Commemorative Medals, Italy, Giovanni Lorenzo Bernini (1598-1680), sculptor and architect, cast bronze portrait medal, 1674, by Charles Jean François Chéron (1635-1698), bust of Bernini to r., wearing gown, signed on truncation, EQVES. IOA. LAVRENT BERNINVS. ETATIS. SVE. .ANNO 76 1674, rev. allegorical figures of Painting, Sculpture, Architecture and Mathematics, SINGVLARIS. IN SINGVLIS. IN. OMNIBVS VNICVS., 71mm. (V&T.19, 6; Johnson 125; Rizz.886; BDM.I, 420; Hall I, 575), the medal still wrapped in its original 17th century folded paper, this inscribed, ‘Joa. Laurentius Berninus’, good very fine Louis XIV commissioned Chéron to make this medal, even though the King’s patronage during Cheron’s visit to France in 1665 had been disappointing. The figures on the reverse represent the various arts in which Bernini excelled: sculpture, architecture and painting. At the time that this medal was made, Bernini was working on an equestrian statue of Louis XIV, which on its arrival in France, was so disliked by the King that he had the head replaced and the statue banished to a distant part of the park at Versailles. The Alan Irvine Collection of Historical and Artistic Medals
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Commemorative Medals, James, Duke of York and Lord High Admiral of England, the Battle of Lowestoft, silver medal, 1665, by John Roettiers, draped and armoured bust of James r., IACOBVS DVX EBOR ET ALBAN DOM MAGN ADMIRALLVS ANGLIÆ, rev. scene of the action, with the Royal Charles prominent, NEC MINOR IN TERRIS, date below, 3 IVNII 1665, 77mm. (MI.504/142; Eimer 228; vL.II, 505; MH 55; Farquhar p. 241; Weiss Fig. 10), both a magnificent naval and portrait medal, extremely fine and extremely rare James distinguished himself at the Battle of Lowestoft, fought on 3rd June, 1665, where he commanded the English fleet of over 100 vessels facing a Dutch fleet of similar size, commanded by Lt. Admiral Jacob van Wassenaer Obdam, at which 24 Dutch ships were captured or destroyed. The medal shows the Royal Charles engaging with the Eendragt. The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, John Campbell, Earl of Loudon (1598-1663), gilt-silver portrait medal, 1645, by Abraham Simon, signed A.S. on truncation, bust of Campbell, to l., wearing skull cap, plain collar and doublet, rev. legend, IOHAN COM LOVDOVN SVMMVS SCOTIÆ CANCELLARIVS 1645, 36mm. (MI.321/157; Eimer 148; CP 97/5; Platt II, p. 63; Foley 276), contemporary suspension ring, the gilding a little flakey especially reverse, very fine and very rare Campbell was a member of the General Assembly of 1638 and opposed the imposition of the new prayer book by Charles I and Archbishop Laud. He also opposed the King’s interference with the traditions of the Scottish nobility; became a leading spokesman for the Covenanter movement and was one of the seven Scottish nobles who signed a letter to the King of France requesting his aid. The discovery of this letter led to his arrest for treason and committal to the Tower but with the support of the Marquis of Hamilton he was released and permitted to return to Scotland. In 1641 he was appointed to be the Lord Chancellor of Scotland and was also First Commissioner of the Treasury and President of the Privy Council, positions he held till he was deposed at the Restoration in 1660. He was Chancellor of St. Andrew’s University. Bt. Seaby, 20 January, 1981. The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, France, Henri Bouchard (1875–1960), sculptor and medallist, Paul Vitry (1872-1941), art historian, curator of sculpture at the Louvre, uniface bronze tribute plaquette, 1939, from his colleagues, bust l., legend before his face, 79 x 64.5mm. a well sculpted portrait, very fine; Frantz Jourdain (1847-1935), Belgian architect, 1928, bronze portrait medal 72mm. this a 1976 restrike (Bouchard 27 CGMP 62A), mint state (2) Jourdain best remembered for the splendidly Art Nouveau La Samaritaine building in Paris. See footnote to lot 465. The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, Albert Joachim (1560-1654), Ambassador from the States General of the United Provinces, aged 86, cast silver portrait medal, 1646, by Abraham Simon, robed and bearded bust left, plain collar, hair short, signed A.S. on truncation, rev. legend in seven lines, 1646 ALB IOACHIMI EQ FÆDERAT BELG POST VARIAS IN EVROP LEGAT IAM ORDINAR IN BRIT AN 22 ÆT 86, 36mm. (MI.324/162; Eimer 151; vL II, 287; Platt II, pp. 178-79; Foley 278-9), very fine and a contemporary cast with light tone *ex Owen F Parsons Collection, Baldwin Auction 12, 27 May, 1997 (lot 975); Parsons bt. Baldwin, 8 November, 1951 (old dealer’s tickets); ex J. B. Carlyon Collection, and Philip Spence Collection (lot 310 - £12*); also believed ex J. G. Murdoch, Sotheby, 2 June, 1904 (lot 113 - £8-2-6) *Philip Spence (1873-1945), antiquarian, see note to lot 399 The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, Thomas Wriothesley, (1607-1667), 4th Earl of Southampton, Lord High Treasurer, 1660-1667, cast silver medal, by Abraham and Thomas Simon, 1664, bust left wearing skull cap and gown, his hair over his collar, the field slightly stippled, rev. THOMAS COMES SOVTHAMPTONÆ SVMNVS ANGLIÆ THESAVRARIVS & MDCLXIIII, 42mm. (MI.502/137; Eimer 227: Hill & Pollard [1978], pl 30, 4; Platt II, 326; Foley 449), an excellent and contemporary cast portrait, extremely rare *bt. Spink, 13 February, 1984. The cataloguers believe this to be a contemporary cast of excellent quality, though there is some softness of detail and the signature on the truncation is weak. The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, Charles I, Marriage to Henrietta Maria (1609-1669), cast silver medallet, 1625, by Pierre Regnier, busts vis-à-vis, he wearing falling lace collar, CH. MAG. ET. HEN. MA. BRIT. REX. ET. REG, rev. cupid scattering roses and lilies, FVNDIT. AMOR. LILIA. MIXTA. ROSIS., 22.5mm. (MI.238/2; Eimer 105; BMC [Jones] 101-104; Platt I, type A, pp. 115-16; Foley 191); Coronation, silver uniface portrait cliché, 1626, by Nicolas Briot, bust r., wearing ruff collar and ribbon for medal, signed NBF below, 26mm. (MI.243/11; BMC [Jones] 127; Platt, type C, p. 118; Foley 195), both very fine (2) The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, Sweden, Karl Renald Berch (1706-1777), numismatist, antiquarian, author, etc., bronze portrait medal, 1757, by Johann Carl Hedlinger (1691-1771), bust of Berch r., rev. legend in 6 lines, IN ABSENTIAE SOLATIUM FECIT AMICA MANUS HEDLINGERI, 36.5mm. (Felder 191; Hild.185.2; BDM.II, 462, illus.), contained in turned fruitwood box, extremely fine, scarce; a second example, white metal, this nearly very fine (2) *First bt. D. Fearon The Alan Irvine Collection of Historical and Artistic Medals
William III, The State of Britain, following the Peace of Ryswick, large silver medal, 1697, by John Croker, laureate bust of William r., with flowing hair and mantle over decorative armour, GVLIELMVS. III. DEI. GRA: MAG: BR: FRA: ET: HIB: REX:., rev. Britannia seated by shield and holding trident, RESTITVTORI., in ex. BRITANNIA MDCXCVII, 69.5mm. (MI.192/499; Eimer 372; Pax 348; vL IV, 250), a superb medallic portrait, choice extremely fine with much brilliance The Alan Irvine Collection of Historical and Artistic Medals
Commemorative Medals, France, Seraphin Emile Vernier (1852-1927), sculptor and medallist, portrait of a young lady, uniface cliché striking, in gilt metal, 1895, a proof impression (numbered ‘8’), she faces r., her hair loosely tied up and with flowers to the front, 63.5mm. matt surface, softly worked, extremely fine and rare The Alan Irvine Collection of Historical and Artistic Medals
ENGLISH SCHOOL, EARLY 19TH C A LADY ivory, oval, 6.5 x 5cm, papier mâché frame with gilt brass flower hanger and miscellaneous other portrait miniatures and prints in paper mâché, giltwood and other miniature frames, etc (35 approx) ++The first item rubbed and faded, many of the other items in the lot in good condition
ENGLISH SCHOOL, 17TH CENTURY PORTRAIT OF A MAN TRADITIONALLY IDENTIFIED AS SIR NICHOLAS HARE bust length, oil on panel, 57.5 x 43cm Provenance: By descent in the family of the Earls of Stradbroke to Major the Hon Peter James Mowbray Rous (1914-1997), Bruisyard Hall, Suffolk. Sir Nicholas Hare (before 1495-1557) of Bruisyard, Suffolk and London was the son of John Hare of Homersfield and Elizabeth his wife, nee Fortescue. He was successively MP for Downton, Lancaster and Taunton, elected Speaker in 1539 two years before having been appointed to the King's Council. He was Master of the Rolls, 1553-1557. The purchase of former monastic property enabled Hare to become a substantial landowner in his native county of Suffolk. ++Old illegible hand written label on the support and type written printed trade label of E Stacy-Marks Ltd dated 11 May 1965 who "cleaned, restored and revarnished" the work for the then owner, Major Rous. Support warped and now convex with small paint loss mainly around two vertical closed cracks, In the present black and giltwood frame since the 19th c
ENGLISH SCHOOL, 19TH C PORTRAIT OF A LADY; A GENTLEMAN a pair, both seated half length, oil on canvas, 80 x 64.5cm (2) ++Both with several patch repairs verso and some consequent restoration, varnish relatively clean and ready to hang in the original Victorian gilt cavetto frames. The portrait of the gentleman with old indistinct inscription on hand written label on the back of the frame
HEINRICH WILHELM CHRISTIAN SCHWALBE (1790-1831) AFTER LUCAS CRANACH THE ELDER PORTRAIT OF MARTIN LUTHER signed and dated lower right Schwalbe Copiert 1839 and inscribed with Cranach's initials and the date 1530, oil on canvas, 55 x 43cm Provenance: Christie's, Amsterdam, 8 October 1997. ++Medium retouched where flaking principally the black pigment extreme lower part of the composition. Light craqueleur from paint shrinkage, the support lined, stretchers and frame wormed
A COLLECTION OF ROYAL WORCESTER, COALPORT AND OTHER MINIATURE PORCELAIN, LATE 19TH AND EARLY 20TH C to include two Coalport gilt ground landscape painted mugs and a saucer and a Wedgwood Butterfly Lustre tyg, 5cm h, printed marks and a 'Sèvres' bleu celeste saucer, painted with a portrait (26) ++The lot in fine condition
FOLLOWER OF HIERONYMUS CUSTODIS, 1607 PORTRAIT OF A MAN bust length, in black with ruff , inscribed ALL FLESH IS GRASS Man that is borne of woman is of short Continuance and full of trouble man is like to vanity his daies are like a shadow that vanishth and dated FEBRUAR 1607 AETATIS SUAE 43, oil on panel, 57 x 44cm ++Support warped and slightly bowed with fine shrinkage cracks, minor paint loss, two small holes drilled extreme upper centre, localised bitumenisation of the paint, the medium thin in places and with areas of over painting. On the back of the panel several old canvas tape repairs to splits. A Christie's stencil number (GT823) and chalked lot number 137 5 June '87
DUTCH SCHOOL, 17TH CENTURY PORTRAIT OF A WOMAN three quarter length in black with white cap and collar, oil on panel, 55 x 40cm ++Aprprox two thirds x one third vertical split to the support, hole upper right centre, the medium thin in places with evidence of restoration/retouching, varnish unevenly dirty
PHIL (PHILIP WILLIAM) MAY (1864-1903) THE HANSOM CAB DRIVER; FRED STOREY IN "ALADDIN"; THE ARTIST'S GREETINGS CARD FOR CHRISTMAS 1902 three, all signed and dated '93, '95 or 1901, pencil or pen and brush and ink, 47 x 26cm and smaller and two books, The Phil May Folio of Caricature Drawings... with a biography and portrait, signed by the artist 1901 (5) ++As a lot in good condition
Sale Item: OVAL MINIATURE PORTRAIT Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT @ 20%
Sale Item: GLASS PORTRAIT (FRAME AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT @ 20%
AN ANTIQUE MINIATURE PORTRAIT AND DIAMOND PENDANT/BROOCH, CIRCA 1880Set with two heart-shaped miniatures, each of a girl, within an openwork surround of rose-cut diamonds and suspending a small pearl, mounted in silver and gold, inscribed on the reverse 'Victoire née le 18 decembre 1888' & 'Marie née le 18 decembre 1888', length 4.7cm, width 4.3cmMiniatures by the nature of their size, objects held within the palm of the hand, were originally created as personal mementos of important occasions such as marriage, births or deaths. Their value resided in the ability for the individual to carry the miniature with them at all times. As a result they were mainly designed as objects of wearable art, items of jewellery, such as bracelets or necklaces for women, or alternatively for men, the miniature could be set in a pocket watch, or into the lid of a snuff box. The portraits were frequently adorned with diamonds, pearls or other precious stones as a show of wealth and status. Long periods of separation due to travel or warfare led to loved ones often having a lock of hair in the reverse side as a token of their affection. Collecting miniatures was popularised at French court during the reign of Francois I before spreading to the court of Henry VIII in England, where they were often presented as gifts to favourable courtiers during public ceremony. Their small size required the artist to exercise incredibly controlled brushwork to capture the features of the sitter. Portrait miniatures remained highly popular, for rendering the likeness of a beloved, until the advent of daguerreotypes and early photography in the mid-19th century. However, alongside this development in other mediums of portraiture, the style of miniatures in the 19th century, shifted and developed, with the artist wanting to show off their skill by including details such as clothes and background settings.
Statuary: Pasquale Romanelli: A carved white marble figure of Rebecca at the wellcirca 1870signed P. Romanelli, Florence 105cm high Pasquale Romanelli 1812-1887 was a pupil of Luigi Pampaloni and Lorenzo Bartolini in Florence. He took over Bartolini's studio after he died. He became a very prominent sculptor creating many public monuments in Italy and exhibited his work in both Paris and London. He was well known for his sensuous sculptures of allegorical, biblical and mythological figures of women. His son, Raffaello Romanelli and grandson, Romano Romanelli were also renowned Italian sculptors.Provenance: Sotheby's Sussex Garden Statuary and Architectural Items, 25th September 1990, lot 337. Now being sold by a direct descendant of the sculptor.Pasquale Romanelli was born in Florence on May 28, 1812. As was still often the custom then, he entered an apprenticeship in a studio producing sculptures in alabaster, studying in his free time and reading every book he could procure. Alabaster, Or Castellina marble, being much softer to carve than other marbles, makes a very good material with which to begin. Pasquale made such progress that soon he joined the apprentices in the studio of Luigi Pampolini, who trained him in the skills of working statuary marble. He was rapidly promoted to assisting the master in the carving of the statues of 'Arnolfo di Cambio' and of 'Filippo Brunelleschi', now placed in the Cathedral Square in Florence.Pasquales' skill was such that the already then famous Lorenzo Bartolini, professor of sculpture at the Academy of Fine Art, invited him to enter his studio in Borgo San Frediano, and to attend his courses at the Academy too. He became Bartolinis' most gifted pupil, and certain commissions were passed to him to do. Pasquale worked on the statue of Francesco Ferruci, placed then in a niche of the Loggiato of the Uffizi Gallery. He soon opened a studio of his own.In 1840 Pasquale exhibited his work entitled 'The son of William Tell'. The sculpture alluded to the desire of the people for independence. It met with such success that it was subsequently given a prize at the New York Exhibition of 1854 and also at the 1861 first Great Italian Exhibition, which followed the Unification of Italy in 1860. The statue was bought by King Vittorio Emanuele II.Alongside his love of art, Pasquale Romanelli had a passionate love for his country. He became a member of the revolutionary groups that urged the war of independence from the Austrians. He had enrolled in the volunteers to fight following their defeat in 1848 and 1849 he was forced, with the rest of them, to go into hiding in the wild country of Maremma.It was not until calm reigned again in 1850 that he had been able to return to Florence to continue with his sculpture. In the same year Lorenzo Bartolini died. Pasquale acquired the studio in Borgo San Frediano, and it was to him that was entrusted the task of completing the several great monuments that were unfinished at the time of Bartolinis' death. These included the immense monument to Prince Nicola Demidoff, a complex work with many figures besides that of the Prince. Pasquale went on to create works of this own such as ' The Genius of Italy', 'Italy Deluded', exhibited at the Exhibition in Paris, but for the moment too politically sensitive in 1859, and thus before unification, for exhibiting in Italy. Infact 'The Genuis of Italy' arrived in Paris with its legs broken. It had been vandalized by Pasquales' enemies and Pasquale subsequently refused to sell it at any price so it has remained in the possession of his heirs to this day.After Unification, Florence became the capital of the new Italy for a few years, and commissions flowed. Pasquale received numerous commissions from America and form England. He opened a Gallery on the Lungarno Acciaioli where completed works could be sold direct to the public, including all those travelling on the Grand Tour.Pasquale won various prizes. In 1863 he made the monument to Fossombroni at Arezzo, in 1864 the monument to Count Alessandro Masi for the Certosa of Ferrara. In 1868 he too, was appointed Professor of Sculpture of the Academy of Fine Art of Florence.Amongst his works were 'The boy Washington', bought by Principe Amadeo, portraits of Vittorio Emanuele II, of Prince Albert consort of Queen Victoria. He also made a portrait of Bartolini as part of the monument erected on Bartolinis' tomb in the church of Santa Croce. Pasquale died in 1887.
A COLLECTION OF SIGNED INK PORTRAITS OF BRITISH POLITICIANS; 'Harold Wilson' with letter from 10 Downing Street, 1967, 'Harold Macmillan' with letter, 1967, 'Sir Gerald Nabarro' with letter 1970, with two un-signed portraits of 'President Johnson' with letter from the White House dated 1968 and a portrait of Glen Ford Note; a few have been covered in clear sticky-back plastic
A 20th century oil painting by David Foggie, on canvas laid onto board and showing a bust length portrait of a young woman in green print dress, signed middle left, David Foggie (the sitter showing family resemblance to the subjects of - The Young Miner 1926, (Royal Scottish Academy) and The Miner's Mother of the same year - see David Foggie - The Painters' Painter 2004), 50 x 35cm approx in green and gilt frame with distressed finish (accompanying book displayed in cabinet)
A substantial early English School oil painting on canvas after Sir Peter Lely, three quarter length portrait of King James II as Duke of York in period costume and holding a baton, seated in a curtained interior with view towards a landscape, with indistinct inscription centre left, 131 x 105cm in substantial carved gilt frame with acorn, oak leaf and floral detail
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