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Preisdatenbank abonnierenAttributed to Sir Peter Lely (1618 - 1680) A portrait of the Duke of Monmouth in a faux cartouche Oil on canvas This portrait of the Duke of Monmouth derives from Lely’s full-length portrait in Garter robes (Duke of Buccleuch collection) painted c.1670, which was engraved three-quarter length by Abraham Blooteling. Provenance: Appleby Castle, Cumbria. Dimensions: (Frame) 37 in. (H) x 32 in. (W) (Canvas) 30 in. (H) x 25 in. (W)
John Wootton (1686 - 1764) The Bloody-Shouldered Arabian Oil on canvas Inscribed below, 'Bred by Lord Oxford in 1755 & Sire of many famous Racers, including the Duke of Bolton's 'Sweepstakes' The Bloody-Shouldered Arabian (a.k.a. Lord Oxford's Bloody-Shouldered Arabian, Bassett's Lord Oxford Bloody-Shouldered Arabian), so-called because of the red markings on his right shoulder, was imported into England at the end of 1719 or early in 1720. It's doubtful the Bloody-Shouldered Arabian ever ran a race, but he was a popular and successful sire in Lord Oxford's stud, held in "high repute." He sired the good chestnut racehorse Sweepstakes, and through a daughter was progenitor of Lord Rockingham's Whistlejacket, made famous by Stubb's portrait. Wootton, who was the pre-eminent painter of sporting subjects in the first half of the 18th century, painted several portraits of the horse, made easily recognisable by his red marking. Property of a Lady Dimensions: (Canvas) 34 in. (H) x 50.75 in. (W) (Frame) 41 in. (H) x 58 in. (W)
Man Ray (American, 1890-1976) Portrait of Ninette, c. 1950 Original photograph Signed lower right on the mount Inscribed 'Pour Barbara: sa Maman. Maman' Ninette Lyon was the daughter of Nadine Effront the celebrated Belgium surrealist sculpture, friend of Dominguez, Max Ernst, Marcel Duchamp, Man Ray, Marie-Laure de Noailles and many others. Nadine had a ‘Salon’ in her Montparnasse apartment where all these friends met on a regular basis. Provenance: Ninette Lyon, Paris; By descent to the previous owner Dimensions: (Frame) 15.5 in. (H) x 12.5 in. (W) (Print) 14.25 in. (H) x 11.25 in. (W)
British Early 18th/19th Century Two drawings [a] A graphite portrait of John Keate (1773 - 1852), Headmaster of Eton College. Indistinctly signed lower right, 'E B ?'. It is said that in 1832 Keate beat more than 80 boys on the same day, and once told some ex-pupils that his only regret was that he had not flogged them more. [b] 18th Century, Figures in a carriage, with a man smoking a pipe Provenance: Leonard Duke collection Dimensions: [a] (Frame) 16 in. (H) x 14.25 in. (W); (Paper) 5 in. (H) x 5.25 in. (W) [b] (Frame) 11.25 in. (H) x 11.25 in. (W); (Paper) 1.5 in. (H) x 2 in. (W)
Henri Gascar (1635 - 1701) A portrait of a young lady, in a landscape with floral accoutrements and sheep and squirrel present Oil on canvas With familial sticker verso, describing the coat of arms of Sir Robert Wilmot the first baronet of Osmaston Hall. Dimensions: (Frame) 57 in. (H) x 47 in. (W) (Canvas) 45 in. (H) x 35 in. (W)
United Kingdom, Royal Mint, Elizabeth II gold proof four coin Sovereign Portrait Collectioncomprising four full sovereigns, 1957, 1982, 1987 and 2004 in capsules with certificate, limited issue of 270, in fitted burr walnut presentation with outer card boxtotal weight approx. 31.92gCondition: Uncirculated
Saxon and Medieval Hammered silver coinscomprising Canute (1016-1035) silver penny, pointed helmet type, John (1199-1216) silver penny, Henry III (1216-1272) two Long Cross silver pennies both from the Brussels hoard, one with mint mark for London moneyer Henri, the other Canterbury moneyer Nicole, Edward I (1272-1307) Long Cross silver penny, mint mark London, Edward III (1327-1377) long cross silver penny, treaty period, York and Henry VI (1422-1461) silver portrait groat, (7)*** RESHOOT *** missing coinvarious Condition: varied
United Kingdom. Royal Mint. Silver proof coins comprising Elizabeth II: 2015 silver proof coin set The Fourth Circulating Coinage Portrait Final Edition and the Fifth Circulating Coinage Portrait First Edition slabbed with certificate in a fitted case with outer card box together with five-coin silver proof £1 coin set formed of 2000 piedfort £1 and 2001, 2002, 2003 and 2004 £1 coins, in a fitted case, 2003 Silver Proof Piedfort 3-coin collection formed of £2, £1 and 50 pence, in a fitted case with certificates and booklets, 2000 silver proof Piedfort 50 pence, 2001 silver proof Piedfort £2 and 2001 silver proof piedfort £1, all in capsules with certifcates in presentation cases (qty)various total weight of silver coins approx. 8.38oztCondition: Uncirculated
United Kingdom. Royal Mint Elizabeth II 2015 gold proof five-coin Sovereign sets Fourth and Fifth Portrait collectioneach set comprising £5, double sovereign, full, half sovereign and quarter sovereign, in capsules, accompanied by certificate numbered 364/500 and 238/350 with booklets, in a walnut presentation cases and outer card boxes, contained in a card box total weight approx. 139.74gCondition: Uncirculated
DAVID WYNNE OBE (1926 – 2014) Awakening Lovers (1996) Carrera marble on a limestone platform base 152cm high, 137cm long, 97cm wide (including platform base)Provenance: The Mall Galleries, London; Private Collection, Co. WicklowBorn into a naval family in Lyndhurst in the New Forest, David Wynne was educated at Stowe school in Buckinghamshire. He joined the Royal Navy as the second world war was in its closing stages and soon after began his degree in Zoology at Cambridge. His tutors, realising that he was not a man for lecture halls, urged him to concentrate on art. Encouraged by sculptors Jacob Epstein and Georg Ehrlich, Wynne, who eschewed a formal art education, began to develop his skills, primarily as a sculptor of animals, and in particular dolphins.He held his first one-man show at the Leicester Galleries in London in 1955, and a second in 1959. In 1961 he was commissioned by London county council (LCC) through the Arts Council, to produce a piece for Crystal Palace park. His monumental Guy the Gorilla, in black fossil marble, was an enormous popular success and his career was made. In Wynne’s career, artistic reputation and social connections worked together harmoniously. Portraits of theatrical and musical knights, from Thomas Beecham to John Gielgud, were joined by a sculpture of equestrian nobility, the Derby-winning racehorse Shergar. Wynne’s contribution to popular culture is said to have included the introduction of the Maharishi Mahesh Yogi to the Beatles, themselves the subjects in 1964 of a striking composition of bronze busts that seem to float above one above another. However it is for his later animal sculptures including Girl With a Dolphin (1973) at Tower Bridge and Boy With a Dolphin (1974), on the Chelsea side of Albert Bridge, that he is best known. Dr Pamela Tudor-Craig, the esteemed art historian, in her introduction to Wynne’s 1997 exhibition at The Mall Galleries described him as a ‘…. master equally in marble or metal. David Wynne creates in both mediums, so in a sense he has two artistic personalities. In bronze he can convey the pounce of a leopard, the quiver of a horse, the fast volley of a tennis player, or the fingerprint of music. All that is swift and fleeting, scarce seen by casual eyes, he catches in molten metal. His bronze heads evoke the breathing essence of the sitters, from the very old to the newborn. Who else could capture the first hints of personality? He is quite simply the best portrait sculptor of his generation. In marble, on the other hand, he discovers the quiet plenitudes at the heart of mystery. In bronze he exults in the dance of life; in marble he reveals his own still depths; for this quicksilver man is a philosopher in stone. In a century when art has been used to express fragmentation, destruction and despair, David Wynne has stood for wholeness, sanity, compassion, and a celebration of all things lovely. Witness his most recent piece, ‘Awakening Lovers’. Does it not come from the country of the human heart?’King Charles has called him “A remarkable man with a remarkable God-given talent for extraordinary sensitive sculptures”. David Wynne’s work has frequently run against the current of contemporary fashion, but it has never failed to appeal to those who have an eye for the beautiful.
Circle of Hugh Douglas Hamilton (circa 1739-1808)Portrait of a Young Ladyhead and shoulders, seated on a chaise longueoil on canvas61cm x 50.5cm Unframed but on stretcher. The painting bears clear issues, including a prominent hole just above the sitter's head (as photographed). Picture surface is stable otherwise, with some craquelure and many smaller abrasions and holes
Green (Valentine) The History and Antiquities of the City and Suburbs of Worcester, London: for the author by W. Bulmer, 1796, 2 volumes, rebacked gilt tooled diced red calf, later title and volume labels, armorial bookplate for Joseph Jones, marbled endpapers and edges, portrait frontispiece, vignette title, 14 plates to volume 1, fold out map to volume 2, vignette frontispiece and 9 plates to volume 1; together with Wild (Charles) An Illustration of the Architecture and Sculpture of the Cathedral Church of Worcester, London: by the author, 1823, large folio, large paper edition, original boards with pasted paper label to front board, twelve engraved plates (3)A Gloucestershire book collectorGreen: later rebacked retaining original boards with spine replaced and new title labels, first few pages of volumes 2 disbound, fold tear to fold out map, scattered foxing throughout, pastedowns with browned edges, boards rubbed and corners bumped.Wild: boards worn with loss and dampstains, text clean with plates foxed
Follower of John Hayls (circa 1600-1679)Portrait of a Gentlemanthought to be the Hon. Roger Widdrington (died 1676)half-length, wearing armour with a white cravatbears inscription 'Hon ble. Roger Widdrington. Temp. Car. 2/Wissing.Pinxt' (on the reverse)oil on canvas76cm x 63cm Framed. The canvas has been relined, and the inscription to the reverse, with its reference to Wissing, will have been added at this later point. Picture surface is stable; although the picture has not been examined under UV, there are nevertheless signs of overpainting that are clear to the naked eye. There is a small, visible abrasion towards the upper left of the canvas.
English School, 18th CenturyPortrait Miniature of Mrs Fitzherberthalf-length, wearing a white dresswatercolour on ivory8.5cm x 6cmwith a second 18th Century ivory portrait miniature depicting a lady wearing a blue and white dress, 7cm x 6cm (2)Ivory registration references: U6VSC3ZC and TZ2AKR87
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![British Early 18th/19th Century Two drawings [a] A graphite portrait of John Keate (1773 - 1852), Headmaster of Eton College.](https://cdn.globalauctionplatform.com/6199be8a-ff46-4253-90f7-b20300d4b0cb/7736c44f-c18c-4a3e-a8b8-b203011270cf/468x382.jpg)
