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283284 Los(e)/Seite
Los 193
PAIR OF PORTRAITS OF A COURTESAN QING DYNASTY, 19TH CENTURY oil on canvas, each depicting a young lady seated wearing a pale blue embroidered robe, with one hand clasped supporting her chin, the other holding a sprig of flowers in the first portrait and a beaded bracelet in the second, the body leaning against an elaborately carved zitan table with inset dreamstone panel, the face with a contemplative expression (2) 73x51cm (overall) Provenance: Private Scottish collection. For more information, please see lot 183.
Los 186
REVERSE GLASS PORTRAIT OF A YOUNG WOMAN DRESSED AS A SHEPHERDESS BASED ON AN OIL PAINTING ATTRIBUTED TO GIUSEPPE CASTIGLIONE (1688-1766), QING DYNASTY depicting a young Chinese lady, possibly the Fragrant Concubine of Emperor Qianlong (Rong Fei), seated beneath a tree and clad in a Western dress, holding a staff in her left and a basket of flowers in her right hand, in later Rococo-style gilt wood frame 93x55cm (sight) Provenance: Private Scottish collection. For more information, please see lot 183. Giuseppe Castiglione (1688-1766) and Chinese Reverse Glass Paintings The art of reverse glass painting flourished in China during the so-called 'Kang-Qian Golden Age', under the reign of the three successive generations of Qing Emperors Kangxi, Yongzheng and Qianlong. It is a vivid example of the active economic and cultural exchange between China and the West in the Qing Empire, as the techniques both for manufacturing the material - namely flat sheets of glass -, and for painting on the reverse side of these sheets originated in Europe, and was brought to China by Jesuit missionaries. Chinese craftsmen who learnt from the Jesuits quickly mastered the techniques, and by the late 17th century, workshops in Canton were already busy producing large quantities of reverse glass paintings for export to Europe. These paintings not only became prized possessions of wealthy European families, but their shimmering quality and aesthetic beauty also caught the interest of the Imperial Court. According to the Jesuit missionary, Joseph Marie Amiot, Emperor Qianlong became so fond of reverse glass paintings that he summoned Cantonese artists to Beijing to produce such paintings and also commissioned his two Jesuit court painters, Giuseppe Castiglione (Lang Shining, 1688-1766) and Jean Denis Attiret (Wang Zhicheng, 1702-1768), to paint on glass (see Joseph Marie Amiot: Mémoires concernant l'histoire, les sciences, les arts, les mœurs, les usages, &c. des chinois). Born in Milan, Giuseppe Castiglione was sent to China by the Jesuit Mission in 1715 and subsequently served a total of fifty-one years as painter in the Imperial court, until his death. The three Emperors of the Golden Age were his patrons. Besides producing a great body of work himself, he also taught his Chinese counterparts the illusionistic devices of Western oil painting, such as linear perspective and chiaroscuro. Paintings by Castiglione and his students appear more three-dimensional and more realistic than any traditional Chinese painting, although, to cater to the taste of the Qianlong Emperor, who disliked strong light and shadow contrasts and thought of shadows as dirt, Castiglione softened his use of chiaroscuro, especially when it comes to the rendering of faces. Although it is a well-known fact that Castiglione was commissioned to produce reverse glass paintings, no surviving sample can be attributed to him beyond doubt, to the effect that no reverse glass painting has been included in his catalogue raisonné. The present lot is interesting due to its striking similarity to a surviving oil portrait attributed to Castiglione, possibly depicting the Fragrant Concubine of Emperor Qianlong (Rong Fei) (see Cécile Beurdeley & Michel Beurdeley: Giuseppe Castiglione: A Jesuit painter at the court of the Chinese emperors). Both the colour and the compositional schemes are identical, suggesting that the reverse glass version was based on the oil painting. Iconographically, the shepherdess as a symbol of innocence and benevolence is a persistent theme in the history of European painting, harking back to the depiction of the Virgin Mary as the Divine Shepherdess. In the 17th and 18th centuries, it became very popular and was emblematic of the European aristocrats' longing for Arcadia to represent young ladies as shepherdesses in a bucolic landscape, a longing which may or may not have been shared by Emperor Qianlong as he commissioned Castiglione to portray his favourite concubine.
Los 160
Oil on canvas Signed and dated 1763 , lower right 89 x 68.5cm (35 x 27in.) Provenance : The collection of Lionel Clark, London Sale: Sotheby s, July 24th 1929, Lot 48, bought by Asscher The collection of Leo M. Flesh, Piqua, Ohio Sale: Christie s November 17th 1967, Lot 94, bought by Leyland Anon sale, Sotheby s, March 12 1969, Lot 134 The collection of Philip Reiff, Philadelphia Literature : Edward Mead Johnson, Francis Cotes (Phaidon, 1976) p.69 no.125 (as a portrait of Sir Hector Monro)
Los 165
Portrait of the Masters Blair: Charles and Henry Blair, the Children of Charles Blair and Lady Mary Fane Oil on canvas Signed TBeach pinx and indistinctly dated 1769 , lower left 127.5 x 101.5cm (50 1/4 x 40in.) Provenance : By inheritance in the Blair, Michel and De Montmorency families, until 1981 Then at Bowling Green, Sherborne, Dorset Thence by descent to the present owner. Literature : Elise S. Beach, Thomas Beach. A Dorset Portrait Painter, 1934, p. 55, no. 23.
Los 171
Portrait of the Coleridge Daughters, Audrey Jane (1878-1922) and Phyllis (1883-1950) both seated on a yellow sofa, looking at a picture book Oil on Canvas 110.5 x 141cm(43 1/2 x 55 1/2in.) Provenance : From The Chanter's House collection of Lord Coleridge and a Coleridge family Trust Given the ages of the two young girls, this intimate double portrait is likely to have been painted between 1885-1888. The artist provides a sense of domesticity within the limited space of the picture, suggested by the pastoral scene on the 18th century screen behind the two sitters, the doll's house and flowers beside them and a story book, possibly a fairy tale, which they are in the process of reading. The picture book, which is partially obscured by Audrey's hand, appears to depict a bear and cubs. The artist explores various interesting themes within this work, including maternity, protection, love and imagination, and is thus a quite touching illustration of childhood and the connection between sisters.
Los 3
Ω A finely turned ivory ball game or 'bilboquet' , early 19th century, 19cm high, 7cm wide The origins of the game bilboquet are somewhat uncertain although there are documents placing the game as far back as 16th century France. Designed for one player, the game was supposedly invented to train children s hand to eye co-ordination in hunting cultures with the aim being to throw a tethered object into the air and catch it on a pin. Records testify to bilboquet being particularly popular in the Royal courts of Europe during the late 18th and early 19th centuries through their depiction in paintings, including a portrait of the Masters Blair, by Thomas Beach, (signed and dated 1769) portraying Charles and Henry Blair, the Children of Charles Blair and Lady Mary Fane, in a wooded landscape holding a bilboquet (formerly with Mallett).Please note, this lot may be subject to CITES regulations if exported from the EU.Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/
Los 761
CONTINENTAL SCHOOL, c.1900, an oval portrait miniature of a young boy with curly hair, on ivory, 3" (7.3cm); together with another nineteenth century oval miniature portrait of a lady in black dress, wearing a pearl necklace, 2;5" (6cm); and one other oval miniature profile portrait of a lady, W.C. on card. (3)
Los 762
NINETEENTH CENTURY CONTINENTAL SCHOOL, an oval miniature portrait of a lady wearing a hat and pearl necklace, on ivory, 2.5" (6cm); another miniature "The Princess Beatrice of Savoy", tondo, 2" (5cm); and one other early oval ditto depicting mother and three children in a landscape, 2" (5cm). (3)
Los 764
NINETEENTH CENTURY ANGLO-IRISH SCHOOL, oval miniature portrait of a gentleman wearing black bow tie, black jacket, with silver and gold watch chain, 3" (7.5cm), on ivory; together with a smaller Irish miniature portrait of a young gentleman, probably Arthur Murray of Ashfield Co. Meath, c. 1860, 2.5" (6cm). (2)
Los 770
NINETEENTH CENTURY ENGLISH SCHOOL, oval miniature portrait of a woman wearing a lace bonnet with blue ribbon, W.C. on card, 3.75" (10cm); another similar of a young woman, both in black lacquered frames; together with one other "A Gent with Bow Tie and Check Waistcoat", thought to be Sir Robert Henry Dick of Tullymet. (3)
Los 808
A FINE FRENCH EMPIRE GILT BRONZE AND BRONZE MANTEL CLOCK, c.1810, the silk suspension movement and outside count wheel, striking on a steel bell, the case with classical woman holding a book, by a book case, supporting a circular enamel dial, with Roman numerals, in a leaf cast frame, on a rectangular plinth, the frieze in relief with cherubs and a central portrait of a woman with helmet amongst scrolling foliage and wreaths, raised on conforming leaf scroll legs, 17" (43cm) high, 11" (28cm) wide. (1)
Los 872
REVEREND MARIAN PASKOWISCZ (20th/21st CENTURY), a rare straw picture depicting a cathedral, signed with initials M.P and dated 1965, 11.5" (29cm) x 15.5" (39cm); together with another straw picture depicting a portrait of Christ with the crown of thorns, signed and dated 1963, 14" (35cm) x 10.25" (27cm), to be sold with newspaper cutting relating to the artist Fr. Marian Paskowiscz. (3)
Los 102
Smellie (William, editor). A Natural History, General and Particular; containing the history and theory of the earth..., translated from the French..., a new edition corrected and enlarged to which is added a History of Birds, Fishes, Reptiles and Insects..., 2 volumes, published Richard Evans, 1817, portrait frontispiece of the Count de Buffon, engraved title to each volume, fifty-two engraved plates with contemporary hand colouring, some offsetting, occasional spotting, contemporary marbled calf with gilt decorated spines with contrasting morocco labels, worn and rubbed at extremities, boards scarred, 4to (2)
Los 114
De Gelieu (Jonas). The Bee Preserver; or Practical Directions for the Management and Preservation of Hives. Translated from the French [by Miss C. S. Graham], 1st English edition, Edinburgh: John Anderson, 1829, half-title, errata slip, a few light spots, ink annotation to front pastedown, original boards, losses to spine, 8vo, together with Warder (Joseph), The True Amazons: or, the Monarchy of Bees, Being a New Discovery and Improvement of those Wonderful Creatures..., 6th edition, [1726], engraved portrait frontispiece, title close-trimmed at tail (affecting final part of imprint), pale dampstaining to some fore-margins, front free endpaper with ink ownership name, modern quarter brown morocco, gilt-lettered spine, 8vo, plus Dzierzon (Johann), Dzierzon's Rational Bee-keeping..., translated from the latest German edition by H. Dieck and S. Stutterd, Second Thousand, 1882, half-title, black and white illustrations, 8pp. advertisements at rear, gathering B loose, scattered spotting (mainly to first and last leaves), front pastedown with decorative bookplate of David Smith, original pictorial blue cloth gilt, 8vo, plus six others similar First three items: British Bee Books 204, 74 & 365 respectively. (9)
![[Johnstone, Christian Isobel]. Scenes of Industry displayed in the Bee-Hive and the Ant-Hill. By the author of "Wars of the J](https://cdn.globalauctionplatform.com/fa12dfe7-480b-47cc-946e-a815010dd53d/45acbe3e-72a1-4640-a95d-a3d2ed784f01/468x382.jpg)
Los 125
[Johnstone, Christian Isobel]. Scenes of Industry displayed in the Bee-Hive and the Ant-Hill. By the author of "Wars of the Jews"..., 1st edition, [1829], six engraved plates, scattered spotting, half-title with early ink presentation inscription dated 1829, publisher's advertisements at rear, bookplate of David Smith, original quarter morocco, printed boards, soiled and extremities worn, sunned spine rubbed and a little worn at head, 12mo, together with Kirby (William, and Spence, Wiliam), An Introduction to Entomology: or Elements of the Natural History of Insects, 4 volumes, mixed editions, 1816-26, volumes 1 and 2 each with portrait frontispiece (offsetting), 26 plates, including six hand-coloured (offsetting), occasional spotting, contemporary straight-grained brown morocco, a few marks, several joints cracked, some boards loose, volume 4 rebacked with original spine relaid, some losses to spine ends, spines rubbed, 8vo, plus seven others similar First two items: British Bee Books, 203, 177 respectively. (12)
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283284 Los(e)/Seite