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Los 108
Zacharie Rimbez (French, 19th/early 20th century), a patinated and parcel gilt bronze bust of an Ottoman maiden, circa 1880-1890, with striped headdress and locks of hair flowing across the left shoulder, adorned with jewellery and medallions across a foliate cast garment, the head turned slightly to sinister, on square section tiered base with cartouche detail, 66 cm high CATALOGUE NOTES: This bust by Zacharie Rimbez is a prime example of sculpture in the Orientaliste taste, a romanticising take on Near Eastern artistic styles and subject matter fashionable in nineteenth-century France. Though the cartouche on the base of the present example is not inscribed, other versions of this model bear the name 'Saida', suggesting that this is a portrait bust of a particular person or character. This is very much in line with Rimbez' practice, as he often drew inspiration from Orientalist characters in history and fiction. A notable example of this is his bust of Armida, the Saracen sorceress from Torquato Tasso's Gerusalemme Liberata.A gilt version of the present model was sold at Christie's New York, Orientalist Art, 19 April 2006
Los 40
Vincent Desiré Faure de Broussé (French, 19th century), a patinated bronze model of a standing geisha, last quarter 19th century, the head turned slightly to dexter, with a fan in the raised right hand, an exotic bird perched on the kimono, the circular base inscribed in the maquette with signature, 82 cm high CATALOGUE NOTES: Vincent Desiré Faure de Broussé was born in Paris and apprenticed there with renowned portrait sculptor Jean-Jules Salmson. He is recorded to have exhibited at the Salon from 1876, and was known for creating figural sculpture influenced by examples from the Florentine Renaissance. Though this statue depicts a Japanese-inspired subject, the contrapposto pose of the figure, her serene facial features and naturalistically, heavily draped garment still recall Faure de Broussé's interest in Renaissance sculpture. Related literature: James Mackay, The Dictionary of Sculptors in Bronze, Woodbridge: Antique Collectors' Club, 1992, p. 130 Michael Forrest, Art Bronzes, Atglen, Pennsylvania: Schiffer Publishing, 1988, see specifically chapter four, The Japanese Influence, pp. 225-254
Los 654
20TH C SCHOOL, PORTRAIT OF A YOUNG GIRL, INDISTINCTLY SIGNED AND DATED 95, CHALK, 25 X 29CM, PORTRAITS OF YOUNG LADIES, A PAIR AND ANOTHER, MEZZOTINTS, 39 X 50CM AND SMALLER, HUGH WILLIAMS, THE QUORN HOUNDS, 1998, SIGNED BY THE ARTIST IN PENCIL, AQUATINT, 59 X 39CM, DONALD WOOD, HUNTING SCENES, A PAIR, SIGNED AND DATED 26, PENCIL SKETCHES, 13 X 10CM, G. WILLBOND, VILLAGE CHURCH, SIGNED, OIL ON CANVAS, 29 X 39CM AND ANOTHER
Los 296
BEATLES SOLO PRESS/PROMO PACKS. Approx 10 pieces of Beatles solo ephemera to include: a framed printed metal portrait of John Lennon, three photographic prints of George Harrison taken by the Leicester Mercury, three Ringo Starr press packs, a John Lennon 'Wonsaponatime' press book, a folded John Lennon poster, a selection of promotional items relating to the Lennon Astoria Theatre show, an easel backed card display for John Lennon's self titled release.
Los 259
BEATLES SCRAPBOOKS AND US MEMORABILIA. Collection of US issued memorabilia and two scrapbooks to include: a NEMs Enterprises Beatles scrapbook filled with various cuttings (inc card popup displays, bubblegum cards) and another with press cuttings (inc the Richard Avedon designs), four portrait style card popups and stage backdrop popup, a John Lennon postcard, a set of 20 'Wallet photos' with horoscopes and biographies, an original 1968 fold out poster from the Philadelphia Enquirer, to measure approx 22 x 27".
Los 344
EARLY 20TH CENTURY CONTINENTAL/SCANDANAVIAN SCHOOL, Head and shoulders portrait of a melancholy girl wearing a patterned head scarf and black blouse, oil on canvas, no visible signature to canvas, indistinct writing to stretchers, approximately 57cm x 48cm (condition: canvas has crackled paint in places and some small patches of losses)
Los 203
AFTER SIR PETER LELY (1618-1680) OIL PAINTING ON CANVAS LAID DOWN ON BOARD Portrait of Louise Renee de Keroualle, Duchess of Portsmouth and Aubigny (1649-1734) 30 1/4" X 25 3/4" (77cm x 65.5cm) (Contained in contemporaneous carved giltwood frame. Reduced on all sides this painting is based upon the larger portrait by Lely in the J. Paul Getty Museum
Los 104
ROBERT HUNTER (1715 - 1780)A portrait of Capt. Edward O'Brien, three-quarter length, holding a musket in the uniform of the 52nd Regiment of Foot, standing against a landscape, a line of infantry firing a valley against an advisoryOil on canvas, 126 x 102cm Provenance: Dromoland Castle Auction, December 1962, Main Bedroom, Lot 945, as by Wheatley; Private Collection Edward O’Brien (c.1735 - 1787) was the third son of Sir Edward O’Brien 2nd Baronet of Dromland and Mary Hickman. A portrait of him and titled ‘Master Edward O’Brien’ by Philip Hussey was exhibited with the ‘Irish Portraits 1660 - 1860’ Dublin, London and Belfast 1970, Cat no. 31. His ambition was to be a solider but there was no money to buy a Cornecy of Dragoons until 1759. A riding accident prevented his joining Corps being raised to go to America. He became a Captain in the 122nd Regiment and then exchanged (costing £379 - 3 - 4) into the 52nd Regiment. He married his cousin Charlotte Hickman of Brickhall, Co. Clare.With his easy-going spendthrift nature and love of horses, it is easy to see why he was his father’s favourite son. Although his father had left him Jockey Hall on the Curragh, he was not able to provide for his family and appealed to his more serious brother, Lucius, for help who assigned him a life interest in lands at Leamanagh and organised his return to military service. However, he forbade him from ‘leaving the kingdom’, thereby again preventing him going to America where he thought he could distinguish himself. He died in 1787 with the rank of colonel.
Los 165
A FRENCH 18TH CENTURY GOLD AND TORTOISESHELL MOUNTED SNUFF BOX, of rectangular form, the hinged lid decorated with an oval enamel miniature after Pietro Antonio Rotari, portrait of a young girl wearing a black choker, set on a gold ground profusely chased with foliate scrolls within a laurel band, the interior plain lined. 8.25 x 6 x 2.75cm deep
Los 192
ATTRIBUTED TO JOHN LEWIS (IRISH SCHOOL, 18TH CENTURY)Portrait of Sir John Freke of Castle Freke, Co. CorkOil on canvas, 145.5 x 122cm Provenance: From the Estate of Lady Mary Carbery; Sale, Christie’s, 1921**From the same sale was the signed and dated (1757) conversation piece by Lewis called Sir John Freke, Lady Freke and Mr Jeffries of Blarney (sold Sotheby’s at Slane Castle Lot 423, 26/6/1979). The present lot is likely to be an individual study of the same sitter, perhaps Sir John Redmond Freke M.P. for Cork. John Evans whose mother was Grace Freke inherited from his maternal uncle,founding the family of Evans Freke, whose baronetcy was only created in 1768. The Evans title of Baron Carbery was subsequently inherited by this family.
Los 217
MARIA SPILSBURY TAYLOR (1776 - 1820)Portrait of the Rev. Thomas Kelly of Kellyville Athy, seated in his study, holding a bookOil on canvas, 48 x 36.5cmBorn in 1769 Thomas Kelly was the only son of Judge Thomas Kelly of Kellyville. Having initially intended to follow his father into the law he changed his mind taking holy orders in 1792. Ordained into the Church of England he returned to Ireland where he proved a popular evangelical preacher but soon fell out with Archbishop Fowler of Dublin who forbade him to preach in any church in the Dublin archdiocese. Kelly, in turn, established the Kellyites a fringe Anglican group much like the Plymouth Brethern or the Walkerites. Already a man of independent means, Kelly made an advantageous marriage to Ms Tighe of Rosanna which enabled him to establish meeting houses in Dublin, Athy, Portarlington, Wexford and Waterford. It is presumably through his wife that Rev. Kelly would have encountered Maria Spilsbury Taylor. She executed numerous commissions for the Tighe’s including portraits of various family members both at their home, Rosanna, in Co. Wicklow and their townhouse overlooking St Stephen’s Green in Dublin.Kelly became a prolific publisher of hymns with 765 extant. Many still feature in the standard Church of England and Ireland hymnals. Aged 85, he suffered a stroke while preaching and died the following year.
Los 219
NATHANIEL HONE, (1718-1784)Portrait of William Stewart of Wilmont, BelfastOil on canvas, 76 x 63.5cmProvenance: Harriette Henry (nee Armstrong) of 4 Eaton Rise, Ealing Middlesex, in 1891, the great grand-daughter of Mrs Stewart (according to old label on reverse)These portraits are of members of that circle of landowners of Scottish origin who built up a prosperous linen business in the Lagan Valley. William Stewart (1735-1808) who built Wilmount c.1765 was a younger son of John & Jane Stewart of Ballydrain. These people built restrained and charming houses in the late 18th Century swept aside by the prosperity and poor taste of the 19th Century. Ballydrain, now the unlovely clubhouse of the Malone Golf Club, and Wilmont in Belfast the centrepiece of the Sir Thomas and Lady Dixon Park with its renowned rose garden.
Los 220
NATHANIEL HONE, (1718-1784)Portrait of Anna Stewart (nee Garner), of Lisburn Co. Down Second Wife of William Stewart of WilmontOil on canvas, 76 x 63.5 cmProvenance: Harriette Henry (nee Armstrong) of, 4 Eaton Rise, Ealing, Middlesex, 1891, the great grand-daughter of Mrs Stewart (according to old label on reverse)These portraits are of members of that circle of landowners of Scottish origin who built up a prosperous linen business in the Lagan Valley. William Stewart (1735-1808) who built Wilmount c.1765 was a younger son of John & Jane Stewart of Ballydrain. These people built restrained and charming houses in the late 18th Century swept aside by the prosperity and poor taste of the 19th Century. Ballydrain, now the unlovely clubhouse of the Malone Golf Club, and Wilmont in Belfast the centrepiece of the Sir Thomas and Lady Dixon Park with its renowned rose garden.
Los 319
ATTRIBUTED TO JONATHAN RICHARDSON (c.1725)Sir Robert Eyre Kt. (1666 - 1735)Oil on canvas, 121 x 100cmSir Robert Eyre PC (1666 - 28 December 1735) was an English lawyer, who served as Solicitor-General, then as a judge and ultimately as Chief Justice of the Common Pleas.He served as Solicitor-General from 1708 to 1710. In 1710, he was appointed judge of the Court of Queen’s Bench. In 1718, he was punished for holding a differing opinion in relation to the educa- tion of the Prince of Wales children, which was at odds with that of King, an opinion that cost him the promotion to Lord Chief Justice of King’s Bench. However, he regained favour and was appointed Lord Chief Baron of the Exchequer in 1723 and then as Chief Justice of the Common Pleas in 1725, a post in which he served until his death. This present work is based on the portrait of Sir Robert Eyre by the court painter John Riley (1646 - 1691), which is currently housed in the Salisbury Guildhall. Most of Riley’s more conventional portraits are of male sitters and their unassuming sincerity of presentation exemplifies a typically English approach to portraiture that he passed on to his pupil Jonathan Richardson the Elder (1667 - 1745). As in this present example, which borrows much from the original work, Eyre is depicted in traditional form, seated and dressed in the grandeur of his ceremonial robes, silk glove held in one hand, wear- ing his Lord Mayor’s gold chain of office. Each element of his dress, his imposing figure that occupies the majority of the picture plane, immediately calls our attention to the importance and authority of his political status.
Los 339
JOHN FRANCIS (1780 - 1861)Queen Victoria wearing the Garter Star White Carrera marble raised on a circular socle. 70cm high x 50cm wideSigned John Francis was born in Lincolnshire in 1780, and brought up in a farming family, but showing some talent for the arts, was advised by friends to settle in London, where he became a pupil of Sir Francis Leggatt Chantrey. He first exhibited at the Royal Academy in 1820 a bust of T. W. Coke, esq., and another of Captain Sir W. Bolton, R.N. In 1822 he sent to the same institution a bust of Miss Horatia Nelson. In 1844 he executed by command of her majesty a marble bust of his Royal Highness Prince Albert. A bust of Queen Victoria is now in the hall of the Reform Club while another is in the Royal Collection. The present work depicts the young Queen in a simple gown, and wearing the Garter Star. Among his other works are busts of the Duke and Duchess of Norfolk (1844); bust in bronze of the Duke of Sussex (1847); marble bust of Lord John Russell, now in the National Portrait Gallery (1848); a bronze medal of Eos, a favourite greyhound of Prince Albert (1848); bust of the Duke of Wellington, now in the National Portrait Gallery (1852); and a cabinet bust of the Right Hon. Earl of Aberdeen (1856). Francis died in London on 30 August 1861.
Los 394
***PLEASE NOTE THIS LOT ONLY CONTAINS ONE MINIATURE PORTRAIT NOT AS PER CATALOGUE***STYLE OF FREDERICK BUCK (1771-c.1839)Portrait of a Gentleman with White Hair and Silk Cravat, Three Quarter LengthWatercolour and bodycolour on ivory, 6.5 x 6cmPLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORYBidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory, or any goods containing ivory. Therefore Adams advises prospective purchasers who intend to ship this lot to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.
Los 577
CHARLES CROMWELL INGHAM (1797-1863)Portrait of Miss ChigneauOil on canvas, 54 x 46cm (21¼ x 18'')Signed and dated 1813Charles Cromwell Ingham (1796-1863) studied under the highly regarded Dublin portraitist William Cuming PRHA, having completed his studies at the Dublin Society Schools where he won prizes in 1810 and 1811. Crookshank and Glin noted that under Cuming’s tutelage, Ingham exhibited portraits and genre works at the Hawkins Street Gallery, winning the significant prize of £34.2.6 from the Irish Institution. However in 1816 his family emigrated to the United States and settled in New York where he made his career.His unique and highly finished style became hugely popular with the fashionable set in the city, the quality of his work and his interest in fine details lent a Parisian feel to his portraits and had a strong look of Ingres. He exhibited over 250 paintings in New York between 1816 and 1863. Ingham was a founding member of the National Academy of Design in 1826, also a founding member and first President of the Artist’s Sketch Club in 1829 and of the Century Association in 1847, New York’s most famous and intellectual gentleman’s club.Two of his works are listed as having been exhibited at the Royal Hibernian Academy, in 1828 a portrait of R. Cuming, and in 1842, a Portrait of a Lady. His portrait of Amelia Palmer, c.1829 is in the permanent collection of The Metropolitan Museum of Art in New York.
Los 106
JAZZ LPs - BOP/BEBOP/SWING. Impressive and pristine collection of around 170 x LPs. Artists/titles include Bud Powell inc. The Genius Of, A Portrait Of and Ups'N Downs, Various - Bluebird Blues (RCA RD-7786), Women Of The Blue (RCA RD 7840), Willie Lewis And His Entertainers, Bill Coleman In Paris (The Jazz Makers series vol 1 and 2), Rex Stewart - Rex In Paris, Howard Rumsey's Lighthouse All Stars, Mel Torme, George Wallington - Our Delight, Charlie Christian, Buster Bailey, James P Johnson, Albert Ammons, Tab Smith, Buddy Tate, Coleman Hawkins, Slim Gaillard, Jack McVea, Don Byas, Charlie Parker - The Savoy Recordings, The Changin Faces Of Harlem, Don Redman, Louis Armstrong, Chick Webb and Jack Teagarden. Condition is primarily Ex+.
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283284 Los(e)/Seite