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Preisdatenbank abonnieren[HUNTING]. POSTCARDS Thirteen cards, including real photographic views of the Meet of the Craven Hounds at Benham, Coming of Age Festivities (by May of Reading); and a portrait of huntsmen and hounds (by May of Reading); with a set of six artist-drawn Tuck 'Hunting in the Shires' cards; also a reprinted postcard-sized photograph of 'The Meet', Chattan Hall, (14).
*Barometer Seller. Watercolour portrait, circa 1840, watercolour of a (possibly Scottish) barometer seller, captioned in manuscript below image, 330 x 230 mm, mounted The present work is similar to other watercolours of Glasgow trades and professions in the Murray Collection held by Glasgow University. A similar collection of Edinburgh street sellers is held by the City of Edinburgh Council. A large collection of watercolours of the same type was sold in these rooms, 10th June 2015, lot 129. (1)
*Dutch School. Portrait of an Old Man, 17th century, oil on canvas, half-length portrait of a gentleman with curled shoulder-length hair, beard, and moustache, wearing a brown coat and white collar, and a black skull cap, with clasped hands, one hand gloved, and the other holding a glove, within a painted oval frame, manuscript label on verso with ownership name of Colonel Rowland Farrer dated 1885, 76 x 63.5cm (30 x 25ins), old stencilled Christie's number on stretcher, gilt moulded frame Provenance: Christie's, 2nd June 1961, lot 164. The present work may perhaps be associated with circle of Bartholomeus van der Helst (Haarlem 1613-1670 Amsterdam). (1)
*English School. Portrait of Julia Richmond (1811-1881), oval watercolour and gouache miniature on ivory, painted from a photograph taken in 1868, 48 x 38 mm (1.9 x 1.5 ins), set in a thin gold metal frame, glazed, and with maroon morocco backing and label of J. & W. Vokins, Miniature Frame Makers to H.R.H. The Prince of Wales & The Royal Family, 14 & 16 Gt. Portland St. W., housed in original maroon velvet-lined oval black leather case with clasp Provenance: Estate of George Richmond (1809-1893). Illustrated: A.M.W. Stirling, The Richmond Papers, 1926, page 88 (illustrated opposite). This work is likely to have been made following the death of Julia Richmond on 6th January 1881 (at the age of 69). An annotated copy of The Richmond Papers, by A.M.W. Stirling is enclosed with this lot. (1)
*Persia. Futteh Ali Shah King of Persia, circa 1810-20, fine pencil and watercolour three-quarter length portrait of the second Shah of Iran, Fath-Ali Shah Quajar (1772-1834), some minor surface marks, margins slightly cropped, with contemporary ink inscription in English to verso giving some details of the royal dynasty (text cropped with some words lost), sheet size 29 x 21.7 cm (11 x 8.5 ins) Fath-Ali Shah Quajar (1772-1834) was famous for his long beard, and huge number of children. He was forced to concede substantial parts of his kingdom in the Caucasus (modern-day Georgia, Dagestan, Azerbaijan and Armenia) to Russia following the Russo-Persian wars of 1804-13 and 1826-28. He was visited by the British Diplomat Sir John Malcolm in 1799-1801, William Ouseley (1810), James Morier (1809 & 1811) and Robert Ker Porter (1817-20). (1)
Richmond (George, 1809-1896). A group of nine books with George Richmond's family associations, including The Book of Common Prayer, published Samuel Bagster, circa 1860, inscribed 'John Richmond, the gift of his Godfather, John Giles, May 1864' and beneath 'Robert Richmond with his Father's love, 1st May 1955', all edges gilt, original gilt-decorated morocco with one clasp present, heavily rubbed, 8vo; Gray's Poems, 1768, with George Richmond's signature to half-title, dated 1837; The New Testament, printed by Mark Baskett, Oxford, 1763, engraved plates, some repairs, presentation inscription to John Richmond initialled from John Giles, Christmas 1860, contemporary gilt-decorated red morocco, worn and covers detached; A Manual of Prayers for the Use of the Scholars of Winchester College, 1725, engraved portrait frontispiece, pencil inscription to Walter Coleridge Richmond from John Giles, June 1870, also 'To Anthony, July 1925', contemporary calf gilt, some wear, plus other various antiquarian works with similar inscriptions, generally worn, plus Blake's edition of Blair's Grave, 1813, and a reprint of the Book of Job, various sizes (11)
*English school. Portrait of a young girl, circa 1830, circular oil on canvas, head and shoulders portrait of a young girl wearing a white shift, her short dark curls crowned with a red-ribboned wreath of Morning Glory flowers, and her cheek resting on her hands clasped atop a column, against a ground of blue sky and two fluttering peacock butterflies, sometime relined, diameter 43cm (17ins), stretcher 46 x 46cm (18 x 18ins), stretcher with impressed stamp 'W. Morrill Liner', gilt moulded frame, with remains of label 'Aitken Dott, Carver and Gilder, 26 South Castle Street [Edinburgh]' The sitter bears a marked resemblance to Lady Gertrude Fitzpatrick (daughter of John FitzPatrick, 2nd Earl of Upper Ossory), who was the subject of Sir Joshua Reynolds's 1779 painting entitled 'Collina', (Columbus Museum of Art). The present work however is more likely to be a fancy picture than a conventional portrait. The column and butterflies suggest the Greek goddess Psyche, although the girl may also represent a month or season, or is simply a fairy figure. The picture restorer William Morrill (1838-1910) took over his father's business in 1866, working extensively for the National Gallery, National Portrait Gallery, Royal Collections and other prominent collectors. Dante Gabriel Rossetti described him as 'skilfull and careful' and Burne-Jones and Whistler also employed him. (1)
Gillray (James, 1757-1815). The Genuine Works of James Gillray engraved by himself, 3 volumes, published Thomas McLean, 1830, portrait frontispiece, title pages with wood engraved vignette, 569 uncoloured mixed method engravings and etchings, mostly printed back to back, some creasing to endpapers, front blank on volume one detached, hinges and joints cracked and weak, all edges gilt, contemporary half morocco gilt, scuffed and worn, folio, with Illustrative Description of the Genuine Works of Mr. James Gillray, published Thomas Mclean, 1830, additional half title, errata slip tipped in before title, list of political caricatures published by Thomas McLean at rear, library blindstamp to front endpaper, book plate of Yerger Hunt Clifton Trinity College Dublin to front pastedown, hinges weak, all edges gilt, contemporary half calf with gilt decorated spine, rubbed and worn at extremities, 4to A very scarce example of the McLean issue of Gillray's caricatures, together with the 4to volume of descriptive and explanatory text. (3)
*Richmond (George, 1809-1896). Portrait of Charles Heathcote Tatham (1772-1842), after the portrait by Thomas Kearsley exhibited at the Royal Academy in 1799, circa 1830, miniature watercolour and gouache on ivory, 87 x 69 mm (3.5 x 2.75 ins), framed and glazed Provenance: George Richmond (1809-1896) thence by descent. The architect and designer Charles Heathcote Tatham (1772-1842), whose daughter Julia married George Richmond, was supported in his early career by the architect to the Prince of Wales, Henry Holland, by whom he was sent on a Grand Tour of Italy (1794-96), where he enjoyed the companionship and company of Joseph Michael Gandy, Antonio Conova, Sir William and Lady Hamilton, Angelica Kauffmann, Frederick Howard, 5th Earl of Carlisle, and Antonio Asprucci. The present work is a miniature copy of the portrait painting by Thomas Kearsley (1773-circa 1802), exhibited at the Royal Academy in 1799 as number 161, which was owned by George Richmond until sold at Christie's in 1897. Richmond's large oil on canvas version of the portrait, dating from 1874, was sold at Sotheby's London on July 4th 2001, lot 134. George Richmond eloped with Charles Tatham's daugther Julia to Gretna Green, and was married on January 24th 1831, having been lent £40 by Samuel Palmer. (1)
*Richmond (George, 1809-1896). Portrait of the artist's wife Julia Richmond (1811-1881), circa 1830, miniature oval watercolour and gouache on ivory, 38 x 32 mm (1.5 x 1.25 ins), set in an oval metal brooch, with thin gold frame and outer border of seed pearls Provenance: Estate of George Richmond; thence by descent. A fine small-scale portrait of Julia Tatham, daughter of Charles Heathcote Tatham (1772-1842), and sister of Frederick Tatham (1805-1878). George Richmond and Frederick Tatham were both members of the circle of artists formed around Samuel Palmer in Shoreham, who were influenced by William Blake in his final years. Around 1825, Julia's father appointed George Richmond as a drawing tutor to his daughter, the beautiful 14 year old Julia. The relationship was initially encouraged, but when a wealthy older suitor appeared, Charles Tatham changed his mind, forcing the young couple to elope to Gretna Green, where they were married on 24th January 1831. Samuel Palmer loaned George Richmond the substantial sum of £40 to aid their elopement. The father forgave the couple after he was reassured by the artist John Linnell that his daughter's new husband had a promising future in the art world. (1)
*Circle of Jules Bastien-Lepage (1848-1884). Two men seated by a river bank (probably Emile Bastien-Lepage, and Sir George Henry Lewis behind), watercolour on grey paper, unsigned, laid down on card, 275 x 220 mm (10.8 x 8.7 ins), framed and glazed, with small 20th century handwritten note to verso 'Bastien-Lepage Sir G.H. Lewis behind' Brother of the artist Jules Bastien-Lepage, Emile Bastien-Lepage (1854-1938) was also an artist. An oil portrait of Emile by Jules Bastien-Lepage dated 1879 is in the collection of the Mus‚e d'Orsay. Sir George Henry Lewis (1833-1911) was an eminent London lawyer, who represented many artists and writers, including Whistler and Osar Wilde, famous names from the aristocracy, and cases involving the criminal underworld. He and his wife Elizabeth owned a country house at Walton-on-Thames (possibly the location of the present work), and the couple entertained artists and other figures there, and at their London home in Portland Place. Elizabeth's portrait was painted by Burne-Jones. (1)
*De Morgan (Evelyn, 1855-1919). Study of a female head, pencil on card, profile head and shoulders portrait of a young girl turned to the left, with pensive gaze, and her hair partially braided, with the artist's pencilled notes to lower left and upper right corners, dusty, sheet size 25 x 35cm (10 x 14ins) One of the pencil annotations reads 'Cephalus & P', although we have been unable to trace a work by Evelyn de Morgan on the subject of Cephalus and Procris. The other manuscript notes appear mostly to relate to details of composition and pigment, e.g. 'sky more brilliant', 'boughs less heavy', 'flowers in tufts of grass', 'red more vermilion'. (1)
*Broadside. Jarvis J. (publisher), The Poor Blind Pig Man, circa 1760, hand coloured etching with sixteen lines of verse below image, stained, 310 x 195 mm A scarce portrait of a street hawker. A portly man with a cane has a basket around his neck containing model pigs, probably made of clay and designed for children. The seller has his hand on the shoulder of a young boy who acts as his guide. The image is not in the digital collection of the British Museum, but they do have a copy - acquired in 1851 - numbered 1851.0308.527. (1)
Bobbin (Tim, really John Collier). Human Passions Delineated in above 120 Figures, Drolls, Satyrical and Humourous, 2nd edition, published Robert Collier, 1809, portrait frontispiece, decorative title, forty-three uncoloured engravings (including the four dentistry prints), notice to subscribers and explanatory text bound at rear, some water staining largely confined to endpapers, publisher's blue printed limp wrappers, stained and frayed, lacking spine, folio, together with another copy, but the later John Heywood edition, circa 1858, text block near detached, library label to front pastedown and a library stamp to verso of portrait frontispiece, contemporary blue cloth gilt, title in white ink to spine, boards a little spotted and frayed, folio (2)
*Hofmann (Ludwig von, 1861-1945). Female Nude, black chalk on grey-green paper, full-length portrait of a young lady, semi-nude and in a state of undress, spotted and edge-frayed, inscribed lower left with initials by the artist to William Rothenstein 'LvH to WR', 62 x 47.5cm (24.25 x 18.75ins) Painter, wood-engraver and designer Ludwig von Hofmann was a co-founder of literary magazine 'Pan', and a regular contributor to its pages. He was a long-standing friend of William Rothenstein. The National Portrait Gallery holds a lithographed portrait of Ludwig von Hofmann executed in 1902 by Rothenstein. (1)
*Ludovici (Albert Johann, 1820-1894). Portrait of two children (thought to be Prince Leopold (1853-1884) and Princess Beatrice (1857-1944), Queen Victoria's youngest children), 1862, oil on canvas, signed with monogram and dated lower right, relined, 76 x 63 cm (30 x 25 ins), modern gilt frame (1) Note: Revised estimate
*Dutch School. Portrait of a member of the Alewijn family (possibly Frederick Alewijn, 1603-1665, or Martinus Alewijn, 1634-1684), circa 1650-1660, oil on canvas, half-length portrait of a gentleman dressed in black with white collar and cuffs, small area of surface loss to background, relined, 93 x 77.5cm (36.5 x 30.5ins), framed, stretcher with remains of 19th century manuscript label identifying the family name of the sitter Alewijn, old hand-painted number 1756, and modern chalk auction reference number YG452/1 Alewijn is the name of an important Dutch noble family. (1)
*Rossigliani (Giuseppe Nicola, circa 1510-). The Adoration of the Shepherds, after Parmigianino, 1605, chiaroscuro woodcut on laid paper, printed in pale red, with monogram and date of the publisher Andrea Andreani, plate size 175 x 257 mm (6.9 x 10.1 ins), sheet size 202 x 285 mm (8 x 11.25 ins), mounted on 19th century backing paper, with detailed handwritten inscription in ink in French, referring to Bartsch XII p.12 and Oberhuber 98-99, stating that this item was in the collection of Gustave Lebel (small collector's mark to verso of the print), together with other various Old Master prints, including Jean Valdor the elder (circa 1580-1632), Portrait of Archbishop Ferdinand, Elector of Cologne, 1619, Giovanni Battista Galestruzzi, 1615/18-circa 1669, engraved title page to Trofei di Polidoro, Rome, 1658, Jan van Troyen, Saint Margaret, after Raphael, Jan de Bisschop, Saint Gerome, after Zuccaro, etc., various later portraits and 18th century French book illustrations, all loose, various sizes (approx. 150)
*Richmond (Thomas, 1771-1837). Portrait of William, Duke of Gloucester, 1820, miniature watercolour and gouache on ivory, showing the Duke of Gloucester half-length in garter and robes, signed and dated to verso, 8.3 x 6.7 cm (3.3 x 2.7 ins), period black and gilt frame Provenance: Estate of the artist George Richmond (1809-1896). Additionally inscribed by George Richmond to verso with the sitter's identity, and with presentation inscription 'To Mary Farrer from her loving father GR 1888'. See A.M.W. Stirling, The Richmond Papers, 1926, page 116. (1)
AN UNUSUAL CHINESE REPUBLIC PERIOD RECTANGULAR SILVER-METAL INGOT, weighing approx. 30.1gm, the top surface cast with a portrait of Chiang Kai Shek and a dollar coin, the reverse with impressed numerals and characters, 1.25in x 0.8in.(this item has been in the possession of a Liverpool family for nearly 20 years).
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