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Duke's
Los 181

DANIEL GARDNER (1750-1805) A portrait of Thomas Cholmondeley of Vale Royal circa 1778, depicted full-length standing beside a tree, wearing a blue top coat, white waistcoat and breeches, holding a whip, a distant landscape beyond, pastel and bodycolour, 84cm x 59cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Thomas Cholmondeley (1726-1779), of Vale Royal, Cheshire, was a British landowner and Tory politician who sat in the House of Commons between 1756 and 1768. He was elected MP for Cheshire in 1756 and 1761. His son, also Thomas, was the 1st Baron Delamere.Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 55.

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Duke's
Los 123

SCOTTISH SCHOOL, 18TH CENTURY A portrait of the young Bonnie Prince Charliedepicted bust-length in a feigned oval, wearing a Royal pendant at his breast, oil on board, 42cm x 34cm

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Duke's
Los 34

A GROUP OF THREE PORCELAIN CHOCOLATE CUPS, COVERS AND STANDSprobably Paris, early 19th century, including one decorated in the Imari palette, possibly Coalport, one with gilt portrait panels against a blue ground, and another with bands of blue and white highlighted in gilt, 11cm high overall

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Duke's
Los 183

DANIEL GARDNER (1750-1805) A portrait of Frances Egerton circa 1778, wearing a pearl grey dress with white lace apron and cuffs and a white bonnet, seated at a wool winder in a draped portico, a distant landscape beyond, pastel and bodycolour, 82cm x 61cm (oval)Provenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Frances Egerton was the daughter of the Rev. Philip Egerton (d. 1726) and the sister of John Egerton of Broxton, Cheshire.Literature: 'Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 48.Originally listed as 'Mrs Puleston' but then included in the additions and corrections on page 102 as Frances Egerton.

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Duke's
Los 179

ATTRIBUTED TO ALEXANDER KUCHARSKI (1741-1819) AFTER ELISABETH-LOUISE VIGEE LE BRUN (1755-1842) 'The Countess Potocka' a bust-length portrait of Zofia (Sophie) Potocka, wearing a blue ribbon in her hair, pastel on paper, 46cm x 37cmNote: Born Zofia Clavone in modern day Turkey in 1760, Zofia was a Greek slave courtesan and a Russian agent, later a Polish noblewoman. She was famous in contemporary Europe for her beauty and adventurous life.A 1943 letter penned by Reginald W.M. Wright, Director of Victoria Art Gallery and Municipal Libraries, Bath, is affixed verso, in which he details his opinion that the sitter is Countess Alexandra (Anna) Potocka (née Tyszkiewicz) the wife of Count Aleksander Stanisław Potocki. A further newspaper clipping housed in an envelope verso refers to the sitter being the Delfina Potocka, the Polish Countess, friend and muse to Frederic Chopin.

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Duke's
Los 180

DANIEL GARDNER (1750-1805) A portrait of Mrs Ann Barnston, nee Egerton circa 1778, depicted full-length, wearing a white dress with fur-trimmed blue long wrap, standing by an urn on a pedestal, in a classical interior, with crimson drapery, pastel and bodycolour, 84cm x 59cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Ann was the daughter of John Egerton of Broxton, Cheshire (d. 1770). She married the Rev. Roger Barnston, Prebend of Chester. Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire', published 1864, page 48.

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Duke's
Los 397

A VICTORIAN PAPIER MACHÉ OCCASIONAL TABLE attributed to Jennens and Bettridge, the hinged top with a shaped edge and apron, decorated with a royal portrait apparently depicting the children of Queen Victoria, on a baluster turned stem to a tripod base with brass castors, 70.5cm high x 65cm diameterNote: A label to the underneath suggests that this table came from a Royal Palace and then the collection of The Baron de Malama.

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Duke's
Los 96

A CONTINENTAL HARD PASTE PORCELAIN PORTRAIT PLAQUE19th century, painted with shoulder length portrait of a young lady wearing star hair band, oval 6.5cm x 5cm, contained in Florentine gilt wood easel backed frame, 16cm high overall

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Duke's
Los 118

ENGLISH SCHOOL, 17TH CENTURY A portrait of a gentleman depicted half-length, wearing black robe with white lace collar, his right hand raised to show his gold signet ring, landscape beyond, oil on canvas, 75cm x 63cmProvenance: The Digby family.

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Duke's
Los 50

A SUNDERLAND LUSTRE WILLIAM IV CORONATION JUG19th century, printed in black with portrait and flowers with pink lustre frieze, 9cm high

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Duke's
Los 152

ENGLISH SCHOOL A portrait of Sir Henry Irving (1838-1905)the actor depicted standing full-length, wearing elaborate red ermine-lined robes, oil on card, 25.7cm x 20.3cm

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Duke's
Los 160

DOROTHY TENNANT, LADY STANLEY (1855-1926) A young boy visiting a sickly girl in her bed bringing a pet red squirrel to lift her spirits, oil on canvas laid on board, 58.5cm x 72cm (unframed)Provenance: The Estate of Henry Morton Stanley (1841-1904), thence by descent.Note: The red squirrel appears to be a mascot or emblem of the Tennant/Stanley family. Dorothy herself is depicted holding one in George Frederick Watts' portrait of her as a young woman.

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Duke's
Los 182

DANIEL GARDNER (1750-1805) A portrait of Elizabeth Egerton circa 1778, depicted full-length, wearing a white dress with blue shawl, standing in a wooded landscape holding food out for a lamb, pastel and bodycolour, 82cm x 61cm (oval)Provenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Elizabeth Egerton was the daughter of the John Egerton of Broxton, Cheshire (d. 1770).Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 48.

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Duke's
Los 113

AFTER SIR ANTHONY VAN DYCK (1599-1641) A portrait of a lady looking back over her shoulder, wearing a pearl necklace and earrings, oil on canvas, 64cm x 53cmProvenance: The Digby family.

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Dreweatts 1759
Los 41

λ&nbspSIR MATTHEW SMITH (BRITISH 1879-1959) PORTRAIT OF DUDLEY WALLIS Oil on canvas Signed with initials (lower left) 77.5 x 63.5cm (30½ x 25 in.)Painted circa 1936.Provenance: Arthur Tooth & Sons, London Private Collection, Sir David & Lady Scott, London (acquired from the above on 13 September 1960) Their sale, Sotheby's, London, A GREAT BRITISH COLLECTION: The pictures collected by Sir David and Lady Scott, sold to benefit the Finnis Scott Foundation, 19 November 2008, lot 172 Sale, Chiswick Auctions, London, 28 June 2018, lot 76 Private Collection, Hampshire (acquired from the above sale)SOTHEBY'S NOTE: G.P. Dudley Wallis was curator at the Holburne Museum in Bath from November 1913-1917, and crucially oversaw the moving of the museum to its purpose built current home on Great Pulteney Street. Although the collection of the museum is pre-twentieth century, Wallis himself owned an important group of modern British paintings including works by Walter Sickert, Christopher Wood and Sir Matthew Smith, some of which were sold in these rooms on the eighteenth April 1951. Interestingly, Wallis' predecessor at the Holburne, Hugh Blaker, had also combined his role as curator of historical artefacts with his love of avant-garde art when he acted as art advisor to Gwendoline and Margaret Davies, whose impressive collection of impressionist and post-impressionist works of art was bequeathed to the National Museum of Wales in 1951 and 1963.

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Dreweatts 1759
Los 49

λ&nbspMARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on paper laid to canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 Literature: Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint, Volume II, Paris, 1999, no. 1362 Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940.  Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic.  Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot.  By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938.  The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Condition Report Disclaimer

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Dreweatts 1759
Los 126

λ&nbspOLIVER MESSEL (BRITISH 1904-1978) STUDY OF MICA ERTEGUN Oil on canvas, laid to board 74 x 61cm (29 x 24 in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewMica Ertegun was a Romanian-American philanthropist and, like Messel, an accomplished interior designer, co-founding the extant firm MAC II in 1967. She donated widely to cultural causes, including humanities teaching at the University of Oxford, restoration efforts in the Church of the Holy Sepulchre, and the Lincoln Center for the Performing Arts, New York. In 1993, Ertegun was inducted into the Interior Design Hall of Fame; in 2011, Ertegun was appointed CBE by Queen Elizabeth II. In the 1970s, Ertegun visited Messel in Barbados, where she sat for this portrait (see University of Bristol Theatre Collection OHM/2/5/8). It is a testament to Messel's taste that Ahmet Ertegun, Mica's husband and the co-founder of Atlantic Records, chose the Oliver Messel Suite at the Dorchester Hotel as his London base (Robert Greenfield, The Last Sultan: The Life and Times of Ahmet Ertegun (2012), p. 208).

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Dreweatts 1759
Los 55

PAUL CÉSAR HELLEU (FRENCH 1859-1927) PORTRAIT OF A LADY, SIDE PROFILE Crayon and wash Signed (lower right) 32.5 x 21cm (12¾ x 8¼ in.) Condition Report: Taped down along the upper edge. The sheet is discoloured throughout with staining along the left hand edge. There is vertical creasing to the sheet throughout. Condition Report Disclaimer

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Dreweatts 1759
Los 90

λ&nbspPIETRO ANNIGONI (ITALIAN 1910-1988) PORTRAIT OF JUANITA FORBES Tempera grassa on panel Signed with monogram, dated and inscribed Paris LIII/To J (verso) 68 x 48cm (26¾ x 18¾ in.)Painted in 1953. Provenance: Juanita Forbes and thence by descentExhibited: Paris, Galerie de Beaux Arts, Peintures et Dessins de Pietro Annigoni, 3-23 December 1953.London, Wildenstein, An Exhibition of Paintings and Drawings by Pietro Annigoni, 7 April - 1 May 1954, no.11 Florence, Galleria d'Arte Internazionale, Pietro Annigoni, 19-23 January 1963 Milan, Galleria Cortina, Antologica di Pietro Annigoni, 25 October - 25 November 1968New York, The Brooklyn Museum, Pietro Annigoni: A Retrospective Exhibition, 27 April - 22 June 1969 San Francisco, California Palace of the Legion of Honor, Pietro Annigoni: A Retrospective Exhibition, 19 July - 31 August 1969Cardiff, National Museum of Wales, Pietro Annigoni, 1 - 30 September 1977 Literature: R.C. Cammell, Pietro Annigoni, London,1954.G. Solari Bozzi, Con il preziozo manto turchino della Giarrettiera la Regina Elisabetta"posa" per Pietro Annigoni, in Il Giornale d'Italia, Rome, 28 November 1954.H. Kanis, This is Annigoni, in News Page, London, July 1955, p.42.D. Wynne-Morgan, Annigoni...and a Duchess he refused to paint. In Daily Express, 8 May 1956, p.10.R.C. Cammell, Memoirs of Annigoni, London, 1956, p.80.M. Garland, The Changing Face of Beauty. Four thousand years of beautiful Women, London, 1957, p.206.N. Rasmo, Pietro Annigoni, Florence, 1961, p.69U. Longo, Pieta e amore nell'arte di Pietro Annigoni, Milan, 1968, p.88D.F. Hoopes, Pietro Annigoni. A Retrospective Exhibition, New York, 1969A.D.F. Jenkins, Pietro Annigoni, Cardiff, 1977L. Pelizzari, Pietro Annigoni, Il periodo inglese: 1949-1971, Rome, 1991, pp.140, 188, no.153, fig.179 (detail), fig. 242 Born in Milan on 7 June 1910, Pietro Annigoni was the son of Ricciardo Annigoni, a mechanical engineer. In 1925 the family moved to Florence and Pietro attended life drawing classes at the Circolo degli Artisti and at the Accademia di Belle Arti. In 1927, he entered the Accademia as a full-time student, taking courses in painting, sculpture, and engraving. Annigoni was heavily influenced by the Accademia's classical teaching, finding inspiration in the subject matter and techniques of the great Italian old masters. During the 1930s he found critical acclaim in Italy, exhibiting widely and receiving numerous commissions, the most notable being a series of frescoes in the Convent of San Marco, Florence. However, his open opposition to Mussolini led to his ostracism from the Italian artistic establishment and he struggled as an artist until the collapse of Mussolini's fascist dictatorship and the ending of World War II in 1945. Looking for new audiences for his work he entered three paintings, including Portrait of the Artist, into the Summer Exhibition at the Royal Academy in London in 1949. These were duly accepted into the show and as Annigoni had hoped, were discovered by collectors and dealers alike. This recognition and acclaim lead to subsequent exhibitions at the Wildenstein Gallery and Agnews in London. Building on this new audience Annigoni started to live in London for six months a year, undertaking an increasing number of commissions, particularly for portraits. This includes the present work, painted in 1953, just a year before he famously painted the portrait of the young Queen Elizabeth II. Commissioned by the Worshipful Company of Fishmongers in 1954, the work was unveiled at the Royal Academy in 1955. Crowds flocked to view the painting and attendance was recorded at almost 300,000, making it the most popular Summer Exhibition for over 50 years. The Times produced a limited edition print which instantly sold out and Sir Alfred Munnings, former President of the Royal Academy proclaimed Annigoni to be "The Greatest Painter of the age." The publicity and popularity that this portrait received led to many other commissions including a second portrait of Queen Elizabeth II for the National Portrait Gallery, the Duke of Edinburgh and Princess Margaret. He continued to be in demand throughout his life, with requests coming from all walks of life, and he completed portraits of Pope John XIII, John F. Kennedy, the Shah and Empress of Iran, Julie Andrews, Margot Fontane, Rudolph Nureyev and Salvatore Ferragamo to name but a few. His work is represented in numerous public collections, including the National Portrait Gallery, London, Metropolitan Museum of Art, New York, The Uffizi Gallery, Florence, The Vatican, Rome, Indianapolis Museum of Art, and the Fine Arts Museum, San Francisco. Condition Report: Crazing to the varnish throughout which has created an uneven effect across the surface. Tempera grassa pigment is in good condition. Light surface dirt throughout. Some discolouration caused by yellowing varnish. A diagonal line running across the lower right quadrant approx. 20cm. Condition Report Disclaimer

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Dreweatts 1759
Los 133

λ&nbspAUGUSTUS JOHN (BRITISH 1878-1961) PORTRAIT OF ROBIN Oil and pencil on panel Signed (lower left) 48.5 x 27cm (19 x 10½ in.)Painted circa 1910-14.Provenance: Private Collection, Mr and Mrs Andre de Lemur Private Collection, Charles and Eleanor "Nonie" de Limur, San Francisco (a gift from the above in 1957) Christie's, London, 21 November 2013, lot 171 Acquired from the above sale by the present ownerThe present painting belongs to the period 1910 -1914 when the family spent periods at Martigues, a fishing village on the Etang de Berre, a series of saltwater lagoons near Marseille in southern France. Portrait of Robin is typical of John's output during this period - he would draw directly onto the panel and paint at speed, leaving small areas of bare wood and pencil showing. These panels are among some of his most sought after works. Robin was born in 1904 and was Augustus's third son with his first wife, Ida. We are grateful to Rebecca John for her kind assistance in cataloguing this lot.  

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Dreweatts 1759
Los 112

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) BEDROOM WITH PORTRAIT Collage Signed (lower right) Image 17.8 x 16cm (7 x 6¼ in.) Provenance: Freda Paolozzi and by descentLiterature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 47 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition. Condition Report Disclaimer

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Dreweatts 1759
Los 32

λ&nbspSIR JACOB EPSTEIN (BRITISH 1880-1959) SECOND PORTRAIT OF KATHLEEN Bronze with green patina Signed to sitter's left shoulder Height: 39cm (15¼in.) Conceived in 1922. Provenance: Sale, Sotheby's, London, 9 July 1969, lot 105 Agnew's Gallery, London From a Private Collection Literature: Richard Buckle, Jacob Epstein Sculptor, London, 1963, p. 113, pl. 176 Evelyn Silber, The Sculpture of Epstein, Oxford, 1986, p. 151, no. 130 Condition Report: Some minor surface dirt and verdigris to the crevasses of the hair. Otherwise, the work appears to be in good original condition.Condition Report Disclaimer

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Dreweatts 1759
Los 189

λ&nbspADAM BIRTWISTLE (BRITISH B. 1959) PORTRAIT OF DAVID HOCKNEY, SEATED Watercolour and pencil Signed with monogram (lower right), titled Hockney and dated 2002 (lower left) 77 x 56cm (30¼ x 22 in.) Condition Report: Please note there is a crack to the glaze, lower right corner. Condition Report Disclaimer

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Dreweatts 1759
Los 123

λ&nbspOLIVER MESSEL (BRITISH 1904-1978) PORTRAIT OF LADY KELVEDON, INGRID CHANNON Oil on canvas-board Signed (lower right) 51 x 40.5cm (20 x 15¾ in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewIngrid Channon was born to the painter Richard Wyndham, scion of the Barons Egremont. In 1963, she married Paul Channon, President of the Board of Trade under Margaret Thatcher. Messel was acquainted with Channon's father-in-law, Sir Henry 'Chips' Channon, from London society; there, they enjoyed the company of prominent men of their day, including Cecil Beaton and Noel Coward (for a comprehensive account of these circles, see Thierry Coudert, Café Society: Socialites, Patrons, and Artists, 1920 to 1960 (2010)). Beaton would later photograph Channon. Paul and Ingrid Channon remained close to Messel, exchanging Christmas cards after his move to Barbados (see University of Bristol Theatre Collection OHM/2/3/19).

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Fonsie Mealy Auctioneers
Los 793

19th Century Continental School "Head and Shoulder Portrait of a Young Gentleman," O.O.C., oval, believed to be Prince Leopold of Hohenzollern Sigmaringen (1835-1905), approx. 37cms high x 29cms wide (14" x 11 1/2"),    indistinctly signed E. Seaby? in ornate gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 607

In the Manner of Godfrey Kneller (1646-1723) Half-length "Portrait of a Nobleman wearing black Wig, white Necktie, and red Shawl," O.O.C., approx. 74cms x 64cms (29" x 25") in ornate gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 602

19th Century Irish School "Portrait of a Gentleman, with middle parting and red whiskers, wearing bow," in oval mount, approx. 74cms x 56cms (29" x 22") in later frame. (1)

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Fonsie Mealy Auctioneers
Los 665

Joseph Highmore (1692-1780) Portrait of "Robert Butler" (d.1788) of Ballyragget Castle and Ballyragget Lodge, County Kilkenny, O.O.C., head and shoulder portrait of a gentleman with grey wig wearing red velvet jacket with gold trim, approx. 76cms x 61cms (30" x 24"), in contemporary gilt frame, signed and dated 1748. (1) Robert Butler (brother of Dr. James Butler, Archbishop of Cashel) succeeded to the Ballyragget estates in 1746, on the death of his father James Butler.  He was responsible for building Ballyragget Lodge, but never resided there, as he died in London the same year as the house was completed. He was succeeded by his brother George, and on his death in 1813, the Ballyragget estates transferred to the Kavanaghs of Borris House, Co. Carlow.

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Fonsie Mealy Auctioneers
Los 731

Charles Sillem Liderdale, British (1830-1895) "Portrait of a Country Girl with bonnet carrying a basket, standing by the Sea," O.O.C., approx. 110cms x 85cms (43" x 33 1/2"), signed and dated in monogram lower left, in ornate gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 741

Marie Adolphe Edouard Moderat d'Otemar, French (1853-1917) "Portrait of an elegant Young Lady in low cut floral design red dress, seated by a table," pastel, approx. 106cms x 77cms (42" x 30") signed  lower left, with coat of arms top right, in ornate rocaille type frame. (1)

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Fonsie Mealy Auctioneers
Los 604

Attributed to James Butler Brennan RHA (1825-1889) "Portrait of a Lady seated in mourning clothing holding a book and wearing white head dress, with a Portrait of a Gentleman on the Table," O.O.C., approx. 91cms x 69cms (36" x 29"); together with another similar Portrait, possibly her sister, in similar attire, approx. 91cms x 69cms (36" x 27") in matching ornate gilt frames. (2)

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Fonsie Mealy Auctioneers
Los 685

19th Century Irish School "Portrait of a Gentleman, with whiskers and black coat," O.O.C., approx. 61cms x 48cms (24" x 19"), oval mount, gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 382

Advertisement: A large Vintage shaped enamel Sign for "Mother Penn All Pennsylvania Motor Oil - dryer Clark and dryer oil company" with portrait top, pierced approx. 61cms x 91cms (24" x 36") as a lot, w.a.f. (1)

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Fonsie Mealy Auctioneers
Los 655

19th Century Irish School "William Irwin of Mount Irwin," watercolour, Portrait of a Gentleman seated by table with grey hair, with vista over shoulder and town in distance, approx. 19cms x 16cms (7 1/2" x 6 1/4") in contemporary gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 957

19th Century Irish School "Susan Norman," pastel, side profile Portrait of a young Lady with high neck dress, in gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 603

19th Century Irish School "Half length Portrait of a Gentleman seated with short grey hair and side locks, wearing mustard coloured waistcoat, and holding silver box in right hand, (some damage and repair), O.O.C., approx. 91cms x 74cms (36" x 29"). (1)

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Fonsie Mealy Auctioneers
Los 606

William Spell, 19th Century English School "Portrait of a Gentleman seated in black suit, holding a silver topped cane," O.O.C., with plaque identifying the sitter as "Mother Brown," approx. 76cms x 61cms (30" x 24") in contemporary gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 610

18th Century Irish School "Portrait of a Gentleman, wearing long grey wig, sporting red cloak," O.O.C., approx. 76cms x 64cms (30" x 25") in ornate gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 704

18th Century Irish School "Portrait of a Young Gentleman with short brown hair wearing black coat and neck scarf," O.O.C., approx. 76cms x 61cms (30" x 24"), in contemporary ornate gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 608

Attributed to Gilbert Stuart, American (1755-1828) Half-length "Portrait of an elegant Young Girl with decorative blue and silk wide brimmed hat, wearing a black shawl, landscape in distance," approx. 61cms x 46cms (24" x 18") in ornate contemporary gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 609

James Butler Brennan, RHA (1825-1889) "Thomas Marpole," O.O.C., Portrait of a bearded Gentleman arms folded, with building interior in background, signed lower right, approx. 92cms x 70cms (36" x 27 1/2") later gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 661

Garrett Morphy, Irish (1650-1716) "Patrick Sarsfield," O.O.P., head and shoulder Portrait depicting the General in Military Attire, approx. 36cms x 28cms (14" x 11"), in gilt frame with label. (1)

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Fonsie Mealy Auctioneers
Los 742

In the Manner of Kenneth Macleay, R.S.A. (1802-1878) "Portrait of a Gentleman and Dog (member of the Shawyer Family)," O.O.C., depicting a dapper man wearing long coat leaning against a rock with top hat on ground, leaning out to tap his hound resting at his feet, in an extensive landscape, approx. 102cms x 71cms (40" x 28") unframed. (1)

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Fonsie Mealy Auctioneers
Los 818

Circle of George Morland (1763-1804) “Dasher and Slasher, Famous Hounds of Duke of Grafton Pack”, a pair, O.O.C., each approx. 99cms high x 125cms wide (39" x 49"). (2) According to an original label on the back, these two engaging canvases, by ‘Morland’, depict foxhounds of the Duke of Grafton Pack, a long-established hunt that still thrives in Northamptonshire. In the first painting, the hound is shown standing on a rocky ledge, with a master of hounds standing below. Wearing a black riding helmet, white cravat and red jacket, the master has longish brown hair and holds a whip in his gloved hand. The hound stands on all four legs, head up, as if sniffing the air for a quarry. In the background is a Scots Pine tree, silhouetted against a cloudy sky. The master’s face is slightly asymmetrical, and he has a determined expression, which lends the portrait a compelling quality. An accomplished artist, Morland was also a noted dandy, who delighted in associating with jockeys, punks and pugilists, and it is possible that the figure of the master is a portrait of him. Some aspects of the paintwork are slightly naif, indicating that this is a copy after an original. In terms of identifying the artist, while an old label attributes the work to ‘Morland’, the style is more in keeping with the work of George Stubbs. It has also been suggested that it maybe by a little-known painter named John Everard. In the second portrait, a huntsman is portrayed, again on the same level as the foxhound. Dressed in black helmet and red jacket, the huntsman is behind the hound, resting his hand on the animal’s back. The hound has its nose raised and tail curled, ready to spring into action. Again there is a tree in the background—an oak this time--and a cloudy sky, tinged with pink. A more appealing portrait than the first, huntsman and hound are portrayed in a closer, friendly pose. The man holds a hunting horn, and has a cord, tied in a bow, around his leg. The hounds in the portraits have the attributes of the best hunters: good shoulders, straight legs and strong backs. Based at Wakefield in Northamptonshire, the Grafton Hunt is named after its founder, the 2nd Duke of Grafton, who commissioned William Kent to design Wakefield house and gardens. Another family seat, Euston Hall, some eighteen miles from Newmarket in Suffolk, home to the 12th Duke, remains a centre for horse racing. The house and grounds at Euston were embellished by John Evelyn, and Sir Samuel Morland, the latter providing an engine to raise water to supply the fountains and a corn mill. Born in 1763, the painter George Morland is said to have been a descendant of Samuel Morland. The 2nd Duke commissioned William Kent to build a banqueting house at Euston, while the head gardener, ‘Capability’ Brown, added ornamental lakes. The 3rd Duke, Augustus Henry Fitzroy (1735-1811), was an avid huntsman, while his wife was an even more avid gambler. When he took up with a mistress, Fitzroy’s private life became a public joke, as retailed in letters by “Junius”. An associate of William Pitt, Fitzroy had a disastrous political career; during his term as prime minister, he alienated New England colonists, and set the stage for the American War of Independence. He was also notorious for absenting himself from a Cabinet meeting on Ireland, so as not to miss a race at Newmarket, where a horse of his was running. He resigned as prime minister in 1770, aged 34. The Grafton Hunt was continued by his successors, and, apart from a period between 1842 and 1861 when the hunt was in the hands of a relative, Lord Southampton, the pack name has remained unchanged to the present day. Nowadays it is owned by trustees, but the bloodlines of the present pack can be traced back to the original hounds, including Dasher and Slasher, the dogs depicted in this pair of portraits.

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Fonsie Mealy Auctioneers
Los 832

19th Century Irish School "Portrait of a Gentleman with black bow tie, and black jacket holding a book in left hand," 75cms x 63cms (29 1/2" x 25"); together with another Irish "Portrait of a Gentleman with side locks and red waist coat and black jacket," 75cms x 63cms (29 1/2" x 25") in conforming frames, a pair. (2)

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Fonsie Mealy Auctioneers
Los 761

Attributed to Stephen Catterson Smith (1806-1872) Members of the Bourke Family,  "Gentleman standing and leaning in an interior setting," together with his companion a "Portrait of an elegant young Lady wearing a low cut embroidered black dress and trim, with spaniel seated and a romantic landscape view of the Sugar Loaf Mountain, Co. Wicklow" approx. 127cms x 102cms (50" x 40"), in matching contemporary gilt frames. (2)

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Fonsie Mealy Auctioneers
Los 500

19th Century Scottish School "Portrait of a Gentleman, Daniel Matheson Esq," O.O.C., 23" x 19 1/2" (59cms x 49cms), in gilt frame, together with a silver plated Presentation Tray from Customers and Bank and Private Friends - Lockerbie (Commercial Bank) with etched design. (2)

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Fonsie Mealy Auctioneers
Los 670

William Wissing, Dutch (1656-1687) "Queen Mary the Second of England (1662-1691) when Princess of Orange," O.O.C., half length Portrait of Queen Mary seated wearing low cut blue dress with ornate lace and beads, surrounded by red robes, over her right shoulder depicting a romantic landscape with mausoleum and flowers, approx. 120cms x 97cms (47" x 38"). (1) Provenance: From the Collection of Sir Chester Beatty to the present vendor.

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Fonsie Mealy Auctioneers
Los 814

Herman Moerkerk, Dutch (1879-1949) "Portrait of a seated Gentleman with grey hair and bow tie," its companion "Seated Lady with glasses and hands crossed," a pair, O.O.C., both signed  lower left, approx. 78cms x 57cms (31" x 22 1/2") matching gilt frames. (2)

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Fonsie Mealy Auctioneers
Los 605

19th Century Irish or British School "Old Testament Prophet, c. 1875-85,"  O.O.C., 88cms high x 77.5cms wide (34 1/2" x 26 1/2"). (1) Bears fragmentary exhibition label verso, “Was . . by . . No. of ticket . . Ormond  - Stewart - President  [Tu?]cker - Hon Sec”  Against a dark background, with hands clasped and wearing Biblical robes, a bearded grey-haired man is depicted half-length, his right arm leaning on a rock or ledge.  Although untitled, the painting is likely to be an imagined portrait of an Old Testament Prophet, probably an assigned task for a student at art school. The sitter, possibly a professional life model, is depicted looking upwards, with a grave expression. However, because of the painting’s accomplished Realist style, the ‘prophet’ could well be equally at home in Dublin’s inner city as in the Sinai desert. Given its Irish provenance, the painting, which dates probably from around 1880, may be a diploma work for the Metropolitan School of Art, the Crawford School in Cork, or for the schools of the Royal Hibernian Academy. It is well-painted, and could be an early work by an artist such as Harry Scully, Henry Thaddeus Jones, Sarah Purser, or perhaps William Orpen himself. A fragmentary label on the frame indicates that the painting was at one point included in a group exhibition; this was likely in Dublin, Cork or Belfast. Dr. Peter Murray, 2024

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Fonsie Mealy Auctioneers
Los 760

19th Century English School "Portrait of two Young Girls," O.O.C., attractive and charming subject of two sisters in matching grey dresses with curly blond hair, one seated holding a doll, the other standing with basket of flowers, in a classical setting, approx. 152cms x 127cms (60" x 50") in gilt frame. (1)

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Fonsie Mealy Auctioneers
Los 705

19th Century Irish School "Portrait of a Gentleman with grey hair wearing black suit and cravat," O.O.C., approx. 76cms x 61cms (30" x 24"), in gilt fame. (1)

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Fonsie Mealy Auctioneers
Los 413

Stephen Smith XX-XXI "Istabraq Portrait of a Champion," Limited Edn., coloured print No. 60 / 650, signed by Aidan O'Brien (Trainer) and Charlie Swan (Jockey) approx. 60cms x 48cms (23 1/2" x 19"). (1)

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C & T Auctioneers and Valuers Ltd - Live
Los 1

Victorian Group of 5 Miniature Medals Attributed to Admiral Edward Winterton Turnour, Whose Uncle was the 3rd Earl Winterton, miniature medals – China Medal 1842 with clasps China 1842 and Fatshan 1857, Baltic Medal, Crimea Medal with clasp Sebastopol, Turkish Order of the Medjidieh, Turkish Crimea Medal, Sardinian type, medals mounted on white metal ribbon buckle bar and contained in a small, sealed Spink & Son glazed display case, with a name plate “ADMIRAL EDWARD WINTERTON TURNOUR C.B.” Medals not removed for checking. Accompanied by original cabinet photograph of the recipient in uniform wearing his full-sized medals (including the Commander of the Bath (Military)) and an A4 sized full length silhouette portrait. Born in 1821 he was the 3rd son of the Honourable and Reverand Adolphus Augustus Turnour whose brother, Edward, was the 3rd Earl of Winterton. He joined the Navy on 1st March 1843, his service record indicates on 28th June 1855 he was gazetted for the operations against Mariaupol and Ghiesh and specially promoted to Commander on 29th September 1855. He was also gazetted with high praise for his gallant and zealous conduct in engagements with Chinese war junks on 1st August 1857. Promoted to Captain on 10th August 1857, Rear Admiral on 9th September 1875, Vice Admiral on 9th September 1879 and he retired as an Admiral on 29th April 1885. Made a Companion of the Most Honourable Order of the Bath, London Gazette 20th May 1871. Edward Winterton Turnour died on 6th October 1901 in Paddington, London.

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C & T Auctioneers and Valuers Ltd - Live
Los 433

Axis Croation Order of the Crown of King Zvonimir 1st Class Neck Order with Recipient Photograph, Tombac construction with enamelled surface. Very good condition with light signs of wear. The neck order comes with its original red/white ribbon. With the order a portrait of a German officer with the rank of Oberst, wearing this Croatian Crown order underneath the Romanian crown order. On the reverse of the photo well described in German and dated Christmas 1942.

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C & T Auctioneers and Valuers Ltd - Live
Los 524

WW2 German Wehrpass to Oberstabsintendant Wilhelm Jung with Portrait Photo, Interesting Wehrpass to a higher ranked Luftwaffe officer, Oberstabsintendant, Jung. Veteran and highly decorated up to the EKI during World War 1, Jung took a more administrative roll during the Third Reich. 11 awards listed. During 1938-1945 awarded with both annexation medals, war merit cross 2nd class with swords. Interesting anti-partisan entry in Serbia/Croatia middle of 1944. With discharge papers and a beautiful portrait photo!

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Sloane Street Auctions
Los 286

Attributed to L. S. Lowry (English, 1887-1976) Portrait of a Tramp Signed lower left, 'L. S. L 194(?)' Inscribed top right 'Tramp' Inscribed verso with inventory number, 'NFS 14332' Dimensions: (Frame) 12 in. (H) x 10 in. (W) (Paper) 5.75 in. (H) x 3.5 in. (W)

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Sloane Street Auctions
Los 381

Indian Late 19th Century A portrait of a Mughal courtier standing surrounded by floral decorations Gouache on paper To be sold without reserve Dimensions: (Frame) 15.5 in. (H) x 11.5 in. (W) (Paper) 13 in. (H) x 9 in. (W)

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Sloane Street Auctions
Los 455

A mixed lot, to include a Khmer head, an Egyptian faince bust and a bronze Buddha portrait To be sold without reserve

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Sloane Street Auctions
Los 379

Indian c.1900 A pair of miniature paintings, a portrait of a nobleman and ladies praying to Shiva Lingam To be sold without reserve  Dimensions: [a] (Frame) 14 in. (H) x 11 in. (W) [b] (Frame) 13 in. (H) x 9.5 in. (W)

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