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283284 Los(e)/Seite
Los 104
MISS BURTON OF NEWBY "Mrs Julia Whitworth" and "Study of Young Girl", silk needlework and watercolour portrait studies, circa 1800, a pair, approx 37.5 cm x 32 cm CONDITION REPORTS Both have significant discoloration to the silk. The one of the girl facing right has two pin head size marks, one to each side - unsure what this is - possible insect damage. There is some flattening to the thread where it appears to be pressed down slightly by the glass and some signs of decay to the thread. Unknown if this is general wear or insect damage. Some thunderbugs underneath the glass. Cracking and losses to the frames as well as some areas of flaking and rubbing etc. Both have wear and tear conducive with age and use - see images for further details. There are signs of insect damage to the back of the paper of the picture with the girl facing left
Los 130
A 19th Century Bohemian overlaid enamelled and gilt decorated table centre, the castellated rim bearing three oval portrait medallions interspersed by medallions of floral sprays on a swept lotus leaf decorated foot, 21 cm high CONDITION REPORTS Has wear to the gilding in various especially the centre knop. General wear and tear to include some light surface scratching, etc to the enamelled roundels. Wear and tear conducive with age and use throughout. See images for further details.
Los 77
HETTIL "Young girl with arms folded", portrait study, three quarter length, oil on canvas, indistinctly signed top left, bears labels verso inscribed "Van den Bogaerde" circa 1972, 51 cm x 41 cm CONDITION REPORTS Has crazing and areas of flaking throughout especially noticeable to the centre, the main body and face. There is a ripple, slight bump to the top left hand corner of the canvas, in need ofa good clean, some dark spots evident under UV in the bottom left hand corner. In one area it looks as though the frame may have rubbed at some point and has been over-painted. The frame itself has cracks, knocks, chips etc throughout - see images for more details
Los 82
ATTRIBUTED TO JOHN HOPPNER (1758-1810) "Lady Fisher", portrait study of a lady in white lace-trimmed dress seated at the base of a tree, with waves crashing on a beach in the distance, half length, oil on canvas, unsigned, 77 cm x 64 cm CONDITION REPORTS Overall condition appears good to the naked eye. Under ultraviolet there has been possibly light over-painting to the darker areas of the background and to the wispy curls of hair upon her forehead. Heavy over-painting above her right elbow and inside of the forearm. Light over-painting to her sash and heavier over-painting to her black lace shawl - see images for further information. Frame may well be period, certainly has some age. Unable to confirm whether original or not but may be so. Provenance: From a descendant of the family.
Los 28
NO RESERVE Viktor Temin (1908-1987) Portraits and self-portraits, 1930s-40sA group of eight gelatin silver prints and one albumen print (cabinet card), one with typed press caption affixed verso, sizes varying from 8.5 x 6cm (3 1/4 x 2 3/8in) to 51.6 x 38cm (20 3/8 x 15in)Includes self-portraits by Nikolai Andrev, Viktor Temin, and portraits of the architect Mapu by Ya Shteinberg, Dimitri Gladkov by A. Gladkov and a portrait of Stalin made of pebbles.
Los 34
NO RESERVE Ida Nappelnaum (1900-1993) Portraits, 1926A group of 4 gelatin silver prints, 3 mounted on cards, one titled and dated in Cyrillic in unknown hand on card verso, each approximately 15 x 11cm (5 7/8 x 4 1/4in) (or the reverse)Sitters include Olga Nappelbaum, Mosei Napelbaum, Esfeed Efros and Vladimir Gustrov.This lot also includes a gelatin silver print portrait by I.Minkevich.
Los 58
NO RESERVE Emmanuil Evzerikhin (1911-1984) Fireworks to Celebrate 800 Years of Moscow, 1947; and five others.Six gelatin silver prints, two signed verso, the others authenticated and annotated in unknown hand verso, Sizes varying from 22.5 x 16cm (8 7/8 x 6 1/4in) to 33 x 45.7cm (13 x 18in)This lot includes a portrait of Maxim Gorky, 1934
Los 59
NO RESERVE Varvara Rodchenko (b.1925) Portrait of Kati and Self-Portraits, 1990.Four gelatin silver photograms, two signed, titled and dated in Cyrillic and English verso, two titled, dated, annotated with photographer's name in Cyrillic in unknown hand verso,each approximately 24 x 18cm (9 3/8 x 7 1/8in)
Los 63
NO RESERVE Unknown photographers, Portraits, Russian Photographers, 1930s-60s.8 gelatin silver prints, all annotated in Cyrillic or stamped verso,sizes varying from 5.5 x 8.6cm (2 14 x 3 3/8in) to 14 x 23.5cm (5 1/2 x 9 1/4in)This lot includes portraits of Dmitri Debabov, MoiseÄ Solomonovich Nappelʹbaum, war photographer Boris Vdovienko, Mikhail Trakhman, Georgi Zelma (2) and Max Alpert.Also included is a portrait of Nadezhda Krupskaya.
Los 144
John Whitlock Codner (1913-2008) - Oil on canvas - Half length portrait of a young Oriental girl wearing a floral blouse and seated in a chair, signed John Whitlock, 90cm x 70cm, A.R. Condition: Some scuffs/scratches to the lower area around the sitter's hands, 13cm tear lower left corner - ** General condition consistent with age
Los 162
19th Century English School - Oil on canvas - Portrait of a young boy and girl, he wearing a tartan dress and holding a bow and arrow, she wearing a white lace trimmed dress, unsigned, 92cm x 65.5cm Condition: Re-lined, some probable in-painting although not immediately apparent, quite a 'varnishy' finish - ** General condition consistent with age
Los 256
John Wynn (19th century, Britisih) Portrait of Otley Hall, Ipswich, Suffolk, 1889, oil on canvas, signed and dated 1889 and further inscribed en verso 'Otley Hall 1889', framed, 27.9 x 43.2cm. Pride of place belongs to the Gosnold family, who lived here for 300 years from c.1400 first as tenants, then as owners. Bartholomew Gosnold (1571-1607) voyaged to the New World, where in 1602 he discovered Cape Cod and Martha's Vineyard, which he named after his infant daughter. In 1607, 13 years before the Mayflower landed, he returned to found Jamestown colony in Virginia, the first permanent English-speaking settlement in America. It has been said that the two voyages were planned at the hearthside of Otley Hall.
Los 266
After Sir Joshua Reynolds,(1723 -1793 ,British) Portrait of Charles James Fox, oil on canvas, 77 x 64cmCharles James Fox was born on 24 January 1749 and was the third son of Henry Fox, first Lord Holland and his wife Lady Caroline Lennox, daughter of the second Duke of Richmond. This made Fox the nephew of the third Duke of Richmond, a leading Rockingham Whig peer. Fox was educated at Eton and Hertford College, Oxford. His father exerted little control over Fox and encouraged him to be extravagant and dissolute. Fox lost vast sums at gambling, and in 1774 Lord Holland paid his son''s gambling debts at a cost of Å“140,000. Almost 20 years later political friends paid off Fox''s debts and gave him a comfortable income. Fox subsequently gave up both racing and gambling. Fox was Falstaffian in character and none too clean in appearance. He was openly a rake and there were rumours that he was conducting an affair with Georgiana, Duchess of Devonshire. In 1768 he became MP for Midhurst, a family pocket borough. Fox immediately attracted attention through his ability and the quality of his speeches. In 1770 he was appointed as a junior Lord of the Admiralty but resigned in 1772 so that he could oppose the legislation that became the Royal Marriages Act in the same year. In December 1773 he became a junior Lord of the Treasury but the king, who disliked Fox for opposing the Royal Marriages Act, dismissed him in February 1774. Edmund Burke and Fox became friends and, because his uncle was a Rockinghamite, Fox was drawn to the Rockinghamites and opposed North''s American policy although he knew that the American war was popular in England. When North resigned in March 1782, Rockingham formed his second ministry. He appointed Lord Shelburne as Home Secretary and Fox became the foreign secretary. Fox announced on 30 June that he was going to resign but before he could do it, Rockingham died on 1 July. Shelburne was appointed as the new PM and Fox and his political allies refused to serve with Shelburne although other Rockinghamites did serve in the new ministry. However, the ministry was not strong and had to face attacks from both Fox and Lord North. On 14 February 1783 the two men negotiated terms by which they would overthrow the government, with the Duke of Portland as the new PM.
Los 268
Circle of William Powell Frith (1819-1909, British) The Tambourine Girl, oil on canvas, indistinctly initialled lower right, 24 x 19cmBorn in Aldfield, North Yorkshire, Frith was encouraged to take up art by his father, a hotelier in Harrogate. He moved to London in 1835 where he began his formal art studies at Sass's Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a portrait painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the literary output of writers such as Charles Dickens, whose portrait he painted, and Laurence Sterne. He was also a member of The Clique, which also included Richard Dadd. The principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkie's famous painting The Chelsea Pensioners was a spur to the creation of Frith's own most famous compositions. Following the precedent of Wilkie, but also imitating the work of his friend Dickens, Frith created complex multi-figure compositions depicting the full range of the Victorian class system, meeting and interacting in public places. In Ramsgate Sands, Life at the Seaside (1854) he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs, which was based on photographic studies by Robert Howlett. This 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts. Another well-known painting was The Railway Station , a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales.Later in his career he painted two series of five pictures each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin (1878), about the dangers of gambling, and the Race for Wealth (1880) about reckless financial speculation. He retired from the Royal Academy in 1890 but continued to exhibit until 1902. Detail of After the Bath, a late nude by FrithFrith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies - My Autobiography and Reminiscences (1887) and Further Reminiscences (1888) - and other writings. He was also an inveterate enemy of the Pre-Raphaelites and of the Aesthetic Movement, which he satirised in his painting A Private View at the Royal Academy (1883), in which Oscar Wilde is depicted discoursing on art while Frith's friends look on disapprovingly. Fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. Frith lived a curious domestic life - married to Isabelle with twelve children, whilst a mile down the road maintaining a mistress (Mary Alford, formerly his ward) and seven more children - all a marked contrast to the upright family scenes depicted in paintings like Many Happy Returns of the Day. Frith married Mary on the death of Isabelle in 1880. In his later years he painted many copies of his famous paintings, as well as more sexually uninhibited works, such as the nude After the Bath. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular. In 1856 Frith was photographed at 'The Photographed Institute' by Robert Howlett, as part of a series of portraits of 'fine artists'. The picture was among a group exhibited at the 'Art Treasures Exhibition' in Manchester in 1857.
Los 270
Circle of Richard Cosway (1742-1821, British) Portrait of a young woman holding her child, circa 1800, pencil, pastel and watercolour on paper, framed in an oval gilt frame, 26 x 21cmBorn in Tiverton, Devon, the son of a schoolmaster, he was initially educated at Blundell's School but allowed to travel to London aged just 12 to take lessons in learning. He won a prize from the Society of Artists in 1754 and by 1760 had established his own business. He exhibited his first works aged just 20 in 1762 and was soon in demand. Such was his success, that still not 30, Cosway was elected one of the founder members of the Royal Academy (he is included in a group portrait of the 1768 founders, though some accounts suggest he was appointed an Academician three years later, in 1771. He painted the future King George IV in 1780 and was appointed Painter to the Prince of Wales[1] in 1785-the only time this title was ever awarded. His subjects included the Prince's first wife, Maria Anne Fitzherbert, and various English and French aristocrats, including Madame du Barry, mistress of King Louis XV of France. Cosway's pupils included Andrew Plimer (1763-1837). From 1995 to 1996, the National Portrait Gallery in London held an exhibition entitled Richard and Maria Cosway: Regency Artists of Taste and Fashion, with 250 works on display. On 18 January 1781, Cosway married the Anglo-Italian artist Maria Hadfield. Maria was a composer, musician and authority on girls' education and was much admired by Thomas Jefferson, who wrote letters to her decrying her marriage to another man and kept an engraving made from one of Cosway's paintings of Maria at Monticello. The Cosways' marriage is thought to be an arranged marriage and later a marriage of convenience due to his being 20 years her senior. Richard was "well known as a libertine and commonly described as resembling a monkey." The film Jefferson in Paris depicts Maria Cosway's romance with Thomas Jefferson and also depicts Richard Cosway as effeminate, something which is not certain historically. Richard realized his wife's talent and helped her to develop it.In 1784, the Cosways moved into Schomberg House, Pall Mall, which became a fashionable salon for London society.[1] In 1791 they moved to a larger house in Stratford Place. However, the marriage did not last, eventually being annulled. In later life, Cosway also suffered from mental disorders and spent some time in various institutions. He died in London in 1821 and was buried at Marylebone New Church. Sir John Soane bought more than 30 objects put up for sale at auction after Cosway's death
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Follower of Bernardo Strozzi (1582-1644, Italian) The Madonna and Child, oil on board, framed, 25 x 20cmStrozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest).Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.
Los 274
Circle of Richard Cosway (1742-1821, British) Portrait of a young lady holding a bouquet of flowers, circa 1800, pencil, pastel and watercolour on paper, framed in an oval gilt frame, 26 x 21cmBorn in Tiverton, Devon, the son of a schoolmaster, he was initially educated at Blundell's School but allowed to travel to London aged just 12 to take lessons in learning. He won a prize from the Society of Artists in 1754 and by 1760 had established his own business. He exhibited his first works aged just 20 in 1762 and was soon in demand. Such was his success, that still not 30, Cosway was elected one of the founder members of the Royal Academy (he is included in a group portrait of the 1768 founders, though some accounts suggest he was appointed an Academician three years later, in 1771. He painted the future King George IV in 1780 and was appointed Painter to the Prince of Wales[1] in 1785-the only time this title was ever awarded. His subjects included the Prince's first wife, Maria Anne Fitzherbert, and various English and French aristocrats, including Madame du Barry, mistress of King Louis XV of France. Cosway's pupils included Andrew Plimer (1763-1837). From 1995 to 1996, the National Portrait Gallery in London held an exhibition entitled Richard and Maria Cosway: Regency Artists of Taste and Fashion, with 250 works on display. On 18 January 1781, Cosway married the Anglo-Italian artist Maria Hadfield. Maria was a composer, musician and authority on girls' education and was much admired by Thomas Jefferson, who wrote letters to her decrying her marriage to another man and kept an engraving made from one of Cosway's paintings of Maria at Monticello. The Cosways' marriage is thought to be an arranged marriage and later a marriage of convenience due to his being 20 years her senior. Richard was "well known as a libertine and commonly described as resembling a monkey." The film Jefferson in Paris depicts Maria Cosway's romance with Thomas Jefferson and also depicts Richard Cosway as effeminate, something which is not certain historically. Richard realized his wife's talent and helped her to develop it.In 1784, the Cosways moved into Schomberg House, Pall Mall, which became a fashionable salon for London society.[1] In 1791 they moved to a larger house in Stratford Place. However, the marriage did not last, eventually being annulled. In later life, Cosway also suffered from mental disorders and spent some time in various institutions. He died in London in 1821 and was buried at Marylebone New Church. Sir John Soane bought more than 30 objects put up for sale at auction after Cosway's death
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Attributed to George Frederick Watts (1817-1904, British) Portrait of a member of the Lutterell Family, thought to be Colonel Francis Lutterell (1792-1862), oil on canvas, inscribed en verso 'Lutterell Dunster Castle', (some distress to frame) 76 x 64cmThe Luttrell Family are an ancient family from Devon. The family have lived at Dunster Castle since the end of the 14th century when they purchased Dunster Castle from the De Mohuns family. The castle was expanded several times by the Luttrell family during the 17th and 18th centuries; they built a large manor house within the Lower Ward of the castle in 1617, and this was extensively modernised, first during the 1680s and then during the 1760s. The medieval castle walls were mostly destroyed following the siege of Dunster Castle at the end of the English Civil War, when Parliament ordered the defences to be slighted to prevent their further use. In the 1860s and 1870s, the architect Anthony Salvin was employed to remodel the castle to fit Victorian tastes; this work extensively changed the appearance of Dunster to make it appear more Gothic and Picturesque. Following the death of Alexander Luttrell in 1944, the family was unable to afford the death duties on his estate. The castle and surrounding lands were sold off to a property firm, the family continuing to live in the castle as tenants. The Luttrells bought back the castle in 1954, but in 1976 Colonel Walter Luttrell gave Dunster Castle and most of its contents to the National Trust. As of 2011 the castle is operated by the trust as a tourist attraction; it is a Grade I listed building and scheduled monument.
Los 284
Attributed to Sir Thomas Lawrence RPA (1769-1830,British) Portrait of a Mother and Child with a Kitten, oil on canvas, 69 x 59cmSir Thomas Lawrence was born in Bristol. His father was an innkeeper, first at Bristol and afterwards at Devizes, and at the age of six Lawrence was already being shown off to the guests of the Bear as an infant prodigy who could sketch their likenesses and declaim speeches from Milton. In 1779 the elder Lawrence had to leave Devizes, having failed in business and Thomas's precocious talent began to be the main source of the family's income; he had gained a reputation along the Bath road. His debut as a crayon portrait painter was made at Oxford, where he was well patronized, and in 1782 the family settled in Bath, where the young artist soon found himself fully employed in taking crayon likenesses of fashionable people at a guinea or a guinea and a half a head. In 1784 he gained the prize and silver-gilt palette of the Society of Arts for a crayon drawing after Raphael's "Transfiguration," and presently beginning to paint in oil. Abandoning the idea of going on the stage which he had briefly entertained, Lawrence came to London in 1787, was kindly received by Sir Joshua Reynolds, and became a student at the Royal Academy. He began to exhibit almost immediately, and his reputation increased so rapidly that he became an associate of the Academy in 1791. The death of Sir Joshua in 1792 opened the way to further successes. Lawrence was at once appointed painter to the Dilettanti Society, and principal painter to King George III in lieu of Reynolds. In 1794 he was a Royal Academician, and he became the fashionable portrait painter of the age, his sitters including England's most notable people, and ultimately most of the crowned heads of Europe. Caroline of Brunswick was one of his favourite subjects, and is reputed to have been his lover for a time. Financial problems plagued Lawrence. In 1796, Francis Mackenzie, 1st Baron Seaforth, one of Lawrence's close patrons, gave him £1,000 (an enormous sum at the time) to relieve him from his financial difficulties. Lawrence painted several portraits for Lord Seaforth, including a full-length portrait of Seaforth's daughter, Mary. In 1815 Lawrence was knighted; in 1818 he went to Aachen to paint the sovereigns and diplomats gathered there for the third congress, and visited Vienna and Rome, everywhere receiving flattering marks of distinction from princes, due as much to his courtly manners as to his merits as an artist. After eighteen months he returned to England, and on the very day of his arrival was chosen president of the Academy in room of Benjamin West, who had died a few days before. He held the office from 1820 to his death. He was never married. Sir Thomas Lawrence had all the qualities of personal manner and artistic style necessary to make a fashionable painter, and among English portrait painters he takes a high place, though not as high as that given to him in his lifetime. His more ambitious works, in the classical style, such as his once celebrated "Satan," are practically forgotten. The best display of Lawrence's work is in the Waterloo Gallery of Windsor, a collection of much historical interest. "Master Charles William Lambton" (1825), painted for Lord Durham at the price of 600 guineas, is regarded as one of his best portraits, and a fine head in the National Gallery, London, shows his power to advantage
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Portrait of Sir Brook W. Bridge Bt., Later Lord Fitzwaller (1801-1875,British) dated 1st April 1888, oil on ivory, 7 x 6 cmBrook William Bridges, 1st Baron FitzWalter (2 June 1801 - 6 December 1875), known as Sir Brook Bridges, Bt, between 1829 and 1875, was a British peer and politician. Born at Goodnestone Kent, FitzWalter was the eldest son of Sir Brook William Bridges, 4th Baronet, and Eleanor, daughter of John Foote. He was educated at Winchester. In 1841 FitzWalter claimed the ancient barony of FitzWalter, which had been in abeyance since 1756, as a descendant of Mary, sister of Benjamin Mildmay, 17th Baron FitzWalter. However, the House of Lords decided against terminating the abeyance in his favour. In February 1852 FitzWalter was elected to the House of Commons for Kent East, but lost the seat already in July the same year. He reclaimed the seat in 1857, and held it until 1868. The latter year he was created Baron FitzWalter, of Woodham Walter in the County of Essex. In 1834, Lord FitzWalter married his first cousin, Fanny, daughter of Lewis Cage and Fanny Bridges of Milgate Park, Kent. They had no children. She died in October 1874. Lord FitzWalter survived her by just over a year and died at Goodnestone Park, Goodnestone, in December 1875, aged 74. The barony became extinct on his death while he was succeeded in the baronetcy by his younger brother, Reverend George Bridges. The original barony of FitzWalter was called out of abeyance in 1924 in favour of Lord FitzWalter's great-nephew, Henry Fitzwalter Plumptre (the grandson of his sister Eleanor Bridges).
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Lemuel Francis Abbott (1760-1802, British) Portrait of Captain George Burdett, RN, circa. 1774-1832, in full dress,76 x 64cmAbbott, Lemuel Francis [Samuel] (1760/61-1802), portrait painter, was the elder son of a clergyman in Leicestershire-probably the Revd Lemuel Abbott (d. 1776), curate of Anstey, later vicar of Thornton, and his wife, Mary. In 1775, at the age of fourteen, he was apprenticed to Francis Hayman, after whose death in the following year he returned to his parents and apparently continued to study portrait painting independently. About 1780 he settled in London, and resided for many years in Caroline Street, Bloomsbury. On 16 November 1786 he married Anna Maria Magdalen Tracey at St George the Martyr, Queen Square, London. Their son Edward Francis Abbott was born on 20 December 1787. Between 1788, when he was a candidate for election as an associate of the Royal Academy, and 1800 he showed fifteen male portraits at the Royal Academy and seems to have specialized in painting portraits of diplomatists, colonial governors, and senior naval officers. The heads of his male portraits were accurate likenesses, particularly his naval portraits, examples of which are in the National Maritime Museum, London, notably the half-length of Nelson (who sat to him several times), shown at the Royal Academy in 1800, and the whole-length of Sir Peter Parker. Several commentators have noted the weakness of his whole-length poses. His portraits of the poet William Cowper (1792) and the sculptor Joseph Nollekens are in the National Portrait Gallery, London. His portraits were engraved by Valentine Green, Joseph Skelton, and William Walker among others. Although it was said that his parsimonious disposition led him to engage no assistants, with the result that he was overwhelmed with commissions he could not fulfil, it is known that the sporting painter Ben Marshall was apprenticed to him for three years in 1791.By July 1798 Abbott was certified insane. It has been supposed that insanity was due to an 'ill-assorted marriage' (Redgrave, Artists, 1), though Abbott referred in his will of October 1800 to his 'dear wife', who was his executrix and beneficiary. He last exhibited at the Royal Academy in 1800. Abbott died at his home in Penton Street, Clerkenwell, London, on about 5 December 1802. Waterhouse noted that his unfinished works were completed by a 'less sensitive hand' (Waterhouse, 18c painters, 21). Farington noted in his diary on 25 January 1803 that Abbott died 'about six weeks ago' 'in a State of Insanity. A commission of Lunacy had been taken out & it then proved that He was not possessed of more than 3 or 400 pounds a year' (Farington, Diary, 5.1966). On 17 August Farington noted that during a visit to Nollekens:a boy near 16 years of age was drawing upon a Slate from a Plaister figure. Nollekens told me He was the only son of the late Mr. Abbot, Portrait Painter. His mother is a Roman Catholic & a Bigot. She insists upon Her Son becoming a Romish Priest, which He refuses, & she will in consequence scarcely see him. (ibid., 6.2109)
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Robert Muller (1773- c.1800,British ) Portrait of the Rt Rev John Douglas, DD, Lord Bishop of Salisbury 1721-1807, inscribed on plaque 'Rt Rev John Douglas, DD, Lord Bishop of Sarum, 1791', oil on canvas, 127 x 101cmProvenanceBy Direct Family descentNotesDouglas, John (1721-1807), bishop of Salisbury and writer, was born on 14 July 1721 in Pittenweem, Fife, the second son of Archibald Douglas, a merchant, and his wife, who was the daughter of Melvill of Carsender in Fife. His paternal grandfather was a distinguished minister in the Scottish Episcopal church, who, in 1669, had succeeded the historian Gilbert Burnet in the living of Saltoun, Haddingtonshire. Douglas attended the grammar school at Dunbar, where he received a good classical education, and was then sent for a short time to two private schools in London. In 1736 he was entered as a commoner at St Mary Hall, Oxford, and two years later he was elected to a Warner exhibition at Balliol College, where Adam Smith, a distant relative, was his contemporary. He graduated BA (1740) and MA (1743). He was sent abroad by his father, from 1740 to 1742, to learn French, and on taking deacon's orders in 1743 he embarked on a highly successful career as a clergyman. In July 1744 he became chaplain to the 3rd foot (Scots) guards, serving as an aide-de-camp at the battle of Fontenoy (29 April 1745). He resigned his commission on the army's return home the next year to fight the Jacobites, and was elected Snell exhibitioner at Balliol (1745-7).Ordained priest in 1747, Douglas became curate of Tilehurst, near Reading, and also of Duns Tew, Oxfordshire. At about this time friends of his mother introduced him to William Pulteney, first earl of Bath, whose wealth and political and literary connections made him a highly desirable patron. An early assignment was to take Bath's 'difficult' heir, Lord Pulteney, on a grand tour of Holland, Germany, and France between July 1748 and October 1749. In Paris Douglas met Montesquieu but his journal of his tour devoted more pages to the Jansenist controversy and to the exposure of the miracles at deacon Pâris's tomb, which later figured in his pamphlet on supernatural phenomena, The Criterion. On his return to England he was presented by Lord Bath to the free chapel of Eaton Constantine and to the donative of Uppington in Shropshire, exchanging the latter, in 1750, for the vicarage of High Ercall, also in Shropshire. He seldom visited his livings but spent the winter in London, in a house next to that of his patron, whom he accompanied in the summer to Bath, Tunbridge Wells, and to nobles' houses, acting as Bath's chaplain and secretary. Douglas's first marriage, to Dorothy Pershore (d. 1752), sister of Richard Pershore of Reynolds Hall, Staffordshire, in September 1752, ended with her death in December of the same year. In April 1765 he married Elizabeth Rooke, daughter of Henry Brudenell Rooke. They had two children: William, who became chancellor of the diocese of Salisbury, and Elizabeth.Douglas began to earn a reputation as a critic and controversialist, first by exposing the forgeries of William Lauder, who had accused Milton of plagiarism. His pamphlet on this subject, Milton No Plagiary, went into two editions (1750-51 and 1754), and caused Samuel Johnson, who had written a preface to Lauder's book, to dictate to Lauder a letter to Douglas, confessing to the imposture. Douglas then sought to elude David Hume's arguments against miracles in The Criterion (1752, 1754, and 1757), which made much of differences between alleged modern contraventions of the laws of nature and those presented in the Christian gospels. Later Douglas dined in a friendly spirit with Hume, who in 1773 considered him a 'better hand' than either Sir John Dalrymple or James Macpherson (Ossian) for continuing his History of England beyond 1689 (Letters, 2.269). After trouncing the Hutchesonian sect in an Apology for the Clergy (1755), Douglas then turned on the Scottish Jesuit mole Archibald Bower in several pamphlets published between 1756 and 1758, pillorying him for dishonesty and plagiarism.Oxford University granted Douglas a DD in 1758, and Lord Bath presented him to the perpetual curacy of Kenley, Shropshire, also securing him a canonry at Windsor in 1762. The previous year Douglas had exchanged his Shropshire livings for the rectory of St Augustine with St Faith, Watling Street, London. He worked for Bath and his heir in Shropshire politics and wrote several political pamphlets, mainly under his patron's direction. He assisted Samuel Johnson in 1762 in the detection of the Cock Lane ghost. In the following year he edited the Diary and Letters of the second earl of Clarendon and accompanied his patron to Spa, where he made the acquaintance of the duke of Brunswick. Bath died on 1 July 1764, leaving his library to Douglas, who sold it for £1000 to Bath's brother and heir, General Henry Pulteney; on inheriting it a second time, on the latter's death, Douglas sold it again, on the same terms, to Sir William Pulteney so that it would remain at Bath House. He is believed to have been prevented from writing a biography of Lord Bath by General Pulteney's destruction of his brother's papers.Douglas wrote more political articles, in 1766, 1767, and 1768, which were published by the Public Advertiser; he also contributed all the letters signed by Tacitus and by Manlius which appeared in that periodical in 1770 and 1771. In 1775-6, at the request of Lord Sandwich, he helped Captain James Cook to edit his journals (Voyage towards the South Pole, 1777); he also edited and wrote an influential introduction to Cook's last journals (Voyage to the Pacific Ocean, 1784). The second earl of Hardwicke enlisted him to edit hisMiscellaneous Papers, for publication in 1778, and the same year he was elected FRS and FSA. In March 1787 he was appointed a trustee of the British Museum, which had opened on 15 January 1759.Throughout these years Douglas advanced steadily in his clerical career. In 1776 he exchanged his Windsor canonry for one at St Paul's; on 18 October 1787 he became bishop of Carlisle, on 21 March 1788 dean of Windsor, and on 28 July 1791 bishop of Salisbury. James Boswell obtained anecdotes and information from Douglas for his Life of Johnson and proposed him for membership of the Johnson Club on 14 December 1790; he was elected on 22 December 1792. Acknowledging his 'advanced years and infirmities' Douglas made a will, on 21 April 1806, which reflected his wealth, his fairness but not excessive charity to dependants, and his complete trust in his son William as executor. He died of a gradual decay on 18 May 1807, his wife having predeceased him. He was buried a week later, on 25 May, in St George's Chapel, Windsor.Average for his time in the performance of clerical duties, Douglas was regarded as a likeable, sociable, and respectable figure in the Church of England. As a man of letters he was notably industrious, and his family rarely saw him without a pen or a book in his hand when company was absent. He was well read in history and literature as well as in the church fathers and English divines, and made a telling case in controversies within his knowledge. Of his writings his introduction to Cook's last explorations had perhaps the greatest impact, drawing wide European and American attention to the resources of the Pacific north-west.
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English School, 19th century, Portrait of an angler with his catch on a river bank, circa 1870, oil on canvas, 64 x 51cmThe impact of the Industrial Revolution was first felt in the manufacture of fly lines. Instead of anglers twisting their own lines - a laborious and time-consuming process - the new textile spinning machines allowed for a variety of tapered lines to be easily manufactured and marketed.British fly-fishing continued to develop in the 19th Century, with the emergence of fly fishing clubs, along with the appearance of several books on the subject of fly tying and fly fishing techniques. The Fly-fisher's Entomology by Alfred Ronalds had a great influence on the development of fly fishing when it was first published in 1836.Alfred Ronalds took up the sport of fly fishing, learning the craft on the rivers Trent, Blythe and Dove. On the River Blythe, near what is today Creswell Green, Ronalds constructed a bankside fishing hut designed primarily as an observatory of trout behaviour in the river. From this hut, and elsewhere on his home rivers, Ronalds conducted experiments and formulated the ideas that eventually were published in The Fly-fisher's Entomologyin 1836.He combined his knowledge of fly fishing with his skill as an engraver and printer, to lavish his work with 20 colour plates. It was the first comprehensive work related to the entomology associated with fly fishing and most fly-fishing historians credit Ronalds with setting a literature standard in 1836 that is still followed today.Describing methods, techniques and, most importantly, artificial flies, in a meaningful way for the angler and illustrating them in colour is a method of presentation that can be seen in most fly-fishing literature today.The book was mostly about the aquatic insects-mayflies, caddisflies and stoneflies-that trout and grayling feed on and their counterpart artificial imitations. About half the book is devoted to observations of trout, their behaviour, and the methods and techniques used to catch them. Most of this information, although enhanced by Ronalds' experiences and observations, was merely an enhancement of Charles Bowlker's Art of Angling (first published in 1774 but still in print in 1836).In Chapter IV - Of a Selection of Insects, and Their Imitations, Used in Fly Fishing - for the first time is discussed specific artificial fly imitations by name, associated with the corresponding natural insect. Organized by their month of appearance, Ronalds was the first author to begin the standardization of angler names for artificial flies. Prior to The Fly-fisher's Entomology, anglers had been given suggestions for artificial flies to be used on a particular river or at a particular time of the year, but those suggestions were never matched to specific natural insects the angler might encounter on the water. According to Ernest Schwiebert: "Ronalds is one of the major milestones in the entire literature of fly-fishing, and with his Entomology the scientific method has reached angling in full flower. Ronalds was completely original in its content and research, setting the yardstick for all subsequent discussion and illustration of aquatic fly hatches.
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Frank Thomas Copnall (1870 - 1949, British), Portrait of Sir John Lynn-Thomas, K.B.E., C.B., C.M.G., F.R.C.S. 1861-1939, signed, oil on canvas, 76.20 x 63.50 cmLYNN-THOMAS , Sir JOHN ( 1861 - 1939 ), surgeon ; b. 10 Sept. 1861 at Cwmgefeile , Llandysul, Cards. , the son of Evan Thomas , farmer . He studied medicineat the London Hospital ( M.R.C.S. 1886 , F.R.C.S. 1892 ). His essay on fractures of the skull was awarded the Hutchinson Prize , 1890 . He was elected assistant surgeon at Cardiff Royal Infirmary , 1895 , and promoted surgeon later. He became the first purely consulting surgeon in Wales . He developed excellent operating techniques and by travelling widely became familiar with the work of many prominent clinics abroad. As the disciple of Kocher of Berne he took particular interest in thyroid surgery . He devised his own operation for removal of prostate and invented a forceps tourniquet for haemorrhage-prevention in amputation of hip . He wrote numerous original papers and took a leading part in the surgical advances of his time. He was a pioneer of modern surgery in Wales ; he raised the standard of operative surgery at Cardiff Royal Infirmary and paved the way to its becoming the teaching hospital of the Welsh National School of Medicine
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JOHN CALCOTT HORSLEY RA (BRITISH 1817 - 1903), MARY QUEEN OF SCOTS IN CAPTIVITY oil on canvas, signed 137cm x 190cm (54 x 75 inches) Framed Exhibited: London, Royal Academy, 1871, no. 193; Edinburgh, Royal Scottish Academy, 1876, no. 321; London, Royal Academy, Works by Recently Deceased Members of the Academy, 1904, no. 132; Edinburgh, Scottish National Portrait Gallery and Mappin Gallery, Sheffield The Queen's Image; A Celebration of Mary Queen of Scots, 1987 Literature: Helen Smailes and Duncan Thomson, The Queen's Image; A Celebration of Mary Queen of Scots, 1987 Provenance: William H. Smith, M.P., London by 1876; Hon. W. F. D. Smith by 1904 ; Private collection. Sotheby's Scottish & Sporting Pictures 29 August 2007 lot 2 sold £45,600 (premium) Private collection Edinburgh. Note When the painting was first exhibited at the Royal Academy in London in 1871, the following words accompanied it: "Mary, at twenty-six years of age, was consigned to the charge of the Earl and Countess of Shrewsbury, and remained captive in their custody for nearly sixteen years. There was little love lost between the Countess and her loyal prisoner. The former, familiarly known as Bess of Hardwick, was a woman of strong character and imperious disposition." Mary is dressed in black at a mullioned window of her bedchamber where she has been held captive for many years. She is feeding doves that have flown to the open window from the world outside that she cannot return to. The contrast of their freedom and her captivity is made more pathetic by the entry into the scene of the cruel-faced Bess of Hardwick who clutches the warrant for Mary's execution which will finally release her from her captivity. Her young page who has been holding a plate of bread from which she feeds the birds, hangs his head in grief and her hand-maidens are startled by Bess and the Earl of Shrewsbury's approach.The little dog at her feet and the religious triptych add to the symbolism, denoting fidelity and piety whilst the abandoned lute suggests the silence of lost romance.
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