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283284 Los(e)/Seite
Los 492
ENGLISH SCHOOL c. 1835‘Contemplation’oil on canvas36 x 28in (91.4 x 71.2cm)An indistinct inscription on a label attached to the stretcher suggests the sitter is to be identified as Catherine E Gurd.Sold together with an oil portrait depicting a Gentleman seated, half-length, in his study, attributed to the artist John Cheney (1801-1885) ; two (2)
Los 495
FOLLOWER OF SIR JOHN BAPTISTE DE MEDINA (1659-1710)Portrait of a Gentleman, traditionally identified as Sir John Sinclair, 4th Bart, standing three-quarter length, wearing armour, a pillar and green drapery beyond, bearing inscription 'Sir John Sinclair 4th Bart' (lower left)oil on canvas49 x 39 ½ in (124.5 x 100.3cm)
Los 504
ENGLISH SCHOOL circa 1820Portrait of John Simpson of Castle Lodge, Yorkshire; and Portrait of his wife Elizabeth Simpson, both half-length, he holding a sword and wearing the uniform of the Yorkshire Hussars, and Elizabeth seated half-length, wearing a black lace-trimmed dress, one of the portraits bearing an old inscription on a label attached to a stretcher versooil on canvas35 x 28in (88.8 x 71.3cm); a pair (2)
Los 507
SIR JAMES JEBUSA SHANNON RA RBA PRSPP (1862-1923)Florence and Kitty Shannon (the artist's wife and daughter)signed 'J.J. Shannon' (lower right)oil on canvas21 x 24in (53.4 x 60.9cm)This portrait is believed to date from circa 1892.By the early 1890's Shannon's career as a society portrait painter was thriving. He had been a founding member of the Society of Portrait Painters in 1891.Yet as a number of contemporary critics observed he was at his best when he was painting members of his own family.This sensitive portrait captures a mother's special relationship with her daughterProvenance: The artist's family by descent; thence to the present vendor's family
Los 508
SIR JAMES JEBUSA SHANNON RA RBA PRSPP (1862-1923)A Family Group – the Artist, his wife and daughtersigned with initials ‘J.J.S.’ (lower right)oil on canvas37 ½ x 38in (95.3 x 96.6cm)Dateable to circa 1900This painting depicts the artist and his family at a time when he was reaching the height of his career as a portrait painter in London.The same family group appears in a photograph in the possession of the Shannon Family (see inset illustration)Provenance: The artist’s family by descent; thence to the present vendor’s family
Los 509
ATTRIBUTED TO HENRY STONE (1616-1653)Portrait of Thomas Howard, 3rd Duke of Norfolk and Earl of Surrey (1473-1554)standing, full-length, wearing a lynx fur, over a black robe, holding the gold baton of Earl Marshall and the white staff of Lord High Treasurer, and wearing the Order of the Garterbearing inscription ‘Thomas, Duke ofe (sic) Norfolk Marshall and Tresurer of Ingland. The LXVI Yeare ofe his Age’oil on canvas88 x 53 ½ in (223.6 x 135.7cm)The sitter was appointed Lord High Admiral of England, 1513, Lord Treasurer 1524, Earl Marshall 1533, Ambassador to Paris 1536, Lieutenant General of the King’s Forces 1542. He was an uncle of two of the wives of King Henry VIII, namely Anne Boleyn and Catherine Howard. After falling from favour in 1546 he was stripped of the dukedom and imprisoned in the Tower of London only avoiding execution when Henry VIII died a year later.The sitter was described by Ludovico Falieri, Venetian Ambassador, in November 1531 as ‘prudent, liberal, affable and astute…… who has very great experience in political government’. Norfolk’s own education and instincts were old fashioned, in religion and politics. As a politician he was conservative, unimpressed by the new ideas of the reformers and uncomfortable with the ‘new men’ of the Tudor Court. He claimed the deference due the leader of the traditional nobility, yet recognised uneasily that loyalty, ability and service counted as or more than ancient title to the Tudors.The prototype for this portrait is a three-quarter length portrait of Thomas Howard by Hans Holbein the Younger, in the Royal Collection. A version of that work is also at Arundel CastleThere is also at Arundel, a full length seventeenth century portrait, similar in composition to the portrait at Brightwells. Sir Oliver Millar's opinion was that the Arundel portrait was a copy after Holbein, by Daniel Mytens , perhaps done for Thomas Howard, 'the Collector Earl' as a history portrait.The attribution of the portrait at Brightwells to Henry Stone is a traditional one. Henry Stone, known as ‘Old Stone’ was the son of the master mason Nicholas Stone. He travelled to Italy as a young man where he visited the studio of Bernini. He was a pupil of Thomas de Keyser in Amsterdam from 1635-1638. He later became a noted copyist, particularly of Van Dyck, and various other English and Italian Masters.
Los 510
STUDIO OF SIR ANTHONY VAN DYCK (1599-1641)Double portrait of Elizabeth, Lady Thimbleby and her sister Dorothy, Viscountess Andover, later Countess of Berkshire (1611-1691), with a cupid.oil on canvas51 1/2 x 59 1/2 in (131 x 151 cm)PROVENANCE:Possibly James Howard, 3rd Earl of Suffolk (1606/7-1688), first cousin of Charles Howard, Viscount Andover, later 2nd Earl of Berkshire (1615-1679), who married Dorothy Savage in 1637. Suffolk married, in 1682 as his third wife, Ann Montagu (circa 1667-1720), daughter of Robert, 3rd Earl of Manchester (1634-1683); Possibly by inheritance, following Suffolk's death in 1688, to his wife Ann, who returned to live with her family at Kimbolton Castle; Thence by descent in the collection of the Dukes of Manchester, at Kimbolton Castle, Cambridgeshire, to Alexander Montagu, 10th Duke of Manchester (1902-1977); By whom sold, Kimbolton Castle sale on the premises, Knight, Frank & Rutley, 18 July 1949, lot 18 (as a portrait of the Countesses of Rutland and Southampton);Miss Marjorie Pollard, OBE (1899-1982)Anonymous sale,Oxford, Phillips 8 October 1982, lot 243, to the present ownerLITERATURE:O. Millar, et al., Van Dyck: a complete catalogue of the paintings, New Haven and London 2004, p. 436;W. Liedtke and M. Safer, 'Reversing the roles: Van Dyck's portrait of Lady Elizabeth Thimbleby with her sister Dorothy Savage' in The Burlington Magazine, February 2009, vol CLI, no 1271, p. 80.This is a version of the portrait in the National Gallery, London (NG6437), formerly in the Spencer Collection at Althorp. Other versions are known.The subject depicts two of the six daughters of Thomas, 1st Viscount Savage (1586-1635) and his wife Elizabeth Darcy, suo jure Countess Rivers (1581-1650). Elizabeth married in 1634, while Dorothy married in 1637. In the composition a cupid offers roses to the seated figure, which suggests a marriage is being celebrated. The flowers are fittingly an attribute of St. Dorothy, namesake of the Countess of Andover. Dorothy's marriage had certainly been a love match, as Dorothy had eloped with Charles Howard before actually marrying him. There is some debate as to the identification of the sisters, as well as the date of the original painting in the National Gallery, London. In his catalogue of Van Dyck's English paintings the late Sir Oliver Millar suggested that the subject commemorated the marriage, on 10 April 1637, of Dorothy to Charles Howard, Viscount Andover, later 2nd Earl of Berkshire (1615-1679). Millar also suggested that the sitters can be identified as being Dorothy seated in yellow, approached by a small angel bearing a basket of roses, whilst her sister Elizabeth stands behind. More recently however Walter Liedtke and Michelle Safer, following the discovery of another studio version of the composition inscribed with the sitters' identities in a private collection in New York, and re-appraising the iconography of the composition, have suggested that the identities are reversed, with Dorothy standing, whilst it is her younger sister Elizabeth who is the principal figure, seated in yellow, and approached not by an angel but a cupid. Liedtke and Safer also suggest that the composition in fact celebrates Elizabeth Savage's marriage to Sir John Thimbleby of Irnham (d.1662), on 29 September 1635, and it is now generally accepted that this identification is correct and that the original painting in the National Gallery can be dated to circa 1635. AMENDMENT: The painting at Brightwells is one of a number of versions and copies known, all after the composition in the National Gallery.
Los 387
Two trays of assorted mainly china to include an early 20th Century Wedgwood cream ware chestnut basket, various stoneware items to include McDougalls flour bin, biscuit barrel, resin reproduction portrait, plated jewellery casket, small pair of cased unmarked opera glasses etc. (2 trays) (B.P. 24% incl. VAT)
Los 450
Kenya, Uganda and Tanganyika. 1922 Die Proof of the KGV Portrait vignette for the 1922-27 high values (1/- to £100), in black on glazed card (92 x 60mm), stamped 'BEFORE/STRIKING' at lower left and with pencil initials and date '11/5/22' at lower right. A rare and important proof, probably unique with these markings. SG 87-105
Los 3
Sara Wells Page (British, 1855-1943) STUDY OF A YOUNG NURSE WEARING A WHITECAP AND HOLDING A BOOK, (reduced fragment) Oil on canvas, 60 x 45cm, stretcher lacking, unframed, together with two portrait oil sketches, 34 x 24cm, also A STUDY OF A YOUNG WOMAN WEARING A CAP AND GOWN, PLAYING A MANDOLIN, SEATED AT A TABLE, oil on canvas, unsigned, 40 x 55cm, (4).
Los 21
An early-19th century miniature on ivory panel of a gentleman wearing a dark blue coat and white stock against a sky background, in gilt metal frame, 8 x 6cm, together with a 19th century oval portrait miniature of a young gentleman wearing a dark coat, white waistcoat and dress studs, 9 x 7cm, in later frame, (2).
Los 110
Early 19th Century Continental SchoolMiniature: Fine oval portrait of a French Lady with low cut blue dress, in attractive original star studded gilt metal frame. (1)Provenance: Dr. George Sigerson, Senator, from his dispersal sale by Battersby & Co., in July 1925, by descent to the Humphries Family
Los 851
Silk Racing Picture: 'Lemberg' by Cyllene - Galicia, Winner of The Derby. Trained by A. Taylor, 1910. Ridden by B. Dillon. The Property of Mr. Fairer, an attractive large silk handkerchief printed with all the winners of The Derby from 1780, and with portrait of Lemberg in centre, approx. 80cms x 92cms (31 1/2" x 36") in oak frame. (1)
Los 125
Silhouettes: a large head and shoulder "Portrait of a Gentleman, facing left, approx. 9cms (3 1/2"), in black and brass rimmed frame; and a small similar ditto, "Head and shoulders Portrait of Gentleman with bow tie," gilt highlights, approx. 9cms (3 1/2"), in brass rimmed frame (lacking black frame), a pair. ( 2 )
Los 732
Attributed to George Clint"Vice Admiral, William Lukin Windham," three-quarter length portrait, standing with sword in hand and in naval attire, O.O.C., 100cms x 87cms (43 1/2" x 34 1/2") in gilt frame. (1)Provenance: Falmore Hall, Dundalk, Co. Louth, and then by descent to the present owner.Note: William Lukin (1768-1833) was a native of Felbrigg in Norfolk. Thanks largely to the patronage of the local squire William Windham, who was also his step-uncle, he obtained a commission in the Royal Navy and rose rapidly to the rank of captain. He performed with distinction in the Napoleonic Wars, especially during a naval action off Rochefort in the Bayof Biscay in which he captured two French Frigates. He retired in 1814 as Vice-Admiral of the Blue.In 1824 he inherited Felbrigg Hall on the death of the widow of his benefactor, and assumed the additional surname of Windham. He employed the architect W.J. Donthorne to remodel, extend and alter the house and stable block. George Clint (1770-1854) was a talented and prolific portrait painter and engraver, best known for his many theatrical subjects. His portrait of the Vice-Admiral, of which this is a version, hangs at Felbrigg Hall (now a National Trust property). Two of the Vice- Admiral's daughters married members of the Hare family, and the younger - Maria Augusta, later Countess of Listowel - is also the subject of a fine portrait by Clint.
Los 673
Early 19th Century Irish SchoolA fine and important three-quarter length Portrait of Francis Mac Namara, Lt. Colonel of the Clare Militia, wearing his red military uniform and regalia, standing beside a table with his hat, and with his belt displaying the insignia of The Clare Militia. O.O.C. 127cms x 102cms (50" x 40"), in a 19th Century gilt frame. (1)* Francis Mac Namara, born 1802, son and heir of Wm. Nugent Mac Namara, of Ennistymon House, Co. Clare. He was a captain in the 8th Regiment of Hussars, lieutenant-colonel in the Clare Militia and was M.P. for Ennis and High Sheriff of Clare. He married Helen Mc Dermott of Dublin in 1860, and made Ennistymon their permanent home. He re-developed the house and added a west wing to accommodate guests who came to enjoy among other things, good shooting and fishing. He also developed parts of the town of Ennistymon and was responsible in many ways for giving the town its current distinctive appearance. He built cottages in New Street and a number of three-storey houses on Main Street. In 1876 the Mac Namara estate comprised upwards of 15,000 statute acres.Thomas Lacy, a traveller in the area in 1859 describes Ennistymon in great detail. In 1863 a newspaper correspondent wrote: 'I had the honour of a brief visit to Ennistymon House the residence of Lt. Colonel Mac Namara, who is highly esteemed and respected. The house is very finely furnished, with a large number of portraits, including a well-known portrait of the famous Moira-Rua,' The Lt-Colonel's son Henry Valentine (Vee) Mac Namara inherited the house after his father's death, and after which c. 1880 - 1930 Ennistymon House had a very chequered history. It was eventually transformed into The Falls Hotel.
Los 113
19th Century French SchoolMiniatures: A large oval miniature, "Portrait of Lady with low-cut lace dress and blue cape," approx. 9 cms (3 1/2") with brass rim, inscribed on reverse "Isabela de Orleans," also "Miniature Louis XVI;" and a small circular miniature "Head and Shoulders of a Cavalier," with brass rim, both above miniatures with ptd. labels, "S & AM Dub./Loan/1055-7 Art & Ind.,"; also an attractive small oval miniature on ivory, "Young Man by a Pilaster with bust of a woman, in a landscape," in fine miniature carved wooden frame in the rococo style. As a lot. V. good. (3)Provenance: Dr. George Sigerson, Senator, from his dispersal sale by Battersby & Co., in July 1925, by descent to the Humphries Family
Los 124
Early 19th Century English SchoolMiniature: "Half-length Portrait of King George III in ceremonial attire, wearing Order of the Garter," on vellum, oval, approx. 13cms x 10cms (5 1/4" x 4"), in gilt frame; together with Aerna? Miniature: "Half length Portrait of Young boy with blonde curls, wearing blue top and military decoration," on vellum, 13.5cms x 10 cms (5 1/4" x 4"), signed, gilt frame. (2)
![Wm. Dack [19]23"Portrait of a Horse standing by a gate in a Stable Yard," O.O.C., 43cms x 56cms (17" x 22") signed and dated,](https://cdn.globalauctionplatform.com/08b61277-4474-43ff-b060-a7a9009dee3c/66452717-d325-467c-8a68-a7a9011f3aad/468x382.jpg)
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283284 Los(e)/Seite