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283287 Los(e)/Seite
Los 2386
A German Jugendstil plique a jour green enamelled Art Nouveau brooch, depicting the portrait of a girl with a flower, within a floral and foliate surround, by Meyle and Mayer, detailed 900, depose and with the mark of a dragonfly, width 2.6cm and a pair of silver buttons, each of floral design, converted for wear as brooches, connected by a chain, Birmingham 1903, (2).
Los 2446
A set of six buttons, each decorated with the Art Nouveau portrait of a lady, diameter 2.6cm, with a case, a pique tortoiseshell decorated comb, a similar curved rectangular hair slide, with a purchase receipt, a faceted rock crystal drop shaped pendant, fitted to a black ribbon and an advertising paperweight, detailed with Huguenin's Products, (5).
Los 353
A FRAMED PATENT OF NOBILITY, 4th July 1800, on vellum, creating John Preston of Bellinter to be Lord Baron of Tara, the initial incorporating a profile portrait of George III, the border with the arms of the Kingdom of Ireland, other arms including Preston and the Rose and Thistle of the pre-union Kingdom, the seal destroyed. 85 x 80cm John Preston 1764 - 1821Preston came from a politically influential family that partly controlled the borough of Navan. The Prestons' built themselves large houses at Bellinter and Swainston and maintained a grand residence on St Stephen's Green. They tended towards the Ponsonby faction in the Dublin parliament and initially opposed the Union. However, they had over extended themselves financially and succumbed to the to the bribery on offer to illegally extinguish the Irish parliament and Preston was able to salve his conscience by donning the robes of an Irish Peer. However his matrimonial arrangements were awkward and the 'Union' title lapsed on his death.
Los 77
MICHAEL DAHL (1659-1743)A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyondOil on canvas, 126 x 104cm In a carved giltwood frame with acorns and oak leavesIt is thought that the landscape element represents the new landscaping at Cottesbrooke. Provenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
Los 277
SIR FRANCIS GRANT PRA (1803-1878)Portrait of a Lady, Full Length, Standing in a Landscape Wearing a Riding HabitOil on canvas, 223.5 x 133cm (88 x 52½'')Born the fourth son of Francis Grant, Laird of Kilgraston, Perthshire in Scotland, the young Francis was educated at Harrow. His father died when he was quite young and he inherited a large sum of money. Enjoying the sporting life, he had planned to enter the legal profession but diverted to become a painter. He was largely self-taught and spent a short time in the studio of Alexander Nasmyth.His interest in sporting pursuits extended to his work and he gained a reputation as a fine painter of this genre, exhibiting a picture called Melton Breakfast at the 1834 Royal Academy exhibition. In 1837 he exhibited The Meeting of His Majesty’s Staghounds on Ascot Heath, painted for the Earl of Chesterfield, and in 1839 The Melton Hunt, purchased by the Duke of Wellington (both of these have been engraved, the former by F. Bromley, the latter by W. Humphreys). In 1841, he painted A Shooting Party at Rawton Abbey for the Earl of Lichfield, and in 1848 The Cottesmore Hunt for Sir Richard Sutton. In 1840 Grant exhibited an equestrian group of Queen Victoria riding with Lord Melbourne and others in Windsor Park, and at once became the fashionable portrait-painter of the day. His portrait of Lady Glenlyon, exhibited in 1842, increased his reputation, and for nearly forty years the most graceful and refined portraits in the Royal Academy exhibitions came from his studio.Grant was elected an associate of the Royal Academy, and in 1851 an academician, later serving as its President. Between 1834 and 1879 he contributed no fewer than 253 works, many of which were full-length portraits, to the exhibitions of the Royal Academy. Among these works were equestrian portraits of Queen Victoria and the prince consort, painted for Christ’s Hospital; the Prince of Wales; an equestrian group of the Duke and Duchess of Beaufort; Sidney Herbert, afterwards Lord Herbert of Lea; Lord John Russell, afterwards Earl Russell; Benjamin Disraeli, afterwards Earl of Beaconsfield amongst many others.The present work, a portrait of an unidentified lady, wearing a riding habit is a signature work by the artist and displays his considerable skills in portraying his sitters on a very grand scale. Despite the high Victorian costume, the composition of the picture, the subject’s pose and the classically inspired landscape backdrop all acknowledge the great 17th and 18th century British portraiture tradition from which the artist has come from and was inspired by.
Los 237
CIRCLE OF ANNA DOROTHEA LISIEWSKI-THERBUSCH (18TH CENTURY)A Portrait of Frederick II Hohenzollern of Prussia (Frederick the Great), half length, seated by a desk, with red sash, within a painted border of bound laurel leavesOil on canvas, 87 x 73cm The frame inscribed with 'Presented by him to Sir Andrew Mitchell, Ambassador at his court'Provenance: Sir Andrew Mitchell; The Lords Reay; Captain HCP Hamilton, Moyne, Durrow, Co. Laois; thence by descent.The old inscription on the frame indicating that this portrait was given to Sir Andrew Mitchell by the King himself is credible. Mitchell (1708-1771) came out of the Scottish Enlightenment highly educated and whilst at the University of Leyden had sought out Montesquieu. Qualified as a barrister, he became Under-Secretary of State for Scotland and M.P. for Aberdeenshire. Suffering from the stress of the early death of both his wife and daughter, he left Scotland and in 1756 became the British envoy to Frederick in Berlin. Here, he found a home in the intellectual court being formed by the King, French speaking, new science and philosophy were avidly absorbed, although the presence of Voltaire was not altogether a success. But Frederick, attempting to preserve and expand his kingdom in the unpromising sandy plains of North Germany, was fighting for his life. His stubbornness and military adroitness meant that at the end of the Seven Years War Prussia emerged as a European power, under which, eventually, all Germany would unite. Mitchell accompanied the King as a welcome companion throughout the war, keeping the British government advised. When Pitt tried to recall Mitchell, the King demanded that he be left in post. On Mitchell's death bed in Berlin (1771), it was observed that the King cried as the funeral procession passed the balcony of the Stadtschloss. In light of the documented friendship between Frederick and Mitchell, it seems appropriate that the King favoured Mitchell with a portrait, far removed from the state images of a great general, of himself seated in a library with a book, without any of the trimmings of power, except the earned reputation of a laurel wreath. Anna Dotothea Therbusch was one of Frederick's favourite artists; an intimate of the court, she carried out much of the decorative work on Frederick's palaces. She liked to portray intellectual men and women in intimate and relaxed settings.The Mackay family, the Lords Reay, were neighbours and relations of the Mitchells in Scotland and seem to have been their heirs and this presents a logic for the portrait to have come into their possession. When the senior branch of the Reays died out (the title going to kinsmen in Holland), their possessions were inherited by the Hamiltons of Moyne. This explains the re-emergence in Ireland of this charming, insightful, private study of one of Europe’s greatest leaders. It is thought that this portrait is unpublished and would therefore be a most valuable addition to the understanding of Friedrich Der Grosse.
Los 570
DERMOD O'BRIEN PRHA (1865-1945)Portrait of Sir Henry Grattan BellewOil on canvas, 94.5 x 76cmExhibited: RHA 1912Henry Grattan Bellew, 3rd Baronet, b.1860, married Sophia Forbes, daughter of the Earl of Granard. He represented one of the few Catholic aristocratic families who survived Cromwellian deportation to Connaught. Mount Bellow was an architecturally significant house with a fine library of books; the former destroyed, the latter dispersed.
Los 390
A PAIR OF 19TH CENTURY GEORGE III STYLE OVAL MIRRORS, the compartmented frames with bellflower banding surmounted by a figure of a bird, its wings outstretched, clutched in its talons a suspending ribbon tied swag flanked by scrolls and mirrored at the base, set with a portrait medallion of Dante Alighieri. Each 160 x 85cm
Los 403
JOHN JAMES MASQUERIER (1778-1835)Two boys, Francis Nathaniel, b.1841 and Herbert Hay Langham, b.1840 with a pet goat in the park at CottesbrookePasteltogether with;A portrait of Laura Micklethwait, wearing a white dress and standing on a terrace at CottesbrookePastel, 25 x 21cm, arched topIn an elaborate gilt plaster frameLaura Charlotte Micklethwait married Herbert Langham in 1839Provenance: Cottesbrooke Hall, Temple Manor, Sold HOKLiterature: See, Masquerier and His Circle, London 1922, p.210
Los 58
***PLEASE NOTE DESCRIPTION IN THE PRINTED CATALOGUE SHOULD READ***COPY AFTER VAN DYCK (19TH CENTURY)George Villiers, 2nd Duke of Buckingham (1628-87), and Lord Francis Villiers (1629-48), Half LengthWearing Silk Jackets and Lace CollarsOil on canvas, 70 x 88cmProvenance: Rathescar House, Co. LouthOriginal portrait in the Royal Collection Trust
Los 402
JOHN JAMES MASQUERIER (1778-1835)A portrait of Juliana, Lady Langham, d.1810, seated by a spinning wheel, wearing a bonnet and cloakOil on canvas, 126 x 104cmLiterature: See, Masquerier and His Circle, London 1922 Provenance: Cottesbrooke Hall, Temple Manor, Sold HOK, The Langham Collection at Slane Castle
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SIR JOHN ROBERT STEELL (1804 - 1891)Portrait of a BoyMarble, 38cm tallSir John Steell was born in Aberdeen on 18th September 1804, but his family moved to Edinburgh around one year after his birth. He is best known for a number of sculptures displayed in Edinburgh, including the statue of Sir Walter Scott at the Scott Monument. His portrait was painted by Robert Scott Lauder.Steell was born in Aberdeen, one of the eleven children of John Steell Senior, an Edinburgh carver and guilder, and Margaret Gourlay, the daughter of William Gourlay, a Dundee shipbuilder. Steell initially followed his father, training to be a carver himself. He showed artistic talent and so studied art at the Trustees Academy in Edinburgh and then studied sculpture in Rome. On his return, he opened Scotland’s first foundry dedicated to sculptures and was commissioned for numerous works, particularly statues and monuments in Edinburgh. The first work to attract major attention was ‘Alexander Taming Bucephalus’ carved in 1832/3 (cast in bronze in 1883, and now standing in the quadrangle of Edinburgh City Chambers). Around 18, he was appointed as Sculptor to Her Majesty the Queen, a post which was later recognised as a part of the Royal Household in Scotland. He exhibited at the Royal Scottish Academy and was knighted in 1876 following the unveiling, by Queen Victoria, of his statue ‘The Prince Consort’, which stands in Charlotte Square in Edinburgh.Sir John Steell’s brother Gourlay Steell was himself a noted animal painter. He was Queen Victoria’s animal painter, taking over from Sir Edwin Landseer. Many of Gourlay Steell’s paintings remain in the private collection of Queen Elizabeth II.John Steell died on 15th September 1891 and is buried in an unmarked grave in Edinburgh’s Old Calton Cemetery. This grave was purchased by his father John Steell Senior and many members of the Steell and Gourlay families are also interred here.
Los 106
AFTER GEORGE STUBBS (c.1800)Molly LonglegsOil on canvas, 79 x 118cmsThe original painting by Stubbs is part of the collection at the National Museum of Liverpool. Molly Longlegs, a bay mare, brought much success to her owner Lord Bolingbroke (1678 -1751) by winning on two occasions at the Newmarket races. Bolingbroke was presumably the commissioner of the original portrait.
Los 74
MICHAEL DAHL (1659-1743)Portrait of Mary Langham, as a young girl, standing three-quarter length, wearing a red dress, holding a garland of flowers, with flowers in her hair, in a feigned ovalOil on canvas, 74 x 62cm With label verso, Mary 3rd daughter of Sir John Langham by Elizabeth his wife, died unmarriedProvenance: Cottesbrooke Hall, Temple Manor, Sold HOK
Los 75
MICHAEL DAHL (1659-1743)Portrait of Frances Langham, as a young girl, half-length wearing a low brown dress, in a feigned ovalOil on canvas, 75 x 62cm With label verso, Frances eldest daughter of Sir John Langham, by Elizabeth eldest daughter of Sir Thomas Samwell bart, died unmarriedProvenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
Los 419
ENGLISH SCHOOL, c.1810A Portrait of James West of Alscot Park, Gloucestershire, the bald gentleman seated half length, holding a letter addressed to Mr West; and the companion portrait of his wife Sarah, a daughter of Christopher Wren of Wroxhall, seated half length, by a table with a book. A Pair, Pastels, each 26 x 22cm Sold by order of the Executors of Eileen, Countess of Mount Charles
Los 76
MICHAEL DAHL (1659-1743)Portrait of Martha Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned ovalOil on canvas, 74 x 62cm With label verso, Martha 4th daughter of Sir John Langham baronet by Elizabeth his wife, died unmarriedProvenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004
Los 289
HUGH DOUGLAS HAMILTON (1739-1808) Portrait of a man, half length with white ruff and blue coatPastel, 24 x 19.5cm, ovalSigned with initials and inscribed 'ROMA'Inscribed verso Painted by Hamilton Rome 1789, altered and repainted by C Skripmsher London 1816In contemporary George III giltwood frameProvenance: Lieutenant Colonel George William Panter and by descent to present owner. (Panter formed the outstanding pre-war collection of Irish silver, glass, militaria, pastels and architectural drawings in Dublin, much of which was sold through Sotheby's in the 1930s.)The face of this young man is obviously by Hamilton and there is no reason to doubt the monogram etc, so it would appear that the sitters' Roman casual clothing was altered to formal and fashionable regency style in 1816.
Los 232
***PLEASE NOTE THE ESTIMATE IN THE PRINTED CATALOGUE SHOULD READ €2,000 - 3,000***ENGLISH SCHOOL (LATE 18TH CENTURY)Portrait of a Young Boy in a Blue Coat - 'Lannie' Alexander Mitchell of StowOval, pastel, 62 x 47cmProvenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois and thence by descent.
Los 288
***PLEASE NOTE THE ESTIMATE IN PRINTED CATALOGUE SHOULD READ €800 - 1,000***SCOTTISH SCHOOL (19TH CENTURY)Portrait of an 18th century Lady in a Blue Dress Seated in an Interior, Believed to be Miss InnesOil on canvas, oval slip, 75 x 51cmProvenance: Captain HCP Hamilton, Moyne, Durrow, Co. Laois and thence by descent
Los 193
NATHANIEL HONE THE ELDER (1718-1784)Portrait of a lady holding a bookOil on canvasSigned with monogram and dated 1758Although they later fell out dramatically - and their relationship is inevitably viewed through the events surrounding the exclusion of The Conjuror from the 1775 exhibition of the Royal Academy - in the 1750s Nathaniel Hone and Joshua Reynolds seem to have been close both personally and professionally. They were two young artists on the rise with Hone, born in 1718, the elder by five years. There seems to have been some connection between Reynolds and Hone’s brother, Samuel, when the two were in Italy together in 1752, with a sketched portrait of ‘Master Hone’ appearing in one of Reynolds’s Italian Sketchbooks in the British Museum. By the mid-1750s Hone and Reynolds were both winning distinguished patronage and were involved together in the fractious art politics of the time, but, perhaps crucially, with the latter yet to establish the total dominance of the London art world which he would secure in the following decade particularly after the establishment of the Royal Academy with the, by now, Sir Joshua in charge as President. In the year after the present work was painted, Reynolds and Hone served on a committee of leading artists charged with organising a public exhibition to improve the standing of the profession. Several of this committee, Francis Hayman, Richard Wilson, Joseph Wilton and William Chambers went on, with Hone and Reynolds, to comprise the foundation members of the Royal Academy. Hone was one of two Irish artists so honoured - with the number limited to forty in the instrument of foundation, signed by George III on 10 December 1768. George Barret was the other and both served as members of the first Council of the R.A., a position it is difficult to see Hone having attained without the support of the President. It is unsurprising then that there are telling overlaps between Hone and Reynolds’s portrait practice. The present portrait of a lady shares the central placement of the sitter and frank gaze and amused, quizzical, or possibly flirtatious, expression with Reynolds’s Catherine, Lady Chambers (1756, Kenwood House, London) while the arrangement of the hands, held interlinked on a ledge, recalls - or anticipates - Reynolds’s Portrait of Lady Caroline Adair (1757-59, private collection) and a succession of later portraits such as Mrs Irwin and Mrs Montgomery (both 1761; Huntington Art Collection, San Marino and private collection). However, the Hone differs from all of these portraits by Reynolds, in the inclusion of a book, a motif the latter very rarely uses in his numerous portraits of female sitters. Her benign expression accords happily with the harmonious colour scheme and gently bravura treatment of the varied textures of her clothes, while she wears similar large pearl drop earrings to those sported by Hone’s wife in a 1749 miniature portrait (private collection, with Gorry Gallery, Nov 2016).The present work will be included in the forthcoming monograph on the artist currently being compiled by the author and Dr Brendan Rooney. Anyone with information about Nathaniel Hone is invited to get in touch with the authors via the National Gallery of Ireland. William Laffan
Los 336
JOHN EMMS (1843-1912)Portrait of a Grey Cob, outside his stable with a Dandydimont and a dachshundOil on canvas, 65 x 83cmSigned lower right and dated, 1896In a contemporary oak frame with gilt slip, with the label 'J. D Spence, picture frame maker, gilder and picture restorer, 7 Lower Sackville Street Dublin.' Sold by order of the Executors of Eileen, Countess of Mount Charles
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Karl Pollak (1902-1986)PORTRAIT STUDIES to include Hogan Mander, Rolf Winquist, Thomas Dugdale, Sir Robert Young, The Mayor of Westminster, The Hon. Greville Howard, Prince Vladimir Galitzine, Nicholas Becker, Lord Cecil of Chalwood, Ernest Thesiger, Ten, three unsigned, black and white photographs, most pencil signed with studio stamp and exhibition labelslargest 49 x 36cm (13)
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283287 Los(e)/Seite