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283287 Los(e)/Seite
Los 319
Maud Hall Neale (c.1870-1950) British. Portrait of Winifred Leighton Wade, Circa 1907, Wife of William Oscar Little, Seated in an Interior, Wearing a White Dress with Blue Edging, Oil on Canvas, Signed, and Inscribed on labels on the reverse (see images on our web site), 36" x 28.5". Provenance, by Family Descent to the Present Owner.
Los 508
Henry Bone, RA (British, 1755-1834) Portrait of Charles Genevieve Louis Auguste André Timothée d'Eon de Beaumont, called Le Chevalier d'Eon (1728-1810) signed and dated "H Bone 1793" lower left and inscribed with the sitter's name to the reverse watercolour on ivory, oval, in a gold-plated frame 8.50 x 6.80cm (3 x 3in) Other Notes: Le Chevalier d'Eon was one of the most enigmatic figures of the late 18th century. Although known to posterity as a soldier, spy and writer, he most famously distinguished himself as a transvestite. One of the first reported instances of his cross-dressing was at a ball at Versailles where, according to his own account, both Madame Pompadour and Louis XV attempted to seduce him. Even though he dressed mostly as a man throughout his public career, he notably managed to infiltrate the court of Empress Elizabeth of Russia by presenting himself as a woman whilst working as a spy for the French King. After joining the King's secret service in 1755, he was sent on his first mission to Russia and briefly fought in the Seven Years' War. He was then posted to London in 1763 where he worked undercover as a spy for Louis XV. However, following his altercation with the French Ambassador, whom d'Eon sued for attempted murder, he fell out of the King's favour. Out of spite d'Eon published secret state documents in 1764, which stirred a great sensation, but also led to a libel suit. D'Eon was declared an outlaw and was found guilty by the High Court in London, barely managing to escape dressed as a woman. He was eventually paid off by Louis XV and went on to work as a spy, living in political exile in London. Inscribed "Monsieur / Le Chevalier d'Eon" verso. Slight staining left of the sitter's chest and top right, along the sitter's wig.
Los 504
Circle of Sir Godfrey Kneller (British, 1646-1723) Portrait of a gentleman in red with a white stock and grey wig, holding a melon and a knife oil on canvas, in a carved giltwood frame 76 x 61cm (30 x 24in) Various bumps and an old relining. Hole to his head and a loss of paint bottom right.
Los 511
English School (20th Century) Portrait of Frederick Alexander Lindsay-Smith (d.1915), JP, in robes, Chairman of the City of London Schools Committee, 1913 unsigned oil on canvas, in a gilt frame 100 x 75cm (39 x 29in) Provenance: Given by the sitter's colleagues at the City of London School Committee, and by descent Oil on canvas which is unlined. The canvas tension is slightly slack but the painting is in plane. There is a thick layer of dust on the reverse of the canvas. The paint layers are in a good, stable condition. There is a scratch in the paint layer at the left side. The varnish is even and glossy but very yellowed. There is a layer of surface dirt present. There are a few small losses to the gilding on the frame.
Los 494
Circle of Tiberio Titi (Italian, 1573-1627) Portrait of a Noblewoman, standing, three-quarter length, beside a red curtain, holding an ermine purse and caressing a pet spaniel charged with a coat-of-arms upper right oil on canvas 143 x 111cm (56 x 43in) Provenance: Presumed to have been acquired in Italy by Mrs Gunnell (née Alington) (see lot 492); Thence by descent in the Alington family at Little Barford Other Notes: We are grateful to Dr Michael Carl Eduard Schroeder who has suggested that the dexter arms could be those of the Counts Braida de Ronsecco e Cornegliano family of Savoy, Italy. Country house condition. Canvas is rising to the top left. Loose canvas. Coat of arms - not at later addition. white leopard demi rampant with a coronet and its tongue out - the red animal on the right could be a goat or a deer full rampant. Large oil on canvas of a lady - Titian written on the reverse Oil on a coarse weave canvas support which is unlined. The canvas tension is poor and there are undulations across the surface and a stiff deformation at the upper left corner. The paint layer is stable. There is overpaint in the sitter's face which are matte and discoloured. There are scattered retouchings across the dress. The varnish is yellowed and very matte with several scuffs and scratches. There is a layer of surface dirt present. The gilding on the frame is worn.
Los 478
Studio of Sir Godfrey Kneller, Bt. (British, 1646-1723) Portrait of Queen Anne, head and shoulders, in a painted oval oil on canvas, unlined, in a period carved and gilt wood frame 66 x 62cm (26 x 24in) Provenance: By descent at Little Barford Manor to the present owner Other Notes: The present portrait is a detail of an original of which Kneller's studio produced innumerable versions. Large hole and tear. Unlined. Continental stretcher. Oil on canvas which is unlined. Extensive tears to the canvas although none is actually missing. Associated paint loss along the tears. A few areas of raised craqelure with small losses. Bird droppings have etched into the varnish. There is a yellowed varnish which is matte with surface dirt and insect droppings. A few small losses to the gilded decorative surface of the frame.
Los 472
Follower of Sir Anthony van Dyck (Flemish, 1599-1641) Portrait of King Charles II, when Prince of Wales, standing, full length, in armour oil on canvas, in a 19th Century carved and giltwood frame with acanthus leaves 146 x 104cm (57 x 41in) Provenance: Presumed to have descended to the Little Barford branch of the family from the extinct baronial line of the Alingtons The present painting is based on the original by Sir Anthony van Dyck at Welbeck Abbey, Nottinghamshire. In that picture, however, the feathers in the helmet are different and those in the present painting are closer to studio repetitions of the Welbeck original in the Royal Collection and the National Portrait Gallery. Lined. Probably 17th-early 18th Century with craquelure. Oil on canvas which has been lined. The painting is in plane and the paint layer appears stable. There are scattered retouchings across the surface reinforcing the outlines of the composition. The varnish is old and yellow with matte patches. It is no longer saturating the paint layers below. There is surface dirt and hazing on the surface.
Los 81
A miniature portrait brooch with sapphire and seed pearl mount together with an amethyst and seed pearl brooch, the first with a circular watercolour portrait of a Fragonard beauty with powdered hair and décolleté dress, in a closed back mount and frame with a seed pearl flower, leaves and graduated line of tiny seed pearls highlighted at intervals with three round cut sapphires, yellow precious metal stamped '750' for 18ct gold, integral safety chain, diameter 2.2cm; the second with an oval cut amethyst in a border of 2mm seed pearls, length 2.3cm (2)
Los 486
Joseph Tonneau (British, fl. 1864-1891) Portrait of Catherine Mary Alington, half-length seated, in a green and cream lace dress, wearing an emerald necklace oil on canvas, oval, in a gilt frame with ribbon-tied floral cresting 90 x 70cm (35 x 27in) Provenance: By descent from the sitter at Little Barford Manor to the present owner Other Notes: Catherine Mary Wright, second daughter of Edmund Wright of Halston, married Julius Alington in 1871. The present picture was probably commissioned as an engagement portrait (see lot 488). Frame damaged, parts of moulding missing. Oil on canvas which is unlined. The canvas is slightly slack with minor undulations. The paint layer is in stable condition but has a varied surface texture including drying cracks and wrinkling, due to the artist's choice of materials and technique. The varnish is dull, yellowed and no longer adequately saturating the paint layers. There are losses to some of the decorative moulding on the frame and wear to the gilding.
Los 516
Attributed to Thomas Hudson (British, 1701-1779) Portrait of Mrs Bathurst, wife of *** Bathurst Esq. of Lydney Park in blue and silver Van Dyck dress with pearls oil on canvas, framed as an oval 77 x 63cm (30 x 25in) Provenance: By descent by marriage within the family of the sitter at Fulbeck Manor, Lincolnshire In a Hodges family frame. Lined and cleaned. Provenance - Dining Room. Oil on canvas which has been lined. Paint layer has areas of slightly raised craquelure and cupping. There are localised areas of retouching on the surface. The varnish is clear, even and semi-matte.
Los 474
Studio of Sir Godfrey Kneller Bt. (British, 1646-1723) Portrait said to be of William, 3rd Baron Alington (c. 1634-1684/85), head and shoulders, in red, wearing a long brown wig oil on canvas, oval 76 x 63cm (30 x 25in) Provenance: By descent from the sitter to the Little Barford branch of the Alington family Other Notes: An indistinct inscription on a plaque attached to the painting reads "William Alington ???? / The Tower and Lord Lieutenant of Cambridgeshire created / An English Peer as Lord Alington of Wymondley / ??? A.D. 1682. He married for his third wife Diana / sister to Lord Wm. Russell who was beheaded 1683 / Sir Godfrey Kneller pinx t. 1709 (sic)". This draws attention to the fact that as Constable of the Tower of London, Alington would have had to oversee the execution of his wife's brother, The Hon. William Russell, for his part in the Rye House plot against Charles II in 1683. Old label "Sir Godfrey Kneller pinxit 1701". Quite dirty.Oil on a coarse weave canvas support which is unlined. Area of damage at the left hand side which has been retouched. Paint layer has a network of age craquelure which is slightly raised but stable overall. The painting has an old varnish which is dark and dull. There are dark spots and accretions on the surface. The gilding on the frame is worn and flaking in the spandrels of the slip.
Los 479
Attributed to Thomas Kearsley (British, fl.1792-1802) after Sir Thomas Lawrence (British, 1769 – 1830) Portrait of Sir Thomas Plumer, Master of the Rolls and 1st Vice Chancellor (1753-1824), seated, half length, in Judge's robes and a full wig before a red curtain oil on canvas 89 x 69cm (35 x 27in) Provenance: Little Barford Manor, Bedfordshire Other Notes: The sitter's second daughter, Elizabeth, married in 1822 the Reverend John Alington of Little Barford, Bedfordshire. After the original in the Faculty of Harvard Law School. Dirty and frame has chips.
Los 522
After Hans Holbein A portrait of Johann Froben (1460 - 1527) pastel on paper laid to board 36 x 29cm (14 x 11in) Other Notes: After Holbein's original in the Royal Collection, RCIN 403035. Johann Froben, in Latin: Johannes Frobenius (and combinations), (c.1460-27 October 1527), was a famous printer, publisher and learned Renaissance humanist in Basel. He was a close friend of Erasmus and co-operated closely with Hans Holbein the Younger. He made Basel one of the world's leading centres of the book trade. He passed his printing business on to his son, Hieronymus, and grandson, Ambrosius Frobenius. Old newspaper to the reverse: Chrstiie's November 1936 "an early chalk of some interest" In a frame stamped "Hodges"
Los 473
Sir Peter Lely Bt. (Soest 1618-1680 London) and Studio Portrait of William, 3rd Baron Alington (c.1634-1684/85) and his third wife Lady Diana Russell, both standing three-quarter length, he holding a baton and gesturing to a distant castle and she beneath a curtain and beside a male bust upon a plinth a pair, each oil on canvas, in good English 18th Century carved and giltwood frames 123 x 100cm (48 x 39in) Provenance: By descent within the family of the sitters to the Little Barford line, Bedfordshire Literature: Miss Catherine Parsons, "Horseheath Hall and its Owners", in the Proceedings of the Cambridge Antiquarian Society, Vol. LX1, 1948, p.22, and both illustrated as Plates I & II Other Notes: William Alington succeeded his elder brother in 1659 in the Irish peerage created in 1642 for their father by King Charles I. After the Restoration, William became M.P. for Cambridge in 1664 - for as an Irish peer without a seat in the House of Lords, he was in England effectively a commoner. By 1678 he had risen to the rank of Major General, despite Pepys's comment in 1667 that he was "a young and silly Lord." In 1679, he was appointed Constable of the Tower of London and then in 1681, he became Lord-Lieutenant of Cambridgeshire. In 1682, he was given, by Charles II, an English peerage - that of Baron Alington of Wymondely in Hertfordshire, another of his many estates. Alington's third wife was the daughter of another ardent Royalist, William 5th Earl of Bedford, who was elevated to the Dukedom by William III. She was painted some years earlier by Lely - albeit three-quarter length - holding a houette, and that picture is in the collection at Woburn Abbey. Here, however, she is interestingly depicted by Lely in a virtually identical pose to that of her husband's sister, Elisabeth Alington - Lady Seymour of Trowbridge - which is dated to 1663-5 and which is in the National Trust Collection at Petworth House, as that Lady was mother of the 5th and 6th Dukes of Somerset. Lely is known, though, to have regularly re-used poses sometimes by simply reversing them and altering various accessories like curtains and background details. The composition of Lord Alington himself was used in the same direction more than once by Lely - e.g. in the portrait of Viscount Charmouth at Belvoir Castle and that of Henry Seymour, Lord Beauchamp at Longleat House. He reversed the pose and composition for a portrait of Charles Killigrew, now in the Victoria & Albert Museum, and for another, mistakenly later inscribed "Lord Alington", that is today at Ham House and now considered to be of John Murray, 2nd Earl and 1st Marquess of Athol. It would seem probable both from the style and the handling of the drapery and the fact of their marriage in 1675, that this Alington pair of portraits was painted around that time. Both very dirty and with bloom and some mould. William Alington - Oil on canvas which has been lined. Canvas has suffered from mould growth on the front and reverse but this does not appear to have affected the paint layer long term. The paint layer has been slightly softened during the lining process. The varnish has degraded causing it to become yellow and dull, affecting the tone and saturation of the painting. There are dark marks on the sitter's face which are likely to be darkened retouching. Frame has suffered from wear and abrasion with small chips and losses to the gilding. Diana Alington - Oil on canvas which has been lined. The canvas is in plane with good tension. The paint layer has been slightly softened during the lining process. There are a few scattered paint losses but overall the paint layer is stable. There are darkened retouchings in the sitter's face. The varnish has degraded causing it to become yellow and dull, affecting the tone and saturation of the painting
Los 475
Circle of Mary Beale (British, 1633-1699) Portrait of a young man, presumably a member of the Alington family, half length, with lace jabot, within a painted and stone cartouche oil on canvas 74 x 63cm (29 x 25in) Provenance: By descent within the Alington family to the Little Barford branch and thence to the present owner Frame has worm. Oil on canvas which has been lined. The painting is in plane and the paint layer is stable. There are darkened areas of retouching. The painting is compromised by a degraded varnish which is discoloured, matte and no longer saturating the paint layers below. There is mould and surface dirt on the varnish.
Los 505
William Denune (Scottish, c. 1710-1750) Portrait of a lady with her small dog by a loch, Neidpath Castle beyond, possibly a member of the Lawson family signed and dated centre right "W De Nune 1745" oil on canvas 158 x 110cm (62 x 43in) Provenance: From a Norfolk country house The rose and rose bud paired together can be a Jacobite symbol. The rose is said to have symbolized the exiled King James with the buds being his heirs, Charles and Henry. The Marquis of Tweeddale has suggested the identification of Neidpath Castle, formerly a Hay stronghold, and now in the ownership of the Earl of Wemyss. De Nune's work is in the Royal Collection and the National Gallery of Scotland. We are grateful to the Marquis of Tweeddale for his assistance with the catalogue entry. Slightly over-cleaned at some stage. Possibly a Primrose ? Oil on canvas which has been lined. The canvas tension is very stiff. Th epaint layer appears stable overall. The varnish is even but matte. There is a layer of surface dirt present.
Los 493
John Lindsay Lucas (British, 1807-1874) Portrait of Richard Gunnell (c.1807-1872), husband of Frances Gunnell (nee Alington) signed lower right "J Lucas 1851" oil on canvas, unlined, in a carved and gilded Florentine frame 75 x 59cm (29 x 23in) Other Notes: Richard Gunnell married Frances Alington in 1841. He died at the Grand Hotel, Catania, Italy, in 1872. It is possible that the following seven lots were acquired by the Gunnells during their honeymoon tour of the Continent. On a Roberson canvas in a Florentine frame. Oil on canvas which is unlined with a supplier's stamp for Charles Roberson on the reverse. The canvas tension is good and the painting is in plane. The paint layer has drying cracks in the sitter's face but is stable overall. The varnish is old, degraded and yellow. The surface is matte and very dusty. The frame is in a good condition.
Los 477
Circle of Pieter Nason (Dutch, 1612-1690) Portrait said to be Hildebrand, 5th and last Baron Alington (1641-1722/3), standing three-quarter length, in armour, resting his helmet upon a table oil on canvas 116 x 92cm (45 x 36in) Provenance: By descent within the Alington family to the Little Barford line Other Notes: The presumed sitter succeeded his nephew Giles in the Irish barony of Alington in 1691 and at his death the title became extinct. He never married but was in the retinue of his cousin Charles, 6th Duke of Somerset (the Proud Duke) to the Continent in 1680 (see Dr Catherine Parsons, "Horseheath Hall and its Owners" in the Proceedings of the Cambridge Antiquarian Society, Vol. XLI, 1948, p.22) where in a letter to him, his elder brother, Lord Alington, described the attempt in Parliament to exclude the Duke of York from the succession which would result in their brother-in-law William Russell's execution. A horizontal line can be seen 12in down from the top. Lined. Dirty. Hildebrand - Lely Oil on canvas which has been lined. The paint layer is actively flaking in many areas with small, scattered paint losses. The painting is compromised by an old degraded varnish which is uneven yellowed and no longer saturating the paint layers below. There are a few scattered old retouchings which have darkened. Surface dirt and dark accretions lie on top of the varnish.An attribution has been suggested to Jacob Huysman Flemish (1633 - 1696)
Los 188
Unnamed - A 14ct gold full hunter cased pocket watch, the white enamel dial printed with Roman numerals, subsidiary seconds dial, the keyless movement un-signed, the front cover decorated with the monochrome portrait of a very young Prince George of Serbia (1887-1972), the back case with the arms of Serbia, 47mm diameter, gross weight 91.4gm
Los 520
After Sir William Beechey, RA (British, 1753-1839) Portrait of General Sir Henry Fane, GCB, in uniform oil on canvas 76 x 64cm (30 x 25in) Provenance: By descent within the family of the sitter at Fulbeck Manor, Lincolnshire Other Notes: General Sir Henry Fane (1778 - 1840) was the son of the Hon. Henry Fane of Fulbeck Hall, Lincolnshire. He was MP for Lyme Regis, commanded brigades during the Peninsular Wars and was Commander in Chief in India during 1835 - 1839. He died unmarried in 1840 and was buried at sea. This is a 19th Century copy after the original at Fulbeck Manor, Lincolnshire. Oil on canvas which is unlined. Canvas tension slightly slack but the picture is in plane overall. The paint layers are thinly applied and in a stable condition overall. Localised drying cracks are forming in the background on the left side. The varnish is matte and dull. There is a layer of surface dirt present. Numerous losses to the frame. Oil on canvas which has been lined. The canvas tension is good and the paint layer is stable. There is wear and abrasion in some areas where the paint layer is thinner. There are localised areas of retouching strengthening of some of the outlines of the composition. The varnish is semi-matte, clear and even. There is wear to the gilding a few scattered losses.
Los 471
Attributed to Henry Stone (known as "Old Stone") (British, 1616-1653) Portrait of King Charles I, head and shoulders, wearing the Garter Star and George Medal oil on panel 70 x 58cm (27 x 23in) Provenance: By inheritance in the Alington family to the Little Barford branch and thence to the present owner Other Notes: The following thirty lots consisting mostly of portraits of members of the Alington Family and their immediate relations, come from that family's collection at Little Barford, near Bedford. The Alingtons were settled at Horseheath near Cambridge by 1397. A William Alington in the time of Henry VI married Elizabeth, the sole heiress of Sir William Argentine of Halesworth in Suffolk and Great Wymondley in Hertfordshire. In the seventeenth century, their descendant William Alington - still of Horseheath - was in 1642 elevated to the Peerage as Baron Alington of Killand, Co. Cork. An earlier younger brother of the Baron Alington's forbear, called George, was the progenitor of the Alingtons of Swinhope in Lincolnshire where they held extensive estates. In the eighteenth century a second son of this Swinhope branch, The Reverend William Alington (1761-1849) married Sarah Williamson of Baldock and they were founders of the Little Barford line of the family. At much the same time in the early 18th century, the original peerage and senior male line became extinct on the death of the 5th Baron in 1712. The sister and ultimately sole heir of the 4th Baron, Catherine, married in the time of William III, Sir Nathaniel Napier Bt. of Crichel in Dorset. Their daughter Diana married Humphrey Sturt in 1717/18 and it was their descendant Henry Gerard Sturt (1825-1904) who became the 1st Baron Alington of the 2nd creation in 1876. This later title was also to become extinct in 1940. At some point in time, it is clear that portraits of the seventeenth century baronial line were transferred from Horseheath to their nearby cousins in the junior branch at Little Barford. This almost certainly took place when Horseheath Hall which had been built for the 3rd Baron Alington by Sir Roger Pratt in 1663-5 (and which was until its tragic demolition in 1792 one of the greatest houses in the country, let alone in East Anglia) was leased by the Alington heiress Catherine, Lady Napier on a 999 year tenure, to John Bromley a Barbados sugar-planter. The present group of pictures from Little Barford does, however, include an early nineteenth century portrait of a Sturt of Crichel - evidence of ongoing contact between the two branches of the family." Dirty. On three panels. 17th century. Oil on canvas which has an early lining. The canvas is in plane. There are localised areas of damage which have been repaired. The paint layer is stable. Areas of overpaint are slightly mismatched to the original. The painting is compromised by a poor varnish which is matte, yellowed and patchy. There is surface dirt on the varnish. There is wear to the gilding a few scattered losses.
Los 506
Circle of Michael Dahl (Swedish, 1659-1743) Portrait of a lady in a cream dress and blue cloak oil on canvas, oval 64 x 58cm (25 x 23in) Provenance: From the collection of the late Sir Donald Sinden, CBE, FRSA (1923 - 2014) Lined and cleaned. Oil on canvas which has been lined. An old damage at the upper right edge has been repaired. The paint layers are thin and worn in some areas. There are a few areas of retouching across the surface. The varnish is matte and uneven with some surface dirt. The finish on the frame is worn.
Los 482
Studio of Henry Perronet Briggs, RA (British, 1792-1844) Portrait of a gentleman, believed to be the Reverend William Alington (1761-1849), half length, seated, resting his arm upon a Bible 75 x 63cm (29 x 25in) Provenance: By descent from the sitter at Little Barford to the present owner Other Notes: The Reverend William Alington (1761-1849) was the second son of the Reverend Henry Alington of Swinhope and his wife Frances, daughter of Robert Baron of Letchworth, Hertfordshire. He was educated at Hertford and Peterhouse, Cambridge, from 1779, ordained deacon in 1784 and priest in 1785 in the diocese of Lincoln. He was Curate of Benington in Hertfordshire from 1784-1785, Rector of Swinhope, Lincolnshire from 1785-1837, Patron and Rector of Twywell, Northamptonshire from 1799-1849 as well as Rector of Little Barford itself from 1809-1822. He married in 1788 Sarah (d.1808) daughter of John Williamson of Baldock, Hertfordshire, a banker. Dirty and the frame has chips. Oil on canvas which is unlined. The canvas tension is slightly slack but the work is in plane. Areas of finely, flaking paint with scattered losses. The paint layer has a network of age cracks with some raised edges but is generally stable. The painting is compromised by a degraded varnish which is matte, uneven and no longer adequately saturating the paint surface.
Los 476
Circle of Willem Wissing (Dutch, 1656-1687) Portrait of a gentleman, presumed to be a member of the Alington family, three quarter length, beside an open window with a landscape and church beyond oil on canvas 125 x 100cm (49 x 39in) Provenance: By descent at Little Barford Manor, Bedfordshire, to the present owner Other Notes: The identity of the sitter is uncertain but it could possibly be Hugh Alington of Stenigot, Lincolnshire, who died without issue - or his younger brother, Henry Alington, of Aston, who married in 1663 and had issue. Lined. Country house condition.
Los 484
English School, early 19th century, after Richard Cosway R.A. (1742-1821), Portrait of an Officer, of Emigré cavalry of the Légion de Mirabeau, wearing a peaked helmet with silver front plate, black hair crest and white plume, his black jacket with light blue facings and narrow lapels, heavily frogged in silver, silver aiguilette and black breeches fitting into short boots, his rearing horse held by another officer in the background, bearing signature R. Cosway, watercolour on paper, 25.5 x 16.5cm.; 10 x 6.5in. Condition Report: The painting is in good, original condition with strong colours. The paper has browned universally and there is the odd spot of foxing across the painting. The painting is framed and glazed. Condition report: see terms and conditions
Los 479
Walter Richards, 19th/20th century, "Little Buttercup" - Portrait of a girl, signed and dated 1906, titled on artist's label verso, tondo, pastel, diameter 29.5cm.; 11.5in. Condition Report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. Condition report: see terms and conditions
Los 408
Marc Grimshaw (1957-), Portrait of L.S. Lowry, signed, pencil drawing, 33 x 38.5cm.; 13 x 15.25in. Artists' Resale Right ("droit de suite") may apply to this lot. Condition Report: The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. Condition report: see terms and conditions
Los 307
Raoul Millais (1901-1999), Portrait head study of a horse, initialled, oil on board, 11 x 8.5cm.; 4.25 x 3.25in. Artists' Resale Right ("droit de suite") may apply to this lot. Condition Report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. Condition report: see terms and conditions
Los 255
Philip Naviasky (1894-1983), Portrait of a boy, signed, oil on board, 47 x 34cm.; 18.5 x 13.5in. * Studied at Leeds School of Art and at the Royal College of Art. Exhibited at the Royal Academy; Royal Society of Portrait Painters; Royal Scottish Academy; Royal Glasgow Institute of Fine Arts and in the provinces. Artists' Resale Right (droit de suite) may apply to this lot. Condition Report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. Condition report: see terms and conditions
Los 292
Lionel Hamilton Renwick (British, 1917-2003), Study for portrait of "Glamour Girl", signed, titled and dated 1974, oil on board, 29.5 x 34.5cm.; 11.75 x 13.75in. Artists' Resale Right ("droit de suite") may apply to this lot. Condition Report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. Condition report: see terms and conditions
Los 338
James Lawrence Isherwood F.R.S.A., F.I.A.L. (1917-1989), Female portrait, signed, indistinctly titled and dated 'Dec '81' on verso, oil on board, 33.5 x 23cm.; 13.25 x 9in. Artists' Resale Right ("droit de suite") may apply to this lot. Condition Report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. Condition report: see terms and conditions
Los 516
English School, 18th century, Portrait miniature of a boy, oval, watercolour on ivory, 3cm.; 1.25in high, set in a gilt-metal frame with solid back inscribed 'J.M. aged 3 years and 9 months, March 1757'. Condition Report: The miniature is in good, original condition with no obvious faults to report. The reverse has the odd minor knock and surface scratch commensurate with age. Condition report: see terms and conditions
Los 268
Harold Riley (1934-), Portrait of a girl, unsigned, oil on board, 24 x 20cm.; 9.5 x 7.75in. Provenance: During the 1960's Harold Riley used to attend the Little Dolphin Italian Restaurant in Church Road, Eccles, Manchester, and it was during the 1960's that Harold gave this painting and the following paintings and drawings in this sale by Harold Riley to the then owners of the restaurant Stefano and Anna Steffenini and Tony Malatesta. This painting together with all following paintings and drawings by the artist in this sale have remained in the Malatesta family ever since, unfortunately the restaurant is no longer there. The collection covers a diverse range of subjects and imagery including views of Manchester and various Italian locations as well as some very important portraiture including such notable figures as the Duke of Edinburgh. Artists' Resale Right ("droit de suite") may apply to this lot. Condition report: see terms and conditions
Los 514
Nellie Hepburn Edmunds (1881-1953), Portrait of Ailsa Matthews, signed and dated '25, titled on artist's label verso, watercolour on ivory, rectangular, 14.5 x 10.5cm.; 5.75 x 4in. Condition Report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. Condition report: see terms and conditions
Los 459
English School, early 19th century, Female portrait, unsigned, oil on canvas, 24.5 x 19cm.; 9.5 x 7.5in. Condition Report: The painting is in fair, restored condition. The painting has been laid onto board. There is craquelure across the surface of the painting and some areas of paintloss and subsequent overpainting. The painting is framed but not glazed. The frame has the odd knock and loss commensurate with age. Condition report: see terms and conditions
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283287 Los(e)/Seite