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283284 Los(e)/Seite
Los 166
A GOOD PAIR OF JAPANESE MEIJI PERIOD IVORY TUSK VASES, together with fitted lacquered wood stands, each well carved with an oval portrait cartouche, each reverse with a scene of animated frogs, one vase engraved with an artist’s signature and kakihan, 6.9in high overall, the ivory vases themselves 5.25in high.
Los 464
Follower of Marcus Gheeraerts the Younger (Flemish, 1561-1636) Portrait of a lady, three quarter length standing, in a black and gold dress, holding multiple ropes of gold chain, a pearl belt, little gem set decorative ring and an enamel mourning locket oil on oak panel 130 x 84cm (51 x 33in) Provenance: From a Suffolk country house Oil on panel. The panel is formed from three wide boards in vertical alignment, the wood grain would suggest English oak has been used. The panel joins have been mended at various times in the past, the warp of the boards is uneven and will need some attention. There are also splits in the boards. There are numerous holes at the upper edge of the panel, from the reverse. The paint layers are very thinly applied and have suffered from wear and abrasion. There are some raised lines of paint following the vertical grain of the panel and blistering with paint loss in the lower half of the portrait. There are probably more than one campaign of restoration to the paint layer which has suffered loss in the past. Areas of the gold chain have been reconstructed and the background paint is very worn. There are a few chips and losses to the frame.
Los 465
French School, 17th Century Portrait of an unknown lady, head and shoulders, in a dress of blue, grey and gold, wearing pearls oil on canvas 59 x 49cm (23 x 19in) Provenance: From the Countess of Craven's Collection (old label refers); (Possibly) William, Earls of Craven; William, Baron Craven, cousin to the Earl of Craven and by descent at Combe Abbey to Cornelia, Countess of Craven; sold by her executors, Sotheby's, 27 November 1968; Arthur F Hill; The Old House, Great Chesterford, Essex, and by descent Literature: Catalogue of the Pictures at Combe Abbey, Warwickshire: Sotheby & Co., London,1968, Craven Portraits and Sporting Pictures (sale catalogue) Other Notes: An old book plate to the reverse reads: Arthur F Hill, FSA (1860-1939) "Alive I was a silent thing, but dead divinest themes I sing !". Arthur Frederick Hill was an instrument builder by 1905 and he was a collector of musical books. Lined and cleaned. There is an area of rub along the top edge. Oil on canvas which has been lined. There are a few raised areas of paint. In the flesh and dress is some pitting to the paint surface giving a slightly spotty appearance. There are localised retouchings. The varnish is matte but even. There is some loss to the decorative surface of the frame. The frame is inscribed "Mrs Pemberton" but this would appear to be erroneous and the frame has probbaly been changed at some point.
Los 467
English School Portrait of Sir Giles Alington (1572-1638), in black with a white ruff, holding a letter charged with Coat-of-Arms upper left "Non Pour Haine" and upper right "1635 / AE 54" oil on panel 76 x 58cm (30 x 23in) Literature: "Visitations of Cambridge" 1897, The Harleian Society (for the Coat-of-Arms) Other Notes: The Arms are those of Alington of Horseheath quartering those of Argentine, Cheney and Gardiner. Sir Giles Alington was christened on 18 September 1572 at Horseheath, Cambridgeshire, the son of Giles Alington and Margaret Spencer. He married firstly Lady Dorothy Cecil, daughter of Thomas Cecil, 1st Earl of Exeter and Dorothy Neville, and secondly Dorothy Dalton, daughter of Michael Dalton and Mary Elrington, on 2 December 1630 at West Wratting Church, Cambridgeshire. In 1631 he was censured and fined £32,000 in the Star Chamber for marrying his niece by the half-blood, and did penance. On 7 January 1633 the offenders had "pardon for incest, provided they shall not hereafter cohabit." Sir Giles Alington was buried at Horseheath on 23 December 1638. We are grateful to Chloe Cockerill for her assistance with the catalogue entry. Old Sotheby's storage label to the reverse for Mrs Alington of the Riviera Hotel, Sandgate, Folkestone, Kent Some old mould to the back of the panel - panel has two vertical cracks. Oil on panel. The panel is constructed from three oak boards in vertical alignment. The panel has a slightly uneven warp and there is extensive mould growth on the reverse. There are localised areas of raised and flaking paint with a few small losses, these areas are very vulnerable. There are scattered retouchings across the surface. The varnish is clear, even and semi-matte. The carved wooden frame has some wear and loss to the gilded surface.Our restorer would recommend cleaning off the mould and stabilising the flaking areas of paint before it travels.
Los 468
English School Portrait of Henry VIII (1509-1547), head and shoulders, wearing an ermine-trimmed coat, gold chain and feathered hat oil on panel 24 x 20cm (9 x 8in) Provenance: From a Suffolk country house. Other Notes: The present portrait is after Hans Holbein's original. A later copy. Remains of an old label - "John Birtle, ... Square, London, 189 .." Oil on wooden panel. The support and paint layers are in a good, stable condition. The varnish has a smeary surface with a few drip marks at the upper right corner.
Los 469
Alma K Soutter after Hans Holbein Portrait of Christina of Denmark, Duchess of Milan, in mourning oil on canvas 180 x 82cm (70 x 32in) Provenance: The Walden School, Saffron Walden, Essex Other Notes: The present painting is after the original in the National Gallery, London, acquired in 1911, when sold by the Duke of Norfolk. This is a life size copy. Christina of Denmark (1521 – 1590) was a Danish princess, the younger surviving daughter of King Christian II of Denmark and Norway and Isabella of Austria. She was described as a great beauty, intelligent and lively, and enjoyed hunting and riding. On 23 September 1533 in Brussels, Christina was married by proxy to Francesco II Sforza, Duke of Milan - he died in 1535 and she was left a widow at the age of thirteen. The German painter Hans Holbein was commissioned to paint portraits of noblewomen eligible to become the English Queen. On 10 March 1538, Holbein arrived in Brussels with the diplomat Philip Hoby to meet Christina. Hoby arranged with Benedict, the Master of Christina's household, for a sitting the next day. Christina sat for the portrait for three hours wearing mourning dress. Christina, then only sixteen years old, made no secret of her opposition to marrying the English King after Catherine of Aragon and Anne Boleyn. Under glass whcih is quite dirty. Some craquelure. Christine of Denmark after Holbein by A Soutter Oil on canvas which appears to be unlined. The canvas is slack on the stretcher and has undulations and a corner draws. The paint layer has developed extensive drying cracks which would have formed as the paint layer dried. In some areas the lighter ground layers are visible below. The varnish layer is yellowed and slightly uneven. There are several chips and losses to the wooden frame and the glazing is very dirty both inside and out.
Los 470
English Provincial School, 17th Century Portrait of Sir Henry Frankland, circa 1636 inscribed along the top and lower right "Sir Henry Frankland of Thirkleby, Kt. Cr. 1636, eldest son of William Frankland (II) of Thirkleby, b.1608-d.1673" oil on canvas 106 x 80cm (41 x 31in) Provenance: The Old House, Great Chesterford, Essex, and by descent Other Notes: Sir Henry Frankland (1608-1673) was the son of the MP for Thirsk, William Frankland. His father inherited the Great Thirkleby Estate in Yorkshire, south east of Thirsk, from his uncle in 1606 and subsequently built a family house in 1623. The family remained in that house until 1790 when they built a new one on the estate. Thirkleby Hall was later demolished after its failure to sell at auction in 1927. The sitter's son, William Frankland, was created a Baronet by Charles II, a title that has remained to the present day although it is now a subsidiary of the Barony of Zouche, held by Sir James Frankland. Lined. A little dirty.Oil on canvas which has been lined. The original paint layers are thin in many areas and as a result are very worn with the tops of the canvas weave visible in areas. As a result the painting has large passages of overpaint, notably in the background and sitter's face. There is old paint loss around the edges of the canvas which has been retouched. The varnish is semi-matte and even, there is a light layer of surface dust. The gilding on the frame is worn in areas.
Los 471
English School Portrait of Queen Mary I (1516-1558) in a painted oval oil on canvas 62 x 53cm (24 x 21in) Provenance: The Old House, Great Chesterford, Essex, and by descent Other Notes: The present painting is based on an original by Antonio Mor in the Prado, Madrid. The Queen wears a jewel given to her by Philip of Spain in the year of their marriage. The painting is executed in oil on a wooden panel support. The original panel was made from three boards in vertical alignment. The original dimensions of the panel have been changed with additional strips of wood added to the top, bottom and left hand sides. It is unclear how early these additions are but the oval and lettering would have been painted after these additions. A wooden cradle has been added to the reverse of the panel probably in the 19th century to keep the panel flat. The paint layer is generally stable and secure. Movement along the panel joins has created raised areas of paint. There are small dents to the paint in the lower right corner. The painting has an old varnish, on top of which are numerous retouchings - along the panel joins and also reinforcing the pattern on the black dress. It is unclear what the extent of earlier retouchings are which may lie below the varnish. The surface finish is clear and semi-matte. There are a few chips and losses to the gilding of the frame
Los 472
After Sir Anthony Van Dyck (Flemish, 1599-1641) An equestrian portrait of Charles I with M. de Saint Antoine oil on canvas 124 x 97cm (48 x 38in) Provenance: Private collection, London. Other Notes: Sir Anthony Van Dyck's prime version of 1633 is in the Royal Collection. Another copy dating from 1635 is at Highclere Castle, Hampshire. Quite dirty and with some scuffing along the top edge.
Los 474
Attributed to Sir Peter Lely (Soest 1618 - 1680 London) Portrait of Susanna, daughter of Sir Thomas Fowle and wife of Jonathan Cope Esq., in a blue and cream dress, three-quarter length, seated, in front of a sculpture of cherubs and a draped curtain oil on canvas, inscribed lower right, 125 x 98cm (49 x 38in) Provenance: From an Oxfordshire country houseCondition: Oil on canvas which has been lined. There appears to be an addition to the canvas at the upper edge. The paint layer is slightly cupped in areas with some raised edges to the age cracks, but overall it is stable and secure. There are a few scattered, old fills with a slightly uneven texture. Retouchings are localised and reasonably well matched to the original. The varnish is clear and semi-matte. There is some wear and loss to the gilding of the frame.
Los 475
After Hyacinthe Rigaud (French, 1659-1743) Portrait of Pierre Mignard, the artist, holding a paint brush and a book inscribed "P Mignard" inscribed "P Mignard" on the book the sitter is holding oil on canvas, in a black gilded frame 26 x 22cm (10 x 9in) The present portrait is a reduced copy in reverse after the later engraving by Georges Frederic Schmidt of the original Rigaud portrait in the Palace of Versailles, France. Oil on a wooden panel support. The paint layer has localised areas of raised, unstable paint with a few losses. There are a few scattered retouchings. The varnish is yellowed. The frame is in a good condition.
Los 476
Circle of Henry Pickering (British, 1720-1771) Portrait of Lady Jackson, nee Mary Anne Ward (1725-1754), bust length, in a brown and pale blue silk dress, pearl necklace and black feathered hat oil on canvas in a gilt composition frame with gadrooned edge 62 x 54cm (24 x 21in) Provenance: By descent within the family of the sitter from a Norfolk country house Other Notes: Mary Anne Ward of Gisborough, North Yorkshire, was the first wife of Sir George Jackson, the Secretary of the Admiralty in the late 18th Century and a main patron of Captain Cook. They had three daughters. The youngest, Elizabeth Jackson, was baptised at St Olave, Hart Street, London on 3rd May 1754. She married Thomas Berney of Norfolk at St Margaret's Westminster on 3rd May 1774. Oil on canvas which has been lined. The paint layer has some drying defects such as drying cracks in the sleeves of the dress and uneven texture on the sitter's chest. There is a raised area of old fill in the upper left corner. The painting has localised passages of retouching which are acceptable. The varnish is very matte and not adequately saturating the paint layer. The gilding on the frame is slightly worn.
Los 477
English School, circa 1675 Portrait of a young boy, half-length, in a white stock and brown frogged waistcoat, holding a goldfinch oil on canvas 63 x 48cm (25 x 19in) Provenance: From a Suffolk country house Other Notes: The goldfinch can be an allusion to Christ. Lined. Dirty and with some scuffing. Oil on a coarse weave canvas which has been lined. The paint layer is worn and abraded in many areas. There are a few scattered losses in the background. The varnish layer is very thin and not adequately saturating the paint layers. There are a few chips and losses to the frame.
Los 478
Central European School, mid 17th Century Portrait of Eliaz Gerdeler (1630-1693), Prelate of Nuremberg, three-quarter length, in a black coat trimmed with red ribbons and white lace stock inscribed on the reverse with the sitter's name oil on copper, in a black and gilt Dutch frame 24 x 19cm (9 x 7in) Provenance: From the collection of Richard Crowther Copper is a little pitted.
Los 479
English Provincial School, early 18th Century Portrait of Dr Barton, bust length, in scarlet robes and white stock, in a painted oval oil on canvas, in a carved giltwood frame 73 x 60cm (28 x 23in) Provenance: By descent within the family of the sitter from a Norfolk country house Perhaps a little surface dirt. Oil on canvas which has been lined. The paint layer is stable, there is a paint loss in the lower right quadrant. The painting has age cracks which have darkened, this is particularly noticeable in the sitter's face. The varnish is matte and dirty. The frame is in a stable condition.
Los 480
English School, 1811 Portrait of Thoroton Pocklington (1755-1813), head and shoulders, in yellow waistcoat, buff jacket and white stock, and his wife, Ann, in mob cap, gold shawl and striped dress oil on canvas (2) 75 x 62cm (29 x 24in) Other Notes: Thoroton Pocklington wore irons on his legs as a child and grew tall - he studied Theology at college but due to the weakness in his legs he could not stand for long, so he took to the healthier life of farming and mobility on horseback. The Pocklingtons were a Nottinghamshire family, going back to 1150, with two ancestors High Sheriffs of Nottingham. Thoroton Pocklington married Annie Greaves, daughter of a wealthy Lincoln man who drove a state coach with footmen in the rear. They had six sons and six daughters and owned farms at Pudstone, Gibsmere and Hoskerton in Nottinghamshire. Thoroton Pocklington's portrait is lined. Mrs Pocklington is unlined. Canvas maker's stamp to the reverse. Portrait of Anne Pocklington Oil on canvas which is unlined. The canvas tension is slack with undulations and the stretcher behind is visible in the paint layer. There are localised areas of raised paint which has resulted in flaking and loss and is unstable. Old losses have been addressed in the past and there are areas of overpaint, mainly located in the background. The varnish is glossy. The frame is in a good condition. AX837 2Mr Pocklington Oil on canvas which appears to have been lined onto a fine weave canvas support. The paint layer has developed drying cracks as it has cured, visible around the head of the sitter in the background. Overall the paint layer is stable and secure. There are a few small losses, scuffs and scratches located in the lower right corner. The varnish is glossy and uneven leaving tidelines - for example in the sitter's forehead. The frame is in a good condition.
Los 481
Portuguese School, 19th Century Naive portrait of a young man from Lisbon, Portugal oil on canvas, unframed 74 x 56cm (29 x 22in) Provenance: From a Suffolk country house Oil on canvas with a heavy wax lining. The canvas has minor undulations in the lower half. The paint layer has a network of age cracks, some of the cracks have raised edges. There is a paint loss just above the sitter's head. There are numerous retouchings across the surface of the painting which are reasonably well matched to the surface. The varnish is matte.
Los 484
English Provincial School, 19th Century Portrait of a child standing full length in a red dress with a pet spaniel, holding a whip and a hat, standing beside an arch, with a sweeping landscape beyond oil on canvas, in a maple frame 59 x 49cm (23 x 19in) Oil on canvas which is unlined. There are minor undulations to the canvas. The paint layer is stable. Some of the cracks appear as dark lines, it is possible this is old, discoloured retouchings. The varnish layer is acceptable. The frame is in good condition.
Los 485
§ Anne Wright (British, 20th Century), after Sir Henry Raeburn (British, 1756–1823) Portrait of the The Reverend Robert Walker Skating on Duddingston Loch oil on canvas, in an English early 18th Century carved and gilded frame 75 x 64cm (29 x 25in) Other Notes: The present painting is a copy of an icon of Scottish culture, painted during one of the most remarkable periods in the country's history, the Scottish Enlightenment. Raeburn's original is in the National Gallery of Scotland, Edinburgh. The minister portrayed in this painting is Robert Walker, a Church of Scotland minister who was born on 30 April 1755 in Monkton, Ayrshire. When Walker was a child, his father had been Minister of the Scots Kirk in Rotterdam, so the young Robert almost certainly learnt to skate on the frozen canals of the Netherlands. He was licensed by the Presbytery of Edinburgh in 1770 at the age of fifteen, married Jean Fraser in 1778 and had five children. Mr Walker became a member of the Royal Company of Archers in 1779 and their Chaplain in 1798. He was Minister of the Canongate Kirk as well as being a member of the Edinburgh Skating Club, the first figure skating club formed anywhere in the world. The club met on Duddingston Loch as shown in the painting, and also at Lochend Loch to the north-east between Edinburgh and Leith, when these lochs were suitably frozen.
Los 486
Studio of John Hoppner, RA (British, 1758-1810) Portrait of the Right Hon. William Windham, in a black tail coat, breeches, buckle shoes and white cravat, his left hand slightly extended as if speaking, with a column and landscape behind him oil on canvas 78 x 61cm (30 x 24in) Provenance: Acquired by the family of the vendor in the 1920s and by descent The present portrait is a copy after the original owned by the Dean and Chapter of Norwich Cathedral. William Windham was elected to parliament for Norwich in 1784 and he joined Pitt's government as Secretary at War in 1794. Windham was a member of an ancient Norfolk family and a great-great-grandson of Sir John Windham. He was the son of William Windham, Sr. of Felbrigg Hall and his second wife, Sarah Lukin. Born in 1750, he was known as 'Fighting Windham', being sent home from Eton in 1766 for his prominent part in the school rebellion against an unpopular new headmaster, Dr. Foster. He married Cecilia Forrest in 1798. As a friend of Samuel Johnson, he inherited some of Johnson's books and bought others at the auction following his death. Having no direct descendants, he had considered leaving Felbrigg to one of his close circle of friends, but in the end settled it upon William, the eldest son of his half-brother, George Lukin. Oil on canvas which has been lined. The canvas tension is slightly slack and there are minor undulations across the painting. The paint layer has a prominent network of age cracks, some of which have raised edges of paint. There are a few scattered losses along the lower edge. There are areas of retouching across the painting. The varnish is even and clear. The frame is missing a section of gilding at the lower left corner.
Los 487
William Mouat Loudan (British, 1868-1925) Portrait of Miss Mary Duthy inscribed along the top "Mary" "1889'; and inscribed on the back "W M Loudan" oil on panel in a carved and gilt wood 19th Century Florentine frame 23 x 18cm (9 x 7in) Other Notes: William Mouat Loudan trained at the Royal Academy Schools. Gilt frame has chips. Oil on a wooden support. The paint layer is in a good condition. The ornate pierced frame has a loss at the bottom edge.
Los 489
English School, 18th Century A portrait miniature of a lady, oval, 4 cm (1.5in), in a gilt frame; together with a Regency portrait of a young lady in a white dress and a blue shawl with plaited hair, rectangular, 9 x 7 cm (2 x 3in), in a silver frame, and another 18th Century miniature portrait of a lady in a green dress with roses and feathers in her hair, 4 cm (1.5in) (3) watercolour on ivory (3)
Los 107
A 19th century miniature portrait of a soldier mounted in a scrolling and diamond set brooch, the finely painted miniature of a blue-eyed young man with short brown hair and long side burns, in scarlet dress uniform with gold embroidered collar and fringed epaulettes, and a white sash over the double row of gold buttons, possibly from one of the Prince of Wales's regiments, c.1850; the portrait collet set in a wide scrolling and undulating frame with engraved textured field and polished ribbon edges gypsy set at intervals with old cushion cut diamonds, yellow metal tests as 18ct gold; length of miniature 2.8cm, width of brooch 5.4cm, total estimated weight of diamonds approximately 1.0ct Provenance: Ennismore Gardens, Knightsbridge, London SW7
Los 134
Two antique pendants - a cocoa pod vinaigrette and a miniature casket containing photographs, the oval ribbed cocoa pod hinged on one side, containing the vinaigrette compartment with hinged pierced cover of bright cut scrolling foliage, unmarked yellow metal tests as 18ct gold, length with suspensory loop 3.0cm; the casket of arched rectangular form with columns at the corners, hinged clasp and lid, decorated all over and containing a fitted triple hinged arched miniature photo frame containing six mid-Victorian portrait photographs, casket of unmarked yellow metal tests for 14/15ct gold with partial 18ct gilding, length with suspensory loop 2.5cm (2)
Los 223
A late 18th century unmarked gold and enamel mounted tortoiseshell boite a portrait, the miniature of a lady wearing a purple shawl, the pearls in her hair repeated as a bezel mount central to a red enamel basse taille sunburst, itself within gold metal fruiting leaf band, the interior within the hinged lid gold lined 8 x 8cm (3 x 3in)
Los 100
A First/Second World War Long Service Group of Eight Medals, to 72357 GNR. (later B.Q.M.SJT) A.L. PROUDFOOT.R.A., comprising British War Medal, Victory Medal, Defence Medal, War Medal, Jubilee Medal 1935, George V Army Long Service and Good Conduct Medal, George VI Meritorius Service Medal and George VI Efficiency Decoration, with a group of four corresponding miniatures and a portrait photograph in uniform, and other items, comprising R.A.O.B. jewels, collar dogs, rank pips and buttons, a portrait photograph and a group of (possibly) unrelated photographs depicting a British demonstration of military technology to Third Reich Luftwaffe officers Note: Alexander Leslie Proudfoot (1st December 1898 - 8th January 1981)
Los 138
A Framed Portrait Photograph, Depicting Alfred F.B. Carpenter, V.C., R.N., by Underwood & Underwood, Fifth Av., New York, signed and inscribed, ''To Mrs. A. McC. Avery'', with H.M.S. Vindictive tally band border, framed and glazed, 43.5 cm by 37 cm overall Note: Carpenter was honoured as Commander (Acting Captain) of H.M.S. Vindictive, for services in the operations against Zeebrugge and Ostend. A photocopy of the Supplement to the London Gazette is attached verso to the photograph.
Los 176
Second Boer War Interest:- a Briar Pipe, the bowl incised with the portrait heads of President Paul Kruger and Queen Victoria centred by a ribbon inscribed Anglo Boer War 1899,1900 & 1901, from Pte. J. Cochrane, 1st Northumberland Fusiliers, with nickel collar and black plastic mouthpiece; a Glass Tumbler, etched Mafeking, Relief of Baden Powell, 18th May 1900; a Calabash Pipe, a clay pipe and a briar pipe (5)
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283284 Los(e)/Seite