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283287 Los(e)/Seite
Los 101
A gilt brass twelve light chandelier in Louis XIV style, the stem decorated with winged angel masks above a lobed body with further portrait busts, with leaf scroll arms and repousse decorated sconces, late 19th century, 717cm high, 92cm wide. Provenance: From the collection of Sir Jeremy Lever.
Los 51
English School, circa 1722 A satirical portrait of Robert Knight, Cashier of the South Sea Company, or 'Lucifer's New Row-Barge' Oil on Canvas 71.8 x 62.5cm This painting is recorded in contemporary prints titled 'Lucifer's New Row-Barge', a version of which is in the British Museum, (no.1868,0808.3499) Robert Knight (1675-1744) Robert Knight was a financier and a founder of the South Sea Company. In 1704 Knight was Clerk in the Sword Blade Company (the pennant in this picture bears the device of the Company) and became cashier of the South Sea Company in 1711. In 1718 he succeeded his father-in-law as Governor of St Thomas's Hospital. In 1719 he was one of the chief negotiators with the government of the day to incorporate all the National Debt into the South Sea Company. This was successfully completed through bribes to MP's and peers which were recorded in Knight's green book. Knight greatly profited personally from this process and bought an estate in Essex for £20,000. In 1721 the whole scheme came crashing down and Knight escaped to Calais with his green book, keeping the evidence of all the bribery. Knight was captured and incarcerated in Antwerp but was released as neither government really wanted to have his incriminating evidence exposed. His estates in England were confiscated and sold for £261,077 but he had sufficient funds to set up in Rue St-Honore in Paris as well as an estate near Vincennes. Eventually, with political changes in England, Knight returned in 1743, acquiring his former country estate and he died the following year. Provenance: From the collection of Sir Michael Codron.
Los 600
Attributed to the workshop of Antonio Canova (Italian 1757-1822). An early 19th century marble bust of Beatrice, 48.9cm high, 29.4cm wide. Antonio Canova is generally considered to be the greatest neo-classical sculptor. The original bust began as a portrait of the beauty Madame Récamier. Canova's original plaster bust did not please Récamier so he decided not to carve a marble version. Instead, he idealized his sitter's features, transforming the bust into a 'testi ideali' of Beatrice, muse of the poet Dante. The ideal head was a type of marble bust created by Canova to present images of perfect beauty. The original was first modelled in plaster in 1818 and the first autograph marble version was given to Count Leopoldo Ciconara and his wife, Lucia Fantinati, in gratitude for their work on the artist's biography in the Storia della Scultura.
Los 39
An early 19th century portrait miniature of a boy, with a ruff and a blue coat, 6.5 x 5.2cm, in a glazed, bird's eye maple frame, together with another portrait of a boy, in a bird's eye maple frame and an 18th century reverse glass mezzotint, 'Her Royal Highness Princess Louise youngest Daughter to his Majesty King George the Second', in a carved ebonised frame. (3) Provenance: From the collection of Sir Michael Codron.
Los 52
Seeman Portrait of a boy, called George Duncombe, with a faun Oil on canvas Inscribed lower left 'George Duncombe Son of Anthony Ld. Feversham.' 132 x 101cm Anthony, Lord Feversham (c.1695-1763) was MP for Salisbury between 1721 and 1734, followed by Downton from 1724-1747. He had inherited half the enormous estates of his uncle, Charles Duncombe, who had made a fortune in banking and died the richest commoner in England. Lord Feversham was married three times, his third wife marrying, as her second husband, the 1st Earl of Radnor. Lord Feversham had no sons and no male heir which makes the inscription on this portrait intriguing. The only conclusion is that George was his natural son, which would explain why he doesn't appear in any of the Peerages or Pedigrees. Provenance: From the collection of Sir Michael Codron.
Los 45
North Netherlands School, circa 1740 Portrait group of a family with figures returning from shooting: gentleman, ladies and children Oil on canvas 120 x 155cm Whilst it hasn't been possible to identify either the sitters or the artist, this group bears the influences of artists such as Cornelis Troost and Hermanus van der Mijn. This slightly provincial Hogarthian group has a landscape in the distance which encourages the attribution to the North Netherlands. Provenance: From the collection of Sir Michael Codron.
Los 93
A George III painted satinwood demi-lune card table in the manner of Seddon, the hinged fold-over top decorated with ribbon tied floral swags hung with portrait medallions with scrolling leaves and a flowers, an urn and a basket of fruit, on a giltwood base with fluted tapering legs headed by carved paterae, 72.5cm high, 98cm wide, 48.3cm deep. Provenance: From the collection of Sir Jeremy Lever.
Los 435
English School (19th century). An oil painting on board of a lady kneeling holding a letter in her left hand, in a bird's eye maple frame, 11 x 9.6cm, together with a pastel portrait of a lady, together with a map of SurrEy by Richard Blome, a sepia portrait of a man, the verso inscribed 'By Hy Edridge' and a stipple engraving of 'PATTY'. (5) Provenance: From the collection of the late Victor Needham.
Los 47
`Attributed to Joseph Van Aken Portrait of a gentleman in a red suit and his daughter Oil on canvas 162 x 114cm The frame bears a label stating that the portrait is by John Cranch. This is highly unlikely and it is much closer to the work of Thomas Hudson or one of his assistants, such as Joseph van Aken. Provenance: From the collection of Sir Michael Codron.
Los 2184
A lady's gold cased, keyless wind, hunting cased fob watch, a gold and platinum fronted bar brooch, mounted with a central pearl, a charm designed as an urn, a mauve paste cameo pendant, designed as the portrait of a lady and a Victorian black oval pendant locket applied with a floral spray motif, (5).
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283287 Los(e)/Seite