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283287 Los(e)/Seite
Los 233
VISIT OF KING GEORGE IV TO EDINBURGH. A RARE SCOTTISH COMMEMORATIVE EARTHENWARE MOULDED PORTRAIT PLATE, PRESTONPANS, 1822 painted in enamels and purple lustre with named portrait of KING GEORGE IV, 24cm diam, impressed R & G Gordon and crown++Localised flaking and wear to decoration, staining of the glaze, small old filled flat chip on rim at 7 o'clock, insignificant short hairline crack at 2 o'clock, no recent or professional restoration
Los 516
A BRASS PETZVAL PORTRAIT CAMERA LENS, PERKEN, SON & RAYMENT, HATTON GARDEN LONDON QUICK ACTING PORTRAIT LENS "OPTIMUS" NO.2-B, LATE 19TH C 2 ½ inches diam for use with Waterhouse stops, focusing by rackwork incorporating threaded mount++Hood dented, lacquer worn with only part remaining, glass not cracked or chipped nor noticeably scratched, rackwork working for part of the length before slipping
Los 517
A BRASS PETZVAL PORTRAIT CAMERA LENS, ROSS SPECIAL 6 X 4, C1870 1 ¾ inches diam for use with Waterhouse stops, focusing by rackwork, the flange with three holes for mouNting and a set of four contemporary numbered stops++Excellent original lacquer practically all present apart from small spot in one place and minor scratches from lens hood, front element of lens chipped, rackwork operating smoothly
Los 944
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
Los 1403
English school portrait of a seated woman with a small dog, pastel on paper later laid to canvas, 23.5 x 29.5cm, framed. Together with another of a seated woman in a white gown by the same hand, pastel on paper later laid to canvas, 23.5 x 19.5cm. 'William Biggs late Pearse & Biggs' labels verso, mid 19th century (2).
Los 1418
§ Sherree Valentine Daines, (British, b.1959). Portrait of a young girl looking over a fence, watercolour, signed, 36cm x 28cm. Please note that Artists Resale Right is additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information)..
Los 1460
§ Mara McGregor, portrait of Queen Elizabeth The Queen Mother, oil on canvas, signed, 1986, 125 cms x 100 cms. this painting is a copy made by the artist of the painting executed in 1982 for the Battle of Britain Fighter Association for RAF Nostell PrioryProvenance; this lot is being sold on behalf of the Royal Star and Garter Homes a charity providing the very best nursing and dementia care to veterans and their partners. The Charity was founded in 1916 and moved out of its Richmond-upon-Thames Home in 2014. These items were originally in the Richmond Home. .
Los 7
Riessner, Stellmacher & Kessel Turn Teplitz Amphora Maiden Portrait Pottery Vase. RSTK stamp mark and impressed Amphora mark to base, numbered 663/26. Measures 7-3/4" H x 4-1/2" W. Condition: Rubbing otherwise good condition to very good condition Domestic Shipping: $58.00 Min Est. $400.00 Max Est. $600.00
Los 3071
Esther Cleveland daughter of President Grover Cleveland, four various photographs, one a portrait of her, two of Kirkleatham Hall Redcar the family home, and another of a family group circa 1925 inscribed on reverse Lady Bosanquet (mother of William Sidney Bosanquet) FF Frances Folsom (wife of President Grosvenor Cleveland) ECB Esther Cleveland Bosanquet and three grandchildren of Grover Cleveland Mario, Francie and Pip 9cms x 9.5 cmsProvenance; Collection of US President Grover Cleveland (1837-1908) (in office 1885-9 and 1893-7) and his descendants. He was the only President to serve two non-consecutive terms of office. Including some of his wife's jewellery (Frances Folsom), and silver. Acquired from two of the President's grand-daughters, Marion Frances (Daniel) nee Bosanquet, (1919-2016) and her sister Philippa Ruth (Foot) nee Bosanquet, by bequest and gift. Their mother Esther was the only child born at The White House to a serving American President.
Los 153
English School, 19th Century Portrait of Fraser Newall, head and shoulders, holding a scroll oil on canvas 74 x 61cm (29 x 24in) With motto to the reverse on a label: "Dilicentia Ditat" (Industry enriches). Oil on canvas. The canvas has been lined. The paint layer is in a good condition. The varnish has degraded becoming yellowed, dark and matte. There is a light layer of surface dirt on the front and reverse. There are large areas of loss to the gesso and gilt surface of the frame.
Los 59
John White Abbott (British, 1763–1851) Country house amongst trees, Devon pencil on buff paper 12 x 14cm (5 x 5in) Provenance: From the collection of the late Sir Richard Parsons Other Notes: Born and educated in Exeter, John White Abbott established himself first and foremost as a surgeon and kept his practice throughout his life. He studied art under his friend Francis Towne (1739-1816), but opted not to become a professional artist. He assimilated Towne's style so well that his works are often almost indistinguishable from those of his mentor. Abbott exhibited annually at the Royal Academy between 1795 and 1805, yet he lived the life of a country gentleman and is said never to have sold a picture. As a result, a large proportion of his works have remained in his family's collection. Abbott seldom left his native Devon and, as an amateur landscape artist, mostly specialised in depicting the local scenery of the Exeter region. Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 62, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). A little browning around the edges.
Los 151
Thomas Beach (British, 1738-1806) Portrait of a gentleman in a grey curled wig, white stock and grey jacket, with one hand in his waistcoat, seated, in a feigned oval, possibly a member of the Beach family oil on canvas 74 x 59cm (29 x 23in) Provenance: By direct descent within the family of the artist Frost and Reed labels to the reverse. Oil on canvas which has been lined. The canvas tension is good and the paint layer is stable. There is an area of paint loss in the sitter's jacket. The paint layer is slightly worn in the paint layers. There are areas of retouching in the background, some of which are darkened. The varnish layer is slightly yellowed. In the sitter's face old varnish residues have collected in the canvas texture and darkened, giving a slightly mottled surface. There is some mould and surface dirt on the surface. There is wear to the gilded surface of the frame and a few chips and losses.
Los 155
Circle of Sir John Lavery, RA (Irish, 1856-1941) Portrait of a lady, believed to be Mrs Collins, in a wide-brimmed hat trimmed with roses, wearing a black dress, seated oil on canvas 112 x 87cm (44 x 34in) Oil on canvas which has been lined. The background of the painting has extreme drying cracks which reveal a green paint layer below. These cracks would have formed while the paint layers were drying and are a result of the artist's choice of materials and techniques. Overall the paint layers are stable. The varnish is slightly uneven but acceptable. There are a few losses to the decorative surface of the frame but generally it is in a good condition.
Los 145
Follower of François-Hubert Drouais (French, 1727–1775) Portrait of a lady, head and shoulders, with flowers in her hair, and holding a rose oil on canvas, oval 59 x 48cm (23 x 19in) Other Notes: Drouais was the successor to Nattier as the chief portrait painter at the court of Louis XV. He portrayed most of the leading figures of his age, including the King and his two most famous mistresses, Madame de Pompadour and Madame du Barry. Born in Paris, he was the son of the painter Hubert Drouais (1699-1767), who was famous for his miniature portraits. He was trained by his father and by other well-known painters, including Carle van Loo, Charles-Joseph Natoire and Francois Boucher. He became a member of the Academy in 1758, and exhibited regularly at the Salon from 1755 until his death. Drouais was particularly celebrated for his likenesses of aristocrats dressed in rustic costume, a current fashion, and for his representations of children, often in landscape settings. Oil on canvas which has been lined. The paint layer has areas of loss and flaking. There are localised areas of retouching. The hair has been reinforced. The varnish is slightly matte and discoloured. The painting is too small for the rebate of the frame and sits on the reverse of the frame.
Los 106
Master of San Miniato (active Florence, circa 1460-1480) The Madonna and Child, seated beneath a curtain before an extensive landscape tempera and gold on panel, in an apparently contemporary or near contemporary tabernacle style frame, later repainted and regilded 56 x 37cm (22 x 14in) Provenance: Probably acquired by either a member of the Fownes or Haythorne families in the 19th Century, Thence by family descent to Mrs Winifred S Parsons (nee Haythorne) died in 1977; Anonymous (her Deceased) Sale, Christie's, London, 12th October 1979, lot 50, when withdrawn prior to sale; Thence to her son, Sir Richard Edmund Clement Fownes Parsons (1928-2016), the late owner Other Notes: The Master of San Miniato is named after a group of altarpieces by an as yet unidentified painter in the Church of San Miniato al Monte, Florence. The attribution is due to the late Everett Fahy from photographic images which he was first shown post the 1979 Christie's sale by the late owner and again in 2016. Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the present lot and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Tempera on panel which has been reinforced at the reverse with a wooden cradle. The paint layer has some areas of raised and vulnerable paint, mainly following the vertical woodgrain of the panel. There is a loss at the top edge. There are areas of retouching mainly localised in the Madonna's blue robe. The varnish is very yellowed and thick. There is some wear and retouching to teh sight edge of the frame, otherwise it is in a good condition.The loss top left is an old repair which has flaked and can be repaired. The varnish has yellowed. The painting needs consolidation as there are numerous areas of raised blistering.
Los 111
John Lindsay Lucas (British, 1807-1874) Hagar and Ishmael in the Wilderness signed lower left "John Lucas / Jany. 1846" oil on canvas, in a Rococo frame 140 x 110cm (55 x 43in) Other Notes: Born in London in 1807, John Lindsay Lucas first trained under the mezzotint engraver, Samuel William Reynolds. Following his apprenticeship, he set himself up as a portrait painter and became one of the fashionable painters of his day, notably painting Queen Adelaide, Albert, Prince Consort, the Princess Royal, the Duke of Wellington and William Ewart Gladstone, the Prime Minister, amongst other famous sitters. He exhibited 96 portraits at the Royal Academy between 1828 and his death. Oil on canvas which has been lined. The canvas is in plane. The paint layer is stable. There are drying cracks across the surface, which have formed as the paint has dried, but they are not too disturbing. There are retouchings across the surface but are mainly located in the central figures face, hair and hand. The retouchings are applied quite broadly but are fairly well matched to the original. The varnish is semi-matte, clear and even. The frame is in a good condition.
Los 121
James Smetham (British, 1821–1889) Geese in a landscape signed lower left "J Smetham" oil on canvas 30 x 47cm (12 x 18in) Provenance: Presumably Christie's, 25th July 1975, lot 10 Other Notes: James Smetham was an English Pre-Raphaelite painter and engraver, close to Dante Gabriel Rossetti. Smetham was born in Pateley Bridge, Yorkshire, and attended school in Leeds. He studied at the Royal Academy in 1843 and painted romantic visionary works, generally on a small scale. His work is in the Tate, the National Portrait Gallery, the Ashmolean and the Birmingham Museum and Art Gallery. Stencil number : 314 WW Oil on canvas which has been lined. The painting is stable and secure. There is extensive overpaint across the surface which is well matched to the original. The glazing is very dirty inside and out. One of the glazing spacers has come loose. The decorative surface of the frame is in a good condition.
Los 130
Circle of Edward Pritchett (British, fl. 1828–1864) Scuola di San Rocco, Venice oil on canvas 47 x 59cm (18 x 23in) Provenance: From the collection of the late Sir Richard Parsons Other Notes: Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Old Christie's stencil - AJ 569. Oil on canvas which has been lined. The paint layer is stable and secure. There are retouchings across the lower half of the painting which appear matte. The varnish is very yellowed and uneven. There is some wear and losses to the gilding, The glazing is dirty.
Los 134
§ Frank Reynolds, RI (British, 1876-1953) The Garden of Luggershill, Broadway, Worcestershire signed lower left with initials oil on board 23.50 x 29cm (9 x 11in) Provenance: By family descent from Clement Parsons to the late Sir Richard Parsons Other Notes: The present painting depicts Clement Parsons in his rose garden with his dog "Nibs" looking on. The view is taken from the house which was originally built for Alfred Parsons, R.A. and where Clement Parsons lived between 1920 and 1940. Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 130, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Some dirt under glass. The initials appear to be scratched in.
Los 139
Anglo-Flemish School, 1597 Portrait of William Cecil, 1st Baron Burghley, KG, PC (1520-1598), half length, in black, with a cameo brooch of Queen Elizabeth in a gemset frame on his hat, holding the White Rod of the Lord High Treasurer and wearing the Garter Ribbon inscribed along the top edge "AETA SVAE 76 / 1597" oil on oak panel in a tabernacle frame, 57 x 44 cm (22.5 x 17in); overall size 89 x 74cm (35 x 29in) Provenance: Private collection, Germany Other Notes: William Cecil, who first served the Tudors in the reign of Edward VI, was later to become Queen Elizabeth's most trusted and powerful advisor, courtier and politician. He was Lord High Treasurer from 1572 until his death and built at Burghley, Stamford, Lincolnshire, the largest Tudor mansion and the greatest architecturally to survive until the present day. Oil on panel. The panel is formed from two boards in vertical alignment. The join has been reinforced from the reverse with a strip of canvas. There is a split in the larger board running from the top of the painting to approximately half way down, residues of glue indicate that this has been reinforced at some stage. The paint layer has areas of raised blistering which are vulnerable. There are a few old losses around teh edges of the painting. Old retouchings have discoloured over time. The varnish layer has yellowed and become matte. There is minor wear and a few small losses to the decorative surface of the frame.
Los 140
Adriaen Thomasz. Key (Dutch, c. 1544- after 1589) Portrait of a bearded gentleman in a white ruff oil on panel, in a Dutch frame 35 x 29cm (14 x 11in) Provenance: Private collection, Germany Oil on panel which has been reinforced from the reverse with a wooden cradle. There is evidence of woodworm on the reverse. There is a split running the full length of the panel near the centre and two smaller splits. The paint layer is stable. There is retouching along the splits and at the lower right corner in the black costume. The varnish is clear and even. There are minor splits and wear to the panel.
Los 141
English School, 17th Century Portrait said to be of Sir Oliver Cromwell of Hinchingbrooke (circa 1566-1655), half length, bearded, in a white ruff and green embroidered doublet, wearing the red sash of the Order of the Bath inscribed upper left "AEtat. Suae '84" and upper right "Ano Domi 1647" oil on canvas 74 x 61cm (29 x 24in) Provenance: Hugh Cholmondeley, His deceased sale, Christie's, London, 16th October 1987, lot 109, where acquired by Wilkins & Wilkins of St Christopher's Place, London, W1; Acquired by the present vendor in 1988 for Northborough Manor, Northborough, Cambridgeshire (the home of Oliver Cromwell's daughter, Elizabeth) Other Notes: Sir Oliver Cromwell (c.1566–1655) was an English landowner, lawyer and politician who sat in the House of Commons at various times between 1589 and 1625. Sir Oliver was a staunch supporter of the Royalist cause during the Civil War. He was the uncle of Oliver Cromwell, Lord Protector. Sir Oliver entertained King James I at Hinchingbrooke Castle on 27 April 1603, when the King was travelling south to occupy the English throne. Cromwell's presents to the King included "a cup of gold, goodly horses, deep-mouthed hounds, and divers hawks of excellent wing". Dons from Cambridge University came dressed in scarlet gowns and corner caps to present a Latin oration. It was described as "the greatest feast that had ever been given to a king by a subject". It left Sir Oliver bankrupt - however in gratitude, King James conferred the Order of the Bath upon Cromwell at his Coronation on 24 July 1603. In the present portrait, Sir Oliver is wearing the Order of the Bath - portraits including this from such a date are quite unusual so this in itself makes it an interesting picture. Only one other portrait is known of Sir Oliver, as a younger man aged forty, which is in the Cromwell Museum, Huntingdon (previously at Hinchingbrooke Castle). Old Christie's stencil GP 359. Wilkins and Wilkins, London, frame. Oil on canvas which has been lined. The paint layer is in a good condition overall. There are a few localised areas of craquelure that are slightly raised. The brown background is slightly worn. There is retouching on the sitter's face but very small touches which cover wear and are generally well matched to the original. The inscription has craquelure which can also be seen in the lower paint passages indicating it was applied when the portrait was painted or added early on in the history of the painting, The varnish is clear, semi-matte and even. There is minor wear to the paint on the frame.
Los 142
Studio of Sir Anthony Van Dyck (Flemish, 1599–1641) Portrait of Charles I (1600-1649) half length, in armour, wearing the Order of the Garter with the Great George pendant attached, oil on canvas, 74 x 60 cm (29 x 23in) Provenance: Northborough Manor, Northborough, Cambridgeshire (the home of Oliver Cromwell's daughter)Other Notes: The King wears the Order of the Garter; the Order was of special importance to him and he took a great interest in its rituals and practices. Oil on canvas which has been lined. The paint layer has wrinkled surface in some areas and the thicker flesh paint is cupped. There are reotuchings in the face, background and armour. The varnish is slightly yellowed and uneven, The frame has water staining along the bottom edge but is generally in a good condition.
Los 143
Studio of Robert Walker (British, c. 1610–1658) Portrait of Oliver Cromwell (1599-1658), Lord Protector of England, head and shoulders, wearing armour and the Order of the Bath oil on canvas, in a carved giltwood frame 74 x 62cm (29 x 24in) Provenance: Northborough Manor, Northborough, Cambridgeshire (the home of Oliver Cromwell's daughter) W Boswell of Norwich old label. Oil on canvas which has been lined. The paint layer is in a stable condition. There is a diagonal score in the paint layer near the sitter's mouth. There are areas of retouching in the background and sitter's face. The varnish is clear and glossy with some splashes and accretions. There are small losses to the gilded surface.
Los 144
Studio of Sir Godfrey Kneller (British, 1646-1723) Portrait of Martha Lovelace (1667-1745) later Baroness Wentworth, head and shoulders, in a blue dress and pink cloak oil on canvas, oval 74 x 60cm (29 x 23in)Other Notes: The sitter has been identified as Martha Lovelace, 8th Baroness Wentworth (1667–1745) daughter and heiress of MP and bon viveur John Lovelace, 3rd Baron Lovelace, and the second wife of Henry Johnson, MP. She lived at The Gate House, Blackwall, Middlesex, became 8th Baroness Wentworth and died in 1745. Martha Lovelace was heiress to some of her father’s property in Berkshire. She inherited Water Eaton in Oxfordshire and Toddington in Bedfordshire through her grandmother, Anne Lovelace (7th Baroness Wentworth; 1623–1697), and the Bradenham estate in Buckinghamshire through her maternal grandfather, Sir Edmund Pye, 1st Baronet.An alternative attribution to Antonio Verrio (Italian, 1639-1707) has been suggested. The sitter's father was a patron of Verrio and the artist would have certainly met Martha Lovelace while he painted the walls at her family estate, Ladye Place, Hurley.The dress in the present painting is reminiscent of the one in the portrait of Princess Anne by Kneller, executed at the same time. However, the face may be Verrio’s work, which may have been finished by one of Kneller’s assistants.Condition:Some surface scratches, old gilt frame needs attention. Losses to the frame. A long scuff above the head of the sitter. Some paint losses and scuffing to the left of the sitter along the edge of the frame. Old label to the reverse "Mrs Henry Johnson".
Los 146
French School, 18th Century Portrait of a young boy in blue frogged jacket and white ruff, seated, at a writing table oil on canvas 58 x 48cm (23 x 19in) Oil on canvas. The canvas has been lined and the tension is good. There are numerous areas of retouching across the canvas with some wear and abrasion. Some of the retouchings have become lighter and appear slightly chalky. There is a large loss to the frame at the top.
Los 147
Circle of John Opie, RA (British, 1761-1807) Portrait of a young girl, seated, in a landscape, holding roses oil on canvas 75 x 62cm (29 x 24in) Oil on canvas which has been lined. The paint layer is in a good, stable condition. There are areas of retouching to the child's legs and a few localised touches in the face. The varnish has yellowed and become dull with age. The paint surface is dusty, The frame is missing a small piece of moulding at the bottom edge but is generally in a good condition.
Los 148
Circle of Sir John Medina (British, 1720-1796) Portrait of a lady, seated, in silver dress and gold cloak, three-quarter length oil on canvas, in a period silvered carved wood frame 124 x 100cm (48 x 39in) Oil on canvas which is unlined. There are numerous holes and tears in the canvas and several patches on the reverse. The paintings also has reverse stretcher bar marks, noticeably across the middle of the canvas. There is associated paint loss around the tears but remarkably the paint layer is in a stable condition overall with little evidence of retouching. The varnish is aged and dull. The silvered frame is in a good condition.
Los 149
Circle of Sir Joshua Reynolds, PRA (British, 1723-1792) Portrait of Mrs Bicknell, nee Elizabeth Fox, 1777, seated, resting on one arm, in a pink dress with black lace bolero and white lace sleeves, wearing pearl earrings and a pearl choker tied with a ribbon oil on canvas 92 x 75cm (36 x 29in) Provenance: By descent within the family of the sitter and from a Norfolk country house Oil on canvas, unlined. There are a few holes and tears in the painting with associated paint loss. The canvas tension is slightly slack with drawers at the corners. There are areas of wear and abrasion and areas of retouching across teh paint surface. There are chips and losses to the frame.
Los 150
Attributed to John Alexander (Scottish, 1686-c.1766) Portrait of Patrick Byres of Tonley (1713-1788), half-length, in a red jacket, with a tricorn hat under his arm oil on canvas, in a feigned oval 74 x 61cm (29 x 24in) Provenance: By descent within the family of the sitter Other Notes: Patrick Byres of Tonley, an Irish-born Roman Catholic, whose family settled in Aberdeenshire circa 1716, married in 1733 Janet Moir whose brother Colonel James Moir was one of the most zealous of the Stewarts' adherents. Patrick Byres was a major in the Regiment raised by his brother-in-law but they both fled to France after the Battle of Culloden. Byres was after many years pardoned for his Jacobite support. The rather stylised way in which the sitter's coat was painted seems to be quite characteristic of Alexander's work from this period - see the Portrait of Cosmo George Gordon, the 3rd Duke of Gordon (1720-1752) in the collection of the Scottish National Portrait Gallery. We are grateful to Dr Lucinda Lax for her suggested attribution to John Alexander based on comparison with that of the 3rd Duke of Gordon. Oil on canvas which has been lined. There are losses along the top edge of the painting and in the sitter's hand. There are scuffs and scratches in the paint surface. There are areas of retouching in the red jacket and background. There are also a few retouchings in the sitter's face but these are minimal. The varnish is clear and semi-matte. There is wear and loss to the gilded surface of the frame.
Los 152
Julian Russell Story (American, 1857-1919) Portrait of the Duke de Moro (d.1921) standing, full length, in Court dress before a fireplace, a small dog at his side signed lower right "Julian Story 1889" and inscribed along the top edge "Moro Phillips Long House" and charged with his coat-of-arms and crest issuing from a Ducal coronet" oil on canvas 203 x 115cm (79 x 45in) Provenance: Bequeathed by the sitter to the grandparents of the present owner Exhibited: London, Royal Academy, 1890, 'Moro Phillips, Esq.', Gallery 1, Number 44 Other Notes: Julian Story was an English-born American painter, the son of the American neoclassical sculptor and poet, William Wetmore Story. He spent much of his time abroad, growing up in Rome but pursuing his education at Eton and Brasenose College, Oxford. Upon his graduation in 1879, Story went on to train under the American artist, Frank Duveneck, in Venice. He later moved to Paris, where he studied under Henri Gervex at the Académie Julien. He was well acquainted with John Singer Sargent, an influence which is evident in his brushwork. Travelling throughout his life, he exhibited his award-winning works in Paris, Berlin, San Francisco and Chicago. He painted genre and history paintings, however, he was most sought after as a portraitist by many celebrity clients, including King Edward VII. Following his marriage to the American opera singer Emma Eames, he settled in Philadelphia in 1902. Sakrovolaski Phillippi Moro who was born circa 1812, took part in the Polish revolt against the Russian annexation of their country and then went in to exile, eventually settling in the United States. From an ancient and aristocratic Polish family (who it is believed accompanied Bona Sforza, the sister in law of Lodovico Il Moro, Duke of Milan when she married King Sigismund I of Poland in 1518, remaining there after her death) he is said to have married a Mexican heiress and after her death, with her money, he helped found the city of Galveston in Texas, where he constructed its first substantial building that became known as Phillips Castle. Later he moved to Philadelphia where he increased his already vast fortune through the manufacture of chemical fertilisers, mining and real estate, some of it in Canada. At his death in 1885 his eldest son - the sitter in the present painting - defied his father's wishes and removed his inheritance (allegedly some $15 million) to Europe where he re-assumed the title of Duke Moro of Moro which had supposedly been granted to a forbear in the 16th century. The Duke ended his days in Chichester, dying in 1921 when his nearest male relative rejected inheriting the Dukedom by refusing to give up his American citizenship and move to Europe. The Duke's fortune and property, including this portrait, therefore, went instead to the English grandfather of the present owner of the painting, whom he had effectively adopted. The American blood family however contested the will and went to court and successfully reclaimed the fortune but not the Duke's chattels. The Moro ducal crest which appears in the top left corner of the portrait, is according to Fairbairn ( Book of Crests of the Families of Great Britain and Ireland, illustration 73 of Plate 35 and page 102) on page 444, 'out of a ducal coronet a bear's gamb holding a black mulberry ' (mora & moro is Italian for mulberry). Oil on canvas which is unlined. The canvas tension is slightly slack and stretcher bar marks have formed, notably across the centre of the painting. The paint layer is ain a good, stable condition. There are some age cracks. The varnish is yellowed and dull with age. There is some wear and abrasion to the surface of the gilding.
Los 154
William Carter (British, 1863-1939) Portrait of Lieutenant Maximilian Dudley Digges Dalison of the Scots Guards (1852-1885) signed upper right "William Carter '87" and inscribed with the sitter's name and date of death "20th March 1885" lower right oil on canvas 122 x 98cm (48 x 38in) Provenance: By descent within the family of the sitter Lieutenant Maximilian Dalison served with his regiment from 1871 until he was killed in action at Hasheen in 1885, during the Nile Expedition in the Egyptian campaign. We are grateful to Christopher Bryant for his assistance with this catalogue entry. Oil on canvas which is unlined. The canvas tension is very slack which has led to the vertical and horizontal stretcher bars and severe undulations, notably at the upper left hand edge. The paint layer is in a stable condition, there are a few scuffs and scratches to the surface. At the lower right corner is an areas which looks like abrasion but is actually blanching in the varnish layer, the paint layer below is in tact. The varnish is matte and dull. There is wear and loss to the frame, especially along the lower edge.
Los 156
William Melville (British, fl. 1840-1850) Portrait of a lady in a Indian landscape, holding a Paisley shawl signed to the reverse "Wm Melville Pinxit Simla 1847" oil on canvas 24.50 x 20.50cm (10 x 8in) Other Notes: William Melville made his name as a portrait painter in India in the early 19th Century, specialising in portraits of British officers. He died in Calcutta in 1850. Unlined. Inscribed on the frame to the reverse: 'The Most Hon.ble Arthur Wills Blundell Sandys Trumbull Windsor, / 4th MARQUESS of DOWNSHIRE, K. P., Colonel, S. Down Militia. / b. 6 Augt. 1812 d. 6 Aug 1868'
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