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Los 255
A RARE ROMAN MARBLE HEAD OF A BOY AS EROS CIRCA 1ST/2ND CENTURY A.D., ON A 16TH CENTURY BUST AND SOCLE The head set on Renaissance shoulders, further turned socle below 60cm high overall, 35cm wide across the shoulders Provenance; Private collection, France. Literature; C. Giroire & D. Roger, Roman Art from the Louvre, exh. cat., Musée du Louvre, Paris, 2007. V. Dasen, 'Wax and Plaster Memories: Children in Elite and non-Elite Strategies', in V. Dasen and T. Spath (eds.), Children, Memory, and Family Identity in Roman Culture, Oxford, 2010, pp. 109-145. J. Huskinson, 'Constructing Childhood on Roman Funerary Memorials', Hesperia Supplements, vol. 41, (2007), pp. 323-338. Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48. Epitomising youthful charm, this work shows the thoughtful expression typical of classical portrait busts. His soft face is characterised by supple cheeks, full lips, almond-shaped eyes, and dimpled chin. The boy's hair is styled in the guise of Cupid, the Roman God of affection and desire; a large central braid which runs from the forehead to the crown of his head parts gently tousled thick waves of hair. Though this distinctive hairstyle can be traced back to depictions of Eros from Hellenistic Greece, it was adopted by the Romans in the following centuries as a defining characteristic of the deity Cupid. Whilst the bust's large central braid leads to an identification with Cupid, the slightly imperfect, asymmetric facial physiognomy suggests that the work was sculpted as a private commemorative portrait. A particularly popular practice in the second century A.D. saw the sculpting of portrait busts with personalised features styled into an overall type of mythical figure, and examples can be found in both the case of adults and children. Comparison can be drawn both with a circa 2nd century A.D. marble Roman Child (previously in the Hermitage Museum, St. Petersburg) and circa 2nd century A.D. marble Head of a Boy or Harpocrates (previously in the Collection of Etienne Duval (1824-1914), Geneva)- both illustrated in Oscar F. Waldhauer, Sketches on the History of Ancient Portraiture, Vol. I, St. Petersburg, 1921, pp. 43-48 viewable online in Russian and English WALDHAUER CHAPTER THREE Further images for the Duval head are viewable online here HERE (1) HERE (2) and HERE (3) the last being a reproduction of the portrait of Etienne Duval by Henry van Muyden (1860 - 1936),with the winged head conspicuous in the background. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. In a generally good state of preservation, with sensitive old and more recent restoration and infill to the nose, cheeks around the nose, lips and around the joint at the head/neck join. The bust and the 'tableta' beneath the chest are all one piece of marble and are mounted on a separate tall cylindrical socle which has a simple moulded detail at the top and bottom. The marble head is very well preserved considering its age and retains a great amount of the clarity and complexity of the carving, especially in the very detailed carving of the hair. There are some small chips and wear to the surface of the marble throughout, as would be expected of a sculpture of this age, and the lock of hair on the forehead is worn, a lock near his left ear is missing and the rear end knot of the central hair braid is absent. There are some small old chips to the marble to the eyelid, left cheek, tip of the nose, lips and the buckle/brooch on his shoulder. Provenance: This was purchased in a French auction within the last 5 years and we have a French Passport which we will forward to the purchaser after the sale. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Los 214
JOSEPH GOTT (1786-1860) SLEEPING NYMPH Terracotta Signed and dated J. GOTT. 1826 6.5cm high, 22cm wide, 7.4cm deep Provenance Harold Julian Amery, Baron Amery of Lustleigh, PC (1919-1996), United Kingdom. The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. "Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor, exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph, commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and must have been connected to the present terracotta, dated the same year. Two years before, Gott had made a small terracotta Sleeping Venus for his mentor, Sir Thomas Lawrence, which likely resembled the present composition. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Chip to one base corner- other nibbles to base edge- firing flaws to plinth either side of incised signature- surface dirt Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Los 58
ATTRIBUTED TO MARY BEALE (ENGLISH 1633-1699) PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS NELL GWYNNE Oil on canvas, feigned oval, in a 17th century carved wood silvered frame 76 x 63cm (29¾ x 24¾ in.) Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Scattered visible retouching to the upper right an lower right quadrant, predominantly to the background areas. There is a slight unevenness to the canvas in the upper right quadrant, probably caused by the reline. Craquelure throughout. Some slight superficial surface scratching. Inspection under UV reveals retouching and infilling throughout together with area of small area of possible repair approx. 4cm to the lower right corner. Condition Report Disclaimer
Los 77
A WHITE MARBLE HIGH RELIEF PORTRAIT OF A BEARDED MAN ITALIAN, PROBABLY 14TH/15TH CENTURY Set on modern base bust 39cm high, 43cm high overall Condition Report: Old losses and with sensitive restorations notably to nose, eyes, mouth Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Los 184
λ CONSTANCE LOUISE FIDLER (BRITISH 1904-1971) PORTRAIT OF A SOUTHEAST ASIAN GIRL, 'GEM' Pencil and wash Signed (lower right) 30 x 25cm (11¾ x 9¾ in.) Condition Report: Some light staining to the framed edges. Otherwise the work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
Los 112
JOHN FRANCIS MOORE (D. 1809) A WHITE MARBLE BUST OF A GENTLEMAN, POSSIBLY THE RT. HON. CHARLES WOLFRAN CORNWALL (1735-1789) LAST QUARTER OF THE 18TH CENTURY Signed I:F:Moore, Fect 65cm high, base 24cm diameter The Rt. Hon. Charles Wolfran Cornwall (1735-1789) was Speaker of the House of Commons from 1780 to 1789 having crossed the floor to join the government in 1774 in support of their opposition to the American Revolution. On his death in 1789, John Moore was commissioned to create his memorial in the chapel of the Hospital of St Cross, Winchester. Perhaps best known today for his full length portrait statue of William Beckford (1709-1770), builder of Fonthill Splendens in Wiltshire ( located in The Guildhall, London), Moore also produced memorials, chimneypieces and a few portrait busts. This example bears close comparison with a watercolour portrait of Cornwall from the series Speakers of the House of Commons (National Portrait Gallery Reference Negative No. 43130). In addition to the present bust, only two other portraits by Moore are known today, that of Sir John Rushout in Worcester Infirmary from 1769, and the one in Spencer House, London, believed to represent William, 2nd Earl of Bessborough, from 1775. Literature: I. Roscoe, E. Hardy and M. G. Sullivan, A Biographical Dictionary of Sculptors in Britain 1660-1851, New Haven/ London, 2009, p. 849, no. 55 as an 'Unidentified man in middle age'.).
Los 88
AFTER DIEGO VELAZQUEZ (EARLY 19TH CENTURY) A STUDY OF A HORSE'S HEAD, FROM AN EQUESTRIAN PORTRAIT OF PHILIP IV OF SPAIN Oil on canvas 77 x 58.5cm (30¼ x 23 in.) After a detail of an original painting now in the Prado, MadridThe Equestrian Portrait of Philip IV was painted in 1635-36 as part of a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. The series also included that of Philip's son prince Balthasar Carlos. Condition Report: The canvas has been lined, and there are four patches verso, which correspond with areas of repair recto. Craquelure throughout some of which is heavy in places with associated flacking, lifting, and small areas of loss. In addition, some areas of craquelure have been infilled, and this is visible in natural light. The craquelure is especially heavy along the stretcher marks. Some light surface dirt throughout. Inspection under UV light reveals scattered retouching and infilling together with a green clouded varnish throughout. Condition Report Disclaimer
Los 143
A MARBLE PORTRAIT BUST POSSIBLY ROMAN 2ND CENTURY A.D bust 25cm high, 36.5 cm high, overall Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some amateur repairs such as to the nose- other wear and loss around margins, repaired socle Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
Los 211
JAMES GODSELL MIDDLETON (BRITISH ACTIVE 1826-1872) PORTRAIT OF HELEN C. BARLOW, HALF-LENGTH Oil on board Signed, inscribed and dated '1835' (verso) 32 x 26cm (12½ x 10 in.) Provenance: Sale, Capes Dunn & Co, 19 June 2001, lot 666 Sale, Hartleys, 6 December 2001, lot 903 Condition Report: There is a horizontal crease to the board approx.. 7cm at the centre left edge, and this is visible verso and recto. Light craquelure throughout. Inspection under UV reveals scattered retouching throughout with a large area concentrated to the sitter's chest. Unexamined out of glazed frame. Condition Report Disclaimer
Los 47
AFTER JOSEPH NOLLEKENS- A BRONZE PORTRAIT BUST OF WILLIAM PITT THE YOUNGER (1759-1806) POSSIBLY A PIMLICO OR WOOLWICH FOUNDRY, EARLY 19TH CENTURY Socle base 75.5cm high overall, base 22cm diameter Between 1805 and 1815 Nollekens executed a large series of busts of British 'Worthies'- politicians, royalty and friends of George IV. After Pitt's death in 1806 he was commissioned to take a death mask which he used as a model to make marble busts of the ex-Prime Minister. By 1808 he could boast that he had taken orders for 52 examples of the bust. According to his biographer J. T. Smith, he went on to sell 74 examples in marble and 600 plaster casts. The bronze founder for this work is, as yet, unidentified although it has been suggested it may be by Benjamin Vulliamy. Sir Richard Westmacott has established his own foundry in Pimlico in 1809- with Sir Richard Chantrey establishing another in 1827. Prior to this, both had relied on foundries such as the Royal Brass Foundry at Woolwich. For an example of this portrait bust in marble please see Dreweatts 1759, Fine Furniture and Works of Art auction, 29th March 2023, lot 305 (sold for £9,000 hammer).
Los 309
NORTHERN EUROPEAN SCHOOL (17TH CENTURY) PORTRAIT OF NEPTUNE Pen, oval Inscribed 'NEPTVNVS' (upper centre) 44 x 33cm (17¼ x 12 in.) Condition Report: The sheet has been laid down. There is a horizonal folding creases running through the centre of the work. A number of small tears at the centre left edge appear to have been repaired previously. One or two smaller scuffs and minor losses to the extreme edges commensurate with handing and age. There are number of brown spots to the centre of the work. Undulation to the sheet. Unexamined out of glazed frame. The drawing is stuck to be paper cardboard on the back. Condition Report Disclaimer
Los 84
FRENCH SCHOOL (19TH CENTURY) PORTRAIT OF A NORTH AFRICAN BOY Oil on canvas 38 x 30cm (14¾ x 11¾ in.) Condition Report: The original canvas appears to be cut down, and this smaller canvas (31.5 x 32 cm) has been laid down to a larger canvas (38 x 30 cm). This in turn has been lined. Inspection under UV light reveals no evident retouching or repair, however, there is a heavy varnish which prevents further inspection. Condition Report Disclaimer
Los 191
NORTH ITALIAN SCHOOL (CIRCA 1640) PORTRAIT OF A MAN IN ARMOUR, WEARING THE BADGE OF THE ORDINE DEL REDENTORE, POSSIBLY CARLO II GONZAGA Oil on canvas, feigned oval 76.4 x 63.1cm (30 x 24¾ in.) Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. The painting wearing a little thin around the sitter's face. Some superficial surface scuffs and scratching. Inspection under UV light reveals an area of possible repair to the upped edge, approx. 10cm (this can be seen in natural light) as well as scattered retouching throughout and traces of a green clouded varnish. Condition Report Disclaimer
Los 37
CIRCLE OF BARTOLOMEO PASSEROTTI (1529-1592) PORTRAIT OF A MAN Oil on paper laid to canvas 37 x 28.5cm (14½ x 11 in.) Condition Report: Oval with later spandrels. Light craquelure throughout, paint surface is stable. Superficial surface scratches and dirt throughout. There is a small repaired tear, approx. 1 cm, to the right edge. Inspection under UV light reveals scattered retouching throughout. Condition Report Disclaimer
Los 74
ATTRIBUTED TO IGNAZIO (1724-1793) AND FILIPPO COLLINO (1737-1800)- A WHITE MARBLE PORTRAIT HEAD OF A YOUNG NOBLEWOMAN TURIN, C. 1770 On a Breccia Violetta socle base 47cm high overall, 21cm wide, 19cm deep Provenance: Private collection, England. This bust presents stylistic similarities with the four busts representing Pomona, Ceres, a Naiad and a Nymph, by the brothers Ignazio and Filippo Collino circa 1770 for the Savoy's family luxurious hunting lodge, the Palazzina di Caccia di Stupinigi. When comparing the busts, there's a strong resemblance in the delicate facial features that lend them a serene and graceful presence, and particularly in the lips betraying the slightest smiles. The sculptural detailing and surface texturing of the marble, which contrasts the smooth skin of her face with the undulating strands of hair resting on the shoulders, attest to both the exquisite artistry and the technical skill of the sculptor. After his initial training in Turin with Claudio Francesco Beaumont (1694-1766) and Francesco Ladatte (1706-1787), Ignazio Collino, the eldest of the two brothers, moved to Rome in 1748. There, he entered the atelier of the sculptor Giovanni Battista Maini (1690-1752), where he devoted himself to the careful study of ancient works and completed several copies which he sent back to Turin. Alongside Greek and Roman statuary, Ignazio became particularly interested in the classical sixteenth-century works. His brother Filippo joined him in 1754 and together they embarked on a period of intense activity, characterised by a series of prestigious commissions such as the four statues and four allegorical bas-reliefs commissioned by King Carlo Emanuele III (1701-1773) for the Galleria Beaumont in the Royal Armoury, Turin. Elected as academicians of merit at the Accademia di San Luca in Rome, the two brothers returned to Turin in 1767 and were appointed directors of the Royal Sculpture Studio, receiving numerous private and public commissions.
Los 306
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the 'testa di un davide' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649.1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra, now in a private collection, which Panesi ordered from Guercino only a few months later.2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident.3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a 'Meza Figura del davide con la Testa di Golia Gigante' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650.4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection.5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi, for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword.7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli.8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes: 1). B. Ghelfi (ed.), Il libro dei conti del Guercino, 1629-1666, Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné, Rome, 2017, p. 662, cat 3723). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings, xlvii, no 4 (2009), pp. 516-9.4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm.7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe, Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Some light craquelure throughout however the paint surface appears stable. Inspection under UV light reveals light scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer
Los 108
AFTER THE ANTIQUE- A BRONZE PORTRAIT BUST OF FAUSTINA THE YOUNGER ROMAN, 18TH CENTURY On socle base 56cm high overall, base 18cm diameter Condition Report: Some rubbing and wear to patina on exposed areas of anatomy and edges, casting marks to neck, slight roughness to areas of skin- notably to her right hand side, base with fairly heavy patina wear and loss.Condition Report Disclaimer
Los 198
JOSEPH GOTT (1786-1860) SLEEPING BACCHANTE Terracotta Breccia Africana marble base, signed J GOTT. FT 40cm wide, 28cm high including marble base The Yorkshire born artist Joseph Gott is considered to have been amongst the finest British sculptors working in the first half of the nineteenth century. He had trained under John Flaxman between 1798 and 1802 before entering the Royal Academy in 1805 aged just 20. A gifted artist who combined a skill for working in the Classical manner with an undoubted joy in portraying dogs and children, in 1822 he was awarded a pension from the Academy's then president Sir Thomas Lawrence, for travel abroad specifically to Italy as well as a personal letter of introduction to Europe's greatest living sculptor, Antonio Canova (1757 - 1822). Despite hardship, family tragedy and depression, he thrived in Rome. He forged a career ranging from monuments to public figures, portrait busts and, as with these two examples, more playful animals and children in natural harmony. "Every visitor to Rome, this half century past, has looked in at the studio of M. Gott..." The Athenaeum, 28 January 1860, p.139, in T. Friedman and T. Stevens, Joseph Gott, 1786-1860, Sculptor, exh. cat., Leeds and Liverpool, 1972, p. 56. The present terracotta portrayal of a nymph asleep is exemplary of Gott's admiration for both Canova and classical antiquity, as it draws upon the pose of the famous Sleeping Hermaphrodite - an ancient Greek composition from the Hellenistic period known through a limited number of ancient Roman copies - which had also inspired Canova's own Sleeping Nymph, commissioned by Lord Lansdowne in 1821 and completed, after the master's death, by his workshop in 1824 (Victoria & Albert Museum, London, accession number A.30-1930). The ancient original Hermaphrodite was in bronze, as described by Pliny the Elder, but the Roman versions that have come down to us are all in marble. The most famous amongst these is the statue acquired around 1620 by Cardinal Scipione Borghese and housed in Villa Borghese in Rome until purchased by Napoleon Bonaparte at the beginning of the 19th century, which is now in the Louvre Museum. Another ancient marble representing the Sleeping Hermaphrodite was restored for the Ludovisi, a prominent family of Roman collectors, around 1621-23 and in 1669 acquired by Grand Duke Ferdinando II of Tuscany for the Uffizi, where it is still on view. In the Grand Tour period, the Sleeping Hermaphrodite was mostly reproduced on a reduced scale, a tradition that had begun decades earlier with Giovanni Francesco Susini's bronze version of it from 1639 (Metropolitan Museum, New York). A small marble was made for Petworth House, without the male genitalia, which underlines how the iconography could be transformed into that of a nymph. Gott himself exhibited a marble Sleeping Nymph at the 1826 RA exhibition, which is untraced and may be connected to the present terracotta.
Los 200
AN OVER-SCALED VICTORIAN POTTERY JUG DATED 1888 Probably Bristol, painted cartouche inscribed "Elizabeth Hunt, Windsor Castle, Windsor Terrace, March 1888", overpainted all over decoration including Jubilee Year 1887 portrait, floral sprays, pastoral views and interior with humorous scene "One at a time please" 40cm high The general census from 1881 records Elizabeth Hunt, aged 22 from Leigh Dorset as working as a general servant at the Windsor Castle Inn, 152 Bath Road, Hounslow. Condition Report: Some chipping to the finger handle below the spout. Firing lines surround the base of the handle &also in part around the base rim. There is a small 4cm restored crack (possibly a firing line) to the inner body towards the base. Some wear and rubbing to the transfer throughoutCondition Report Disclaimer
Los 341
ADAMO TADOLINI (1788-1868)- A WHITE MARBLE PORTRAIT BUST OF COUNT NIKOLAI DEMIDOV (1773-1828) FLORENCE, CIRCA 1827-28 On a Bigio Morato socle base, signed "A. TADOLINI F." 40cm high overall Provenance: Commissioned by Nikolai Demidov (1778-1828), Count of San Donato, Florence, or by his son Anatole Demidov (1813-1870), 1st Prince of San Donato, Florence; by descent to his nephew Pavel Demidov (1839-1885), 2nd Prince of San Donato, and his second wife Princess Elena (nee Trubetskoi); by descent to their daughter Princess Maria Abamelek-Lazarev (1877-1955); and by descent to her nephew Prince Paul Karadjordjević of Yugoslavia (1893-1976). Sale of the contents of Villa Demidov, Sotheby's Florence, 21-24 April 1969. Adamo Tadolini trained under Giacomo de Maria at the Academy of Fine Arts in Bologna, where he made his name making fine versions of famous Greco-Roman sculptures. In 1814 he travelled to Rome and made such an impression on the great Venetian sculptor Antonio Canova (1757-1822) that he was invited to work in the master's studio. It is thought that he met Count Nikolai Demidov in 1823, while staying at the Palazzo Ruspoli in Rome. This bust was probably carved a few years later in around 1827. Demidov one of the richest men in Russia in the late 18th and early 19th centuries. He and his family had made their fortune excavating minerals and mining raw materials. In 1824 he was appointed Ambassador to the court of the Grand Duke of Tuscany in Florence and bought a villa formerly owned by the Medici family in Pratolino. He embarked on projects of social improvement, building a school, a hospital and an orphanage in the nearby town of San Nicola. In gratitude for this philanthropy, the people of Florence dedicated the 'Piazza Demidov' to him.
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WORKSHOP OF ANTONIO CANOVA (1748-1822) A WHITE MARBLE BUST OF BEATRICE EARLY 19TH CENTURY On a turned marble socle base bust 48cm high, 61cm high overall, base 19.5cm diameter Literature: Gérard Hubert, La sculpture dans l'Italie Napoléonienne, Paris, Editions E. de Boccard, 1964, no.16, p. 474; Giuseppe Pavanello, Mario Praz, L'opera complete del Canova, Milan, Rizzoli, 1976, pp. 122-123; Franca Falletti, Silvestra Biotoletti, Annarita Caputo, Lorenzo Bartolini, scultore del bello naturale, Giunti, Firenze Musei, 2011, pp. 192-193. This bust began life in 1813 as a portrait of the celebrated beauty Juliette Récamier by the greatest neoclassical sculptor Antonio Canova. Canova's original plaster bust did not please Récamier and Canova transformed the portrait into a bust of Beatrice, the muse of the poet Dante Aligheri. This particular version of what the artist called his "testi ideali", became one of his most popular depictions. Canova made two versions in marble: one between 1817 and 1818, with the head covered by a simple veil, which he offered to his biographer Leopoldo Cicognara (1767-1834), and another sculpted in 1822 for the collector Alexander Baring (1774-1848) with the head crowned with an olive branch. Other copies made by Canova himself or by his workshop include the version in the Musée des Beaux-Arts in Lyon (inv. 1292-1), another in the Boston Museum (inv. 2002.318 MFA Boston Link ).
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A LARGE POLYCHROMED CARVED WOOD PORTRAIT OF A SAINT ITALIAN, 17TH CENTURY Right hand raised in blessing, left hand holding staff end 53cm high, 45cm wide Condition Report: With historic wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some additional losses from old worm- the surface very largely original to the piece but with some scattered spot remedial restorations and retouching. Lacks top of staff, possibly small restorations to fingers Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Condition Report Disclaimer
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MOUNTAINEERING. UMLAUFT, Professor F. The Alps, translated by Louisa Brough, 1st English edition, London 1889, bookplate, numerous wood engraved plates and illustrations, maps, etc., original pictorial cloth gilt, rubbed and some soiling, large 8vo; BALLIE-GROHMAN, W.A. Sport in the Alps in the Past and Present, London 1896, black and white plates and 20 black and white illustrations, bookplate to front pastedown, later quarter morocco, 8vo; FORBES, James D. Travels Through the Alps, London 1900, half-title, portrait frontis., 6 folding maps (2 in pocket at end), illustrations, bookplate, original cloth, a little rubbed, 8vo; and others similar (19)
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DUGDALE, Sir William & William Thomas (editor). The Antiquities of Warwickshire Illustrated..., London: John Osborn and Thomas Longman, et al. 1730, 2 vols, 2nd edn., portrait frontispiece engraved by Wenceslaus Hollar, titles in red and black, list of subscribers, 5 engraved double-page maps and 17 plates by Henry Beighton (some double-page including fine prospects of gentlemen's seats), num. engraved illustrations by Hollar and others, many full-page, bookplates, lightly foxed, otherwise very clean, contemp. calf, scuffed, spine splits, folios (2)
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STONEHENGE. STUKELEY, William. Stonehenge. A Temple Restor'd to the British Druids, 1st edition, London: W. Innys and R. Manby 1740, engraved portrait frontispiece offset to title, 35 engraved plates (including 4 folding); BOUND WITH Abury, A Temple of the British Druids, with some others, Described. Wherein is a more particular account of the first and patriarchal religion; and of the peopling the British Islands, Volume the Second [A Temple Restor'd forms the first vol], 1st edition, London: Printed for the Author 1743, large folding engraved frontispiece of a birdseye view of Avebury, 39 engraved plates (including 2 folding), plate 25 cropped to left side of image, some water staining to first chapters, contemp. calf gilt, weak joints, folio
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BACON, Sir Francis. The Historie of the Raigne of King Henry the Seventh, by W. Stansby for Matthew Lownes, and William Barret 1622, first edition, first issue with Souldiers to p. 3, line 12, lacks portrait frontispiece, title within engraved architectural border (loosely inserted, laid on paper, soiled), water stained to front and back leaves, lacks pp. 235-240 and all after 246, contemporary calf, with upper cover almost completely detached, wear to corners, rubbing and surface wear to covers, [STC 1159], small folio (1, sold with all faults)
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PRINCE, John, Danmonii Orientales Illustres: or The Worthies of Devon....., pub. Rees and Curtis, Plymouth, 1810, portrait frontis. toned and spotted throughout, five further engr. portraits and five engr. plts. of coats of arms, slight offsetting throughout, new end papers, later half calf retaining orig. spine, large 4to
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ENGRAVING AND ILLUSTRATION. TOURNOUR, Sister Margaret (engraver). Boxwood and Graver, a poem by David Burnett, Durham: Black Cygnet Press 2000, one of 150 unnumbered, 3 wood engravings, marbled wrappers by Ann Muir, 21cm x 15.5cm; BROPHY, Brigid. Black and White, a portrait of Aubrey Beardsley, London: Jonathan Cape 1968, black cloth, dj, 8vo; together with one other on Beardsley, and twelve vols. mostly pbk on wood engraving, printmaking and illustration (15); with a group of 14 Carr's pocket books featuring the work of engravers, and a few catalogues
![[JOHNSTONE, Charles]. The Reverie: Or, A Flight to the Paradise of Fools ... Published by the Editor of The Adventures of a G](https://cdn.globalauctionplatform.com/2e96af28-e69a-4bbd-8876-b1ed0158a09b/aaec2510-2178-4c24-ab6e-b1fe00ba037a/468x382.jpg)
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[JOHNSTONE, Charles]. The Reverie: Or, A Flight to the Paradise of Fools ... Published by the Editor of The Adventures of a Guinea. London: Printed for T. Becket, and P. A. Da Hondt, 1763. 2 volumes, errata leaf at the end of vol. II (occasional light spotting and staining), contemp. calf (stained), small 8vo; PRIOR, Matthew. Poems on Several Occasions, Tonsdon & Barber 1725, 2 volumes, engraved portrait frontis., contemp. calf, small 8vo; LITTLEBURY, Isaac. The Egyptian and Grecian history of Herodotus, London 1723, third edition, 2 volumes, bookplates, contemporary panelled calf (scuffed), 8vo; NELSON, Robert. An Address to Persons of Quality and Estate, printed by G. James 1715. 8vo., cont. panelled calf, engraved portrait frontispiece after Kneller, 8vo; and OVID's Epistles, 1723, contemp. calf, 8vo (8)
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BROWN, John (Scottish physician and essayist, 1810-1882). Minchmoor, 1864; Rab and his Friends, 1886 Jeems the Doorkeeper, 1882; Something about a well, 1882; Our Dogs, 1883; Marjorie Fleming, 1884, all bound as one with a portrait photograph of Browne and a letter from him, signed and dated 23 Rutland Street Edinburgh, 4 Jan 1882, teg, painted boards, the upper cover with a painted landscape view titled Land of Mountain and Flood- Scott, dated 1886, 12mo, in a stained pine slipcase.
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BLAIR, Hugh. Lectures on Rhetoric and Belles Lettres, 2 volumes, 1st edition, 1783, engraved portrait frontis., contemporary calf, edge wear, 4to; TRAILL, H. D. and J. S. Mann. Social England, Cassell & Co. 1902-04, 6 vols., some spotting, owner's bookplate, half red mor., 4to; BLACKWELL, Thomas. Memoirs of the Court of Augustus. London 1764, 3 vols., contemp. calf, 4to; BYRON, George Gordon, 6th baron. Complete Works... to which is prefixed the life of the author by John Galt, Paris 1837, engr. port. frontis., title and plates, half red mor., 4to; and SHAKESPEARE, William. Dramatic Works, London: George Virtue nd (1840s), engr. frontis., titles and plates, half red mor. gilt, 4to (14)
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ARFWEDSON, C. D. The United States and Canada, in 1832, 1833 and 1834, London: for Richard Bentley 1834, 2 vols, lithographic frontispieces, pubs. boards (worn), 8vo; REEVES, John. History of the Government of the Island of Newfoundland, London 1793, half-title, title, pubs. boards (worn), 8vo; and WILSON, Robert Thomas. History of the British Expedition to Egypt, Dublin 1803, stipple-engraved frontispiece portrait, 2 folding maps, hand coloured plate of Napoleon's standard, half-title, pubs. boards (worn), untrimmed, soiled, 8vo (4)
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DEVON. Papers of Captain John Charles Fanshaw Royle (1884-1973) Educated at Wellington and Christ Church, Oxford, John Royle was called to the Bar in 1912. After civilian work, he joined the Inns of Court O.T.C. in 1918 and became an Acting Captain in the R.A.O.C. in 1919. In 1915, he married Amy Mabel the widow of James Cavan and went to live at her home Eaton Mascott Hall in Shropshire. Captain Royle appears not to have practised as a lawyer and led the life of a country gentleman helping run the estate and being involved in local affairs. In 1919, the family moved to Youlston Park, near Barnstaple, in Devon. These papers give an insight into the management of a country house in the first half of the twentieth century, with the details of running costs, maintenance, insurance, labour, super tax, motors, and personal expenses. A large collection of hundreds of documents contained in three large cardboard boxes: Numerous bills, invoices and receipts, many with decorative headings, for building, painting, plumbers, telephone, timber, coal, some from Pinxton Colliery, journal subscriptions, tithes, clothes, vets, cider, nurseries, plants and seeds, iron mongers for supplies to Youlston Park. Motor expenses, car insurance, AA key, Armstong Siddeley guarantee, 1926, bills for Prideaux's garage, Barnstaple. Repairs, servicing, purchases, car hire, for Napier and Singer 8 1928 guarantee, 1915 registration and purchase for Douglas motorcycle, 1922 driver's licence. Insurance policies, Income tax and Super tax forms and correspondence, shares, including Escot Rubber, dividend vouchers, war loan. Over 30 used cheque books, bank book. Legal documents, includes the lease of the Park 1921, correspondence concerning his mother's estate and her marriage settlement and his parents' wills. Address books, 1949 diary, particulars for sale of Youlston Estate, 1920 with plan Papers concerning North West Devon Conservative Association, Barnstaple Division, and Conservative party rosette. Letter dated 1926 asking to be J.P. North Devon Infirmary subscriptions and correspondence Milk Book, 1944, employees N.I. record book, Military documents and correspondence, leave passes, ration books, selection to Inns of Court OTC, 1918, and temporary commission as 2nd Lieutenant 6/11/1918. Commission as Lieutenant, 1921, medical examinations. Wallet with British Museum library card, fishing licences, Bar Examination Law lecture notes, bar certificate, 1912, and his birth certificate. Periodicals including Justice of the Peace, Journal of Criminal Law, North Devon Elector (1925). 3 real photographic postcards by R.L. Knight of Barnstaple, possibly showing election day and a photograph of Youlston Park With a large number of photographs etc. With papers of SYLVIA CAVAN [1882-1962] comprising a collection of over 60 letters, invoices, receipts to her, including from her brother, other relatives and friends, and concerning Exeter Diocese, and Women's Home Mission Association. With brochures, leaflets, etc, and four portrait photographs of her. Mostly dated 1920s-1950s, but some personal items earlier. YOULSTON PARK, near Barnstaple, had been in the Chichester family since it was built in 1516 and it was leased by Mrs Amy Royle in 1919. The following year, she purchased the freehold for £8,300 from Edward Chichester. Captain Royle probably left Youlston on his marriage to Barbara Chichester in 1951. In a Country Life article dated 1961 it is described as the home of Major Cavan and his sister Sylvia Cavan. In 1972, Captain Royle and Major Cavan agreed to sell the estate to J.S.C. Clark of Smythapark for £17,000 and the contents at Sotheby's valuation.
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LYSONS, Daniel & Samuel. Magna Britannia; Being a Concise Topographical Account of the Several Counties of Great Britain, vol. VI, Devonshire, 3 vols., London: Thomas Cadell 1822, double-page engraved map, 33 engraved plates including one hand-coloured, some double-page (some offsetting), some dampstaining, contemporary half calf, covers detached or nearly so, spines poor, rubbed and stained, 4to; and PRINCE, John. The Worthies of Devon: London 1810, 6 engraved portrait plates, 5 pages of engraved coats of arms, diced calf, boards detached, lacks spine, 4to (4)AND A FOLDING PLAN of the tunnel, shafts, baths, roads, pipes and other works.. in the borough of Plymouth 1828, Roger Hopkins, civil engineer, 48cm x 60.5cm.
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ASHMOLE, Elias. The Antiquities of Berkshire, 3 volumes, W. Mears and J. Hooke 1723, printed title to each volume, folding portrait of the author, folding engraved county map by John Overton showing a panorama of Windsor Castle by Wenceslas Hollar (small tear, creased), bound with the appendix containing 8 folding genealogical pedigrees, bookplates, some spotting throughout, contemporary mottled calf gilt, 8vo
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ATLAS. CAMDEN, William. Camden's Britannia Newly Translated into English with Large Additions and Improvements..., F. Collins for E. Swale and A. & J. Churchill 1695, portrait frontispiece, printed title, eight plates of coins and one plate of antiquities, 50 (complete) uncoloured double-page maps by robert Morden (including two folding (Kent & Norfolk), contemp. panelled calf (tears, splits, losses), folio
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MONTGOMERY, Bernard Law 'Monty', 1st Viscount Montgomery of Alamein (1887-1976). A collection of photographs and letters, the photographs include four signed: 1. half length portrait, 21cm x 15cm, mounted on card, the mount inscribed 'To: Betty and Harold [his elder brother] with all good wishes for Christmas 1947, and for 1948. Montgomery of Alamein Field-Marshall Nairobi 12 December 1947'2 full length portrait before a map of the world, 21cm x 15cm, signed 'Montgomery of Alamein Field-Marshall'3 group of officers including Montgomery before an aeroplane, 16.5cm x 21.5cm, signed 'Montgomery of Alamein Nairobi 8-12-47'4 four senior officers including Montgomery, 16.5cm x 21.5cm, signed 'Montgomery of Alamein Nairobi 8-12-47';Three photographs with 'Daily Express Copy Print' stamped verso, each 22cm x 16.5cm:a Montgomery at 30; b Montgomery at 40 and c Montgomery & Eisenhower in the Desert 1943; four small family snaps including Montgomery; Six Autograph Letters Signed:I Eighth Army 23-11-43, to Betty [his sister-in-law] complaining about the Italian weather, signed 'B. L. Montgomery'II The War Office, Whitehall 20-2-48, to Galton-Fenzi [one of Betty's sons], signed 'Yrs sincerely Montgomery of Alamein'III 7 Westminster Gardens, Marsham Street SW1 13-3-48, to Hugh [one of Betty's sons], signed 'Yrs sincerely Montgomery of Alamein'IV Chateau de Courance, Milly, Seine-et-Oise 4 April 1952, to Betty, signed 'Yrs ever Montgomery of Alamein'V Isington Mill, Alton, Hampshire 12-10-60, to Betty, signed 'Yrs sincerely Montgomery of Alamein'VI Isington Mill, Alton, Hampshire 10-3-61, to Betty, signed 'Yrs sincerely Montgomery of Alamein';Together with seven further ALSs to Harold or Betty from 1947-60 all signed 'Bernard'; two copy letters to Monty from Betty; and a reproduction of a portrait of FM Smuts (27)Provenance: by descent
![[GERBIER, Sir Balthazar, attributed to]. The None-Such Charles His Character...Printed by RI, and are to be sold by John Coll](https://cdn.globalauctionplatform.com/2e96af28-e69a-4bbd-8876-b1ed0158a09b/567b6291-6699-44ba-ae00-b1fe00b9fefd/468x382.jpg)
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[GERBIER, Sir Balthazar, attributed to]. The None-Such Charles His Character...Printed by RI, and are to be sold by John Collins, in Little Brittaine, 1651, engraved portrait frontis., title, [4 (To the Reader)], 196, [18 (Contents)]., contemp. sheep, 18th century spine with red mor. label gilt, 19th century name plate, splits, old wear, large 12mo.Once a royal courtier, Gerbier then allied himself to Cromwell and his republican government, with a profession of loyalty to the Parliamentarians in 1642-43.
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STONEHENGE. JONES, Inigo. The Most Notable Antiquity of Great Britain, vulgarly called Stone-Heng on Salisbury Plain, 1st edition, London: James Fletcher for Daniel Pakeman & Laurence Chapman, 1655, title printed in red and black, 7 folding engraved plates, 3 woodcut illustrations, lacking the engraved portrait frontispiece, a few plates repaired, occasional annotations, 18th century half calf, some edge wear, split at foot of spine, small folio
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