x 21.25in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.
John Thompson (1924-2011), "Self Portrait with Suit and Tie", signed, titled on gallery label verso, mixed media on paper, 49 x 39cm, 19.25 x 15.25in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed.
English School, 19th century, Portrait of a seated girl with a doll, unsigned, oil on canvas, 25 x 19.5cm, 9.75 x 7.75in.Condition report: The painting is in good, original condition. There is craquelure across the surface of the painting and there are some minor surface scratches and chips of paint loss across the canvas. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Three 9ct yellow gold wedding bands together with a 9ct yellow gold bracelet, a 9ct heart pendant and chain, a 9ct gold medallion, approximately 16 grams and two small cameo portrait brooches in 9ct yellow gold mounts, a gold plated Albert chain, another necklace, silver bracelet and silver dress ring
A 19th century style portrait miniature pendant necklace, circular central panel of a young girl with floral head scarf and blue cloak a child cradled in her arms, possible indistinct signature, within square open cast gilt metal Art Nouveau floral frame, 77mm across, suspended from a rolled gold chain link necklace
Late 18th century portrait miniature of a woman with grey curly hair and low cut bodice, apparently unsigned, in gold oval locket with plaited hair and blue and white enamel. 52mm x 50mm excluding pendant. 72g gross. Condition report:Enamel good. Has been forced but enamel intact. Can be re-glued.
A collection of books to limited edition books, children's books and others to include Francis Brett Young 'Portrait of Village' illustrated with word cuts by Joan Hassall 1st Ed 1937, Richmal Crompton William books, Dorothy Una Ratcliff Lillilows Character Sketches, W Heath Robinson Railway Ribaldry and others
The Operation Husky Immediate Distinguished Service Order group to Temporary Acting Captain (later Lieutenant Colonel) William Cunningham, Royal Marines: D.S.O.. George VI; 1939-45 Star; Italy Star; France and Germany Star; Defence Medal; British War Medal 1939-45; Royal Naval Volunteer Reserve Decoration, Elizabeth II, reverse dated 1956; mounted for wearing, nearly extremely fine; together with a mounted group of corresponding dress miniatures; the recipient's King's Badge with letter of issue; and accompanied by a large quantity of associated documents and ephemera, including: the recipient's commission, a portrait photograph of him in uniform beside his older brother, John 'Cat's Eyes' Cunningham, R.A.F., official correspondence, a reconnaissance photographs dated for June 1943 and apparently showing one of the Husky landing beaches, and much other material. D.S.O. London Gazette 29/10/1943 William Cunningham enlisted as a Marine on the 14th May 1940. He was commissioned as a Temporary Lieutenant in August of that year, and in October he was appointed to 103 Brigade for the 8th Battalion R.M.. He spent some of this time as an instructor at the R.M. Cadet Training Unit at Thurlestone. In November 1942 he transferred to the newly formed 41 (Royal Marine) Commando, with the rank of Acting Temporary Captain. A period of intensive training followed - the unit diary for 21 June 1943 records, for example: "…40 and 41 Commandos and Bde H.Q. landed at Brodick (Arran) for cliff climbing exercises". Two days later, the senior officers travelled by air to London to "collect latest oblique photographs of "HUSKY"" The planning for Husky involved the convergence on Sicily of three naval task forces. The Special Service Brigade comprised of 40 and 41 Commandos and commanded by Brigadier Robert Laycock was attached to the 1st Canadian Division, which set out from the UK as part of Task Force V under Admiral Philip Vian, on the 28th June. The Special Service Brigade was assigned to the extreme western end of the British landing beaches, on the Pachino peninsula, to protect the Canadian landing by capturing coastal gun emplacements and then providing flank protection until the rest of the force was established ashore. The neutralisation of one such strong point was the particular responsibility of Cunningham and his troop, but their landing was hampered by heavy seas and logistical problems, and he found himself ashore in the wrong place, with a drastically understrength unit. He led his men swiftly to their objective, where another problem awaited them. The enemy position, which Cunningham had approached from the rear, was protected by barbed wire entanglements, and the Bangalore torpedoes that he needed to clear it had been lost in the landing. He was obliged to use wire cutters instead - a far more hazardous method. Next, Cunningham dashed round to the front of the emplacement, exposing himself to direct enemy fire, and personally silenced the position by putting a grenade through a loophole. The price of this success was a severe wound to his left arm caused by machinegun fire. In spite of this he refused to leave the field until the action had concluded, and according to the recommendation he accounted for a significant number of the enemy - either dead or taken prisoner. The significance of his deed is summarized in the recommendation thus: "His leadership especially after a painful wound was an inspiration to all. I consider that less resolute action by this Officer would have resulted in considerably heavier casualties to our Troops" It is noteworthy that for the Second World War the Royal Marines were awarded a mere 38 D.S.O.s (including second and third awards) - a tiny proportion of the overall total of 5,444. This group is thus very rare. Also of great interest is the fact that William Cunningham was the younger brother of the highly decorated pilot John 'Cat's Eyes' Cunningham. Following a period of recuperation, Cunningham was assessed as unfit for further commando service, and joined the staff at Thurlstone. He subsequently served as Town Mayor of Middelburg after the capture of Walcheren. Rejoining 41 Commando after the war, he rose to become its commanding officer. He received further injuries in a car accident, while on duty, in January 1946. He was released from the Royal Marines in August 1946, and awarded the King's Badge. Commissioned a Captain in the R.M.F.V.R., he was promoted Major in 1950, before finally retiring from the armed forces in June 1960. He died 23rd February 1989, aged 68 years. References: Abbott & Tamplin, 'British Gallantry Awards' WO 373/47 at The National Archives Globe & Laurel Magazine, March-April 1989, Obituary WO 218/44 at The National Archives London Gazette issue
Mary Tudor (1553-1554), The State of England, cast bronze medal, 1554, by Jacopo da Trezzo (c. 1514-1589), bust of Mary, to left, wearing an elaborate gown and cap adorned with jewels, beaded border, rev. Peace seated on a throne, temple to right, supplicant figures beset by hailstorms to left, above, heavenly rays, below, water, CECIS VISVS TIMIDIS QVIES, 65 mm (Eimer 33; Attwood 80; Arm I, 241/3; Scher Currency of Fame, 54), possibly a contemporary cast, some tooling to portrait, field and reverse, pierced, very fine.
A very rare Dutch engraved royal armorial portrait goblet and cover, circa 1665-8Southern Netherlands, the round funnel bowl decorated to one side with the profile bust of Charles II of Spain looking to dexter, two winged putti blowing trumpets holding a crown above his head, the opposing side with the crowned arms of the Emperor flanked by pendant garlands of fruit and flowers, set on a tall multi-knopped stem incorporating two hollow inverted balusters divided by mereses, the wide folded conical foot and domed cover engraved with floral and foliate garlands, the cover with a twisted ring finial on a hollow flattened knop, 32.5cm high (2)
Three Williamite wine glasses, 18th century and laterThe engraving later and perhaps by Franz Tieze, one with a flared bucket bowl solid at the base, with the equestrian portrait of King William III, beneath a banderole inscribed 'THE GLORIOUS MEMORY OF KING WILLIAM III', the rim with a stiff-leaf border, the multi-spiral airtwist stem with shoulder and central knops, 16cm high, a goblet finely engraved with two bust portraits of King William and Queen Mary, the rim inscribed 'THE GLORIOUS & IMMORTAL MEMORY OF KING WILLIAM III & QUEEN MARY', on a teared plain stem and folded conical foot, 18.3cm high, together with a later wine glass, the conical bowl with an equestrian portrait of King William, inscribed 'THE GLORIOUS MEMORY OF KING WILLIAM III' and 'NO SURRENDER', the reverse with 'BOYNE 1ST IULY 1690' over 'T.C.S.C', on a plain swelling stem between collars and a conical folded foot, 15.7cm high (3)This lot is subject to the following lot symbols: *
An engraved portrait airtwist wine glass of Jacobite interest, circa 1750The round funnel bowl later engraved, perhaps by Franz Tieze, with a portrait bust of Prince Charles Edward Stuart within a tied laurel wreath, flanked by two sprays of five-petalled roses on thorny stems, both with one closed bud, the reverse inscribed 'Fiat' above a small moth, the multi-spiral stem with a shoulder knop, on a conical foot, 17.3cm highThis lot is subject to the following lot symbols: *
DAVID WATSON STEVENSON (1842–1904) MARBLE BUST OF A GIRL (MARIA), DATED 1879 bears inscription verso D.W. STEVENSON A.R.S.A. SC./ EDIN. 1879; raised on an associated mahogany column plinth, with carved floral swag decoration, the fluted sides with husk-carved stop fluting (Dimensions: bust 56cm high; column 108cm high) (Qty: (2))(bust 56cm high; column 108cm high)Footnote: Note: Renowned for his portrait sculptures in bronze and marble, David Watson Stevenson is arguably most recognised for his bronze rendering of William Wallace, which can still be seen on the Wallace Monument in Stirling. His naturalistic depictions of figures such as Mary, Queen of Scots, James VI of Scotland and Robert Tannahill won him many accolades, shortly after his 8 year apprenticeship with sculptor William Brodie in the 1860s. Stevenson frequently exhibited at the Royal Academy in London and, by 1876, he was elected Associate at the Royal Scottish Academy.Condition report: Bust: In good general condition although with quite a lot of surface dirt and a few scuffs to marble here and there, eg fringe, folds of blouse One or two tiny chips here and there; one to lace trim, LH facing puff sleeve and a larger chip to LH facing puff sleeve One or two minor further marks here and there across the piece Matched column: In reasonable condition with crisp carved detail Top rim has two large chips running along the moulding The garland has a few minor chips here and there to petals but nothing significant Otherwise minor marks, nicks, scuffs and surface scratches here and there, consistent with age and use
CIRCLE OF JONATHON RICHARDSON FULL LENGTH PORTRAIT OF PETER KING, 1ST BARON OF OCKHAM AND LORD Oil on canvas (Dimensions: 76cm x 51cm (30in x 20in))(76cm x 51cm (30in x 20in))Footnote: Provenance: The estate of the late 5th Earl of LovelaceCondition report: Old relining - heavy varnish - little shows under UV - -scruffy- frosted varnish to left of head - some re-painting to wig - craquelure throughout - country house condition
FRENCH TERRACOTTA PORTRAIT ROUNDEL OF ÉTIENNE CHARLES DE LOMÉNIE DE BRIENNE 18TH CENTURY in profile relief, facing sinister and simulated as bronze, inscribed in French verso 'Donne par lui même au 1777/ a puis disan je nos donne a vous', with a handwritten biography of the sitter, in a giltwood frame, 18.5cm diameter; together with a LOUIS XIV COMMEMORATION BRONZE MEDALLION, with a profile of Louis XIV and inscription LVD MAGNVS FRAN ET NAV REX P.P., the opposing side with the sun above the world flanked by inscription NEC PLVRIBVS IMPAR/ 1674, 8cm diam. (Qty: (2))
English School circa 1900 Full length portrait of a young woman in fur-lined dress Indistinctly signed and dated 1900, oil on canvas (Dimensions: 51cm x 36cm (20in x 14in))(51cm x 36cm (20in x 14in))Condition report: Unlined - small hole to figure's left shoulder and to drapery bottom right visible in illustration - a little scruffy but largely original condition
MANNER OF COWAN DOBSON HALF LENGTH PORTRAIT OF LADY ROSEMARY DIANA KING Oil on canvas (Dimensions: 102cm x 76cm (40in x 30in))(102cm x 76cm (40in x 30in))Footnote: Provenance: The estate of the late 5th Earl of LovelaceCondition report: Original unlined condition. Small dent to sleeve near bottom right corner. Small linear scratch to background curtain (right). Dirty, would benefit from a good clean. Country House condition.
FRENCH GILT BRONZE AND LIMOGES ENAMEL TABLE MIRROR 19TH CENTURY the enamelled portrait roundel on a floral ground with swag and acanthus leaves, fitted with a bevelled mirror verso, raised on tapered uprights and scrolled acanthus-form feet (Dimensions: 24cm high)(24cm high)Condition report: 15cm wide, at widest point Frame stands securely overall, ever so slightly wobbly on a flat surface but not significant In good overall condition, including mirror plate and enamel panel, few very light surface scratches here and there but nothing of note Plaque is signed, although this is difficult to see - F. BIENVENU/ LIMOGES
ATTRIBUTED TO SAMUEL PERCY (1750-1820) WAX PORTRAIT, REPUTEDLY OF ADMIRAL GUTHRIE depicted in profile, with a powdered wig, ruff, waistcoat, and greatcoat, in a glazed walnut frame (Dimensions: Bust 9.5cm high; 18.7cm x 16.5cm x4cm inclusive of frame)(Bust 9.5cm high; 18.7cm x 16.5cm x4cm inclusive of frame)Footnote: Note: Samuel Percy (1750-1820) was a wax modeller from Ireland, and trained at the Dublin Society's Schools. He first exhibited work in the city in 1772, before moving to London in c.1777 where he showcased his work at the Royal Academy in 1786, 1803 and 1804. He was a prolific worker, and was considered the best wax modeller of his time. He tended to model sitters in profile until 1790 when he turned his hand to full face reliefs. Examples of his work are held at the Nation Portrait Gallery, London and by the National Trust Collections.Condition report: we have not examined the portrait out of the frame overall good condition, the face with good colour and detail the ruff has lost some of it's white colour the frame is in good order with double glazing; this may indicate the outer frame is later and made to encase an earlier frame; in our opinion the outer frame dates to the 2nd quarter of the 19th century. figure looks like a combination of tinted wax with painting there is no discernable signature the reverse of the frame inscribed in two different hands; the first says 'Admiral Guthrie', and beneath it in a separate hand 'WAX by SAMUEL PERCY 1750-1820' by family repute, the matriarchal family tree included members of the Guthrie family and this portrait is believed to have come through that connection, although no further identification was provided. Our own research has not been able to identify the sitter with any degree of certainty
19TH CENTURY BRITISH SCHOOL FULL LENGTH PORTRAIT OF WILLIAM KING-NOEL, 1ST EARL OF LOVELACE Indistinctly signed, oil on canvas, unframed (Dimensions: 218cm x 134cm (86in x 52.75in))(218cm x 134cm (86in x 52.75in))Footnote: Provenance: The estate of the late 5th Earl of Lovelace Note: William, 1st Earl of Lovelace was a significant figure in the family history. He entered the diplomatic service and became secretary to Lord Nugent, Lord Commissioner of the Ionian islands. At the age of twenty-eight, on the death of his father, and now Lord King, William returned to Ockham where two years later he married Augusta Ada Lovelace, daughter of Lord Byron, the celebrated poet. His wife Ada was a significant figure in her own right. She had been a child prodigy able to tackle geometry and mathematics, play the violin and guitar and fluent in several languages by the age of ten. Sadly, the marriage did not last and William embarked on the architectural works in polychrome bricks for which he is best known. It was William who added the foothold in Torridon to the family's estates. He was Lord Lieutenant of the County of Surrey from 1840 until his death in 1893.Condition report: Original unlined condition. Significant rubbing/fading throughout. Flaking to bottom lefthand corner from probable water damage. Small tear to extreme top right edge. Country House condition. Sold not subject to return.
Y PORTRAIT MINIATURE OF PRINCE WILLIAM FREDERICK, DUKE OF GLOUCESTER AND EDINBURGH LATE 18TH/ EARLY oval, watercolour on ivory, shown in three-quarter profile, wearing a red jacket, blue sash and the Order of the Garter, in a gilt metal frame with an enamelled coronet bale and inscribed WILLIAM FREDERICK DUKE OF GLOUCESTER, with woven hair verso (Dimensions: 7cm high)(7cm high)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/Condition report: general good condition and appearance overall no notable splits or cracks to the ivory; looks relatively flat but has not been viewed out of the frame no areas of damage or loss to the painting the enamel on the coronet with a small chip to the L edge the hair is mainly intact but with some loose hairs that have worked out of the knot the hair with some very small brown round particles visible in places when viewed under a loupe, this may be dust or powder and seem to be attached to some of the hair strands the glass and bezels are in good order
Various early to late 20thC brooches, comprising an amethyst three stone set brooch, in gilt metal setting, with floral motifs, and safety chain, a single gold framed and turquoise earring, a mother of pearl brooch, a gilt metal circular portrait brooch, a silver clock tower brooch, girl guiding brooch and a gold and seed pearl set bar brooch (AF).

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