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Los 318
***PLEASE NOTE ESTIMATE SHOULD READ €20,000 - 30,000***NATHANIEL HONE THE ELDER RA (1718-1784)The Spartan BoyOil on canvas, 66 x 51cmSigned with initials NH, lower leftProvenance: Captain Barrington Bradshaw, by whom bequeathed in 1804 to George Bygen; A.H. Bradshaw, and by descent in 1852 to W. Bradshaw; acquire privately in 1955; Private Collection, Dublin.The success of Nathaniel Hone’s famous painting The Spartan Boy when first exhibited at the Royal Academy, London in 1775 would solidify its reputation amongst art-buying public and critics alike . To satisfy demand for the work numerous prints were produced, such as one by William Humphrey and now in the British Museum collection. Following on from the example of fellow artists Hone later produced this present example based on his original painting. It was not unusual at the time for artists to exploit the popularity of a particular subject matter through repeated versions of the same painting. John Camillus Hone, the artist’s young son is acting as the sitter for the portrait, dressed up as a Spartan youth. Hone regularly used his family members as models in his paintings producing a large series of portraits of his children and grandchildren. Though disguised in various costumes of allegorical figures from antiquity, the decision to use his own family introduces an element of individuality. We know the identity of these figures even if the function of the work is not an insight into their personality or emotions. Equally Hone manages to capture the innocence of his young sitters through their relationship with a small animal such as rabbit or dog. However in this example there is a somewhat darker tone, indicated by the ominous cloud-filled sky behind the boy. He is holding a fox which refers to the story of initiation undergone by Spartan youths in Ancient Greece. As a highly disciplined society, Spartan children were raised to be diligent and respectful of their elders. They were also a pre-eminent military power, training male children from a young age to be great warriors. One part of their initiation into the ranks of the army was judged by the act of stealing without being caught. If they failed, it would mean disgrace for the individual and great shame for their family. Usually the sitter’s in Hone’s portraits have somewhat blank gazes, but on this occasion the internal battle is perfectly captured by the troubled expression on the boy’s face as he smuggles the animal inside his coat. As fate would have it the fox bites the boy and he suffers a mortal wound. Rather than be discovered he remains silent, a pained look of despair which belies his age. In a culture where modesty and strength are highly respected the allegory of the Spartan Boy became an important symbol of stoic perseverance.
Los 185
AIMÉ-JULES DALOU (1838 - 1902)La Brodeuse (The Embroiderer)Bronze, 29cm high, dark brown PatinaSigned and numbered 12/12; stamped with foundry mark'CIRE/C.VALSUANI/PERDUE'Aimé-Jules Dalou was a French sculptor working in the mid-19th century amidst the country’s revolutionary politics and a rising realist style in art. In hindsight there is a tendency to overly equate the art of this period with the contemporary political climate. However, Dalou readily eschewed the recognition of the academy by repeatedly refusing the Prix de Rome - a highly sought after accolade for artists at the time - despite the fact that it guaranteed commissions. Like most nineteenth-century French artists he began his training in the École des Beaux-Arts, where he studied for three years. His earliest works reveal the mastery of craft and design with highly detailed anatomy that would go on to characterize his entire oeuvre. La Brodeuse was made a year before he was exiled from Paris. Similar to many other artists and avant-gardes, Dalou was affected by the fall of the Second French Empire in 1871. He relocated to London, returning to Paris in 1879 following the end of a long period of political unrest within the Third Republic. Dalou’s career continued to grow during his exile, spending his time as a portrait sculptor, unlike other contemporary artists such as Courbet whose reputation was destroyed following his association with revolutionary politics. Completed in 1870 La Brodeuse was the sculptor’s first public success and lauded by critics when exhibited at the Salon in the same year. This present example is an interesting insight into the work - stylistic and thematically - that Dalou would go on to produce for the following decade. The smaller sculptural works such as the La Brodeuse express an increasing interest in the simple tasks of modern life. The main focus of the work centres on the woman’s hands, a sense of tension which seems to imply a taught thread. Dalou’s modelling of the seated seamstress with her head bent forward reflects an almost silent reverie at her task. Dalou’s representation of working class society always contains an element of dignity captured with beautifully observed detail. Dalou was a consummate draughtsman preparing preliminary sketches for his sculptural works, with this work cast after one of these large groups of esquisses. The bronze medium cast in the lost wax process requires an incredibly high-level of skill and craftsmanship. It is also immensely labour intensive requiring multiple individuals to create an exact replica of the original plaster cast made by the sculptor. This work was produced by the Valsuani Foundry as indicated by their mark on the base. The company was established in 1899 by brothers Claude and Attilio Valsuani who had learned their trade while employed at the Hebard foundry. The workshop was located in the southwestern suburbs of Paris in commune of Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting, ‘cire perdue ’. In 1905 they relocated to a more central location on the Rue des Plantes . They cast works for artists including Renoir, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele took over the running of the foundry and continued to produce extremely fine detailed bronzes until the 1970's.
Los 66
ROBERT HUNTER (fl. 1752-1803)A Portrait of Sir Robert King, created Baron Kingsborough, died 1755Oil on canvas, c. 238 x 142cm (93 x 56)Illustrated in catalogue Town & Country Auctioneers 27/28 Clare St 19/20 March 1959Sold £40.00Robert King 1724-1755 M.P. for Boyle succeeding Richard Wingfield, succeeded as 4th baronet in 1740 and was made Baron Kingsborough at the age of 23 in 1747, having fought a notorious duel with Captain Johnston. He borrowed the large sum of £40,000, became Grand Master of the Freemasons, set the family up in Henrietta Street and lived with a mistress, Mrs. Jones. He died unmarried and his will was bitterly contested by his surviving brothers as far as the House of Lords in London, Edward claimed that Kingsborough was subjected to undue influence by Mrs. Jones, a common prostitute, and that the will was witnessed by a drunken porter and a Swiss servant, all such being scoundrels.
Los 236
A PAIR OF GEORGE III NEO-CLASSICAL PIER TABLES, possibly Irish, the inlaid and painted satinwood tops decorated with rosewood crossbanding and stringing, oval portrait medallions, ribbon, drapery and foliate swags, raised above a frieze decorated with gilded bas relief drapery swags and rosettes on a pitted green ground on four leaf capped turned fluted tapering legs and concave stretchers. 141cm wide x 55.5cm deep x 92cm highProvenance: Sale, Evington House, Carlow, 1989, home of Capt. R.H. Prior Wandesforde, where purchased by the current owners.
Los 45
ATTRIBUTED TO VAN DYKEPortrait of Thomas Butler, Earl of Ossory, Eldest son of James, Duke of Ormond, in armour standing near his chargeOil on canvas, 208 x 116cmProvenance: Formerly in the collection of the Earl of Fitzwilliam, 1948Thomas Butler, 6th Earl of Ossory, (1634-1680) was born at Kilkenny Castle, the eldest son of James Butler, 1st Duke of Ormonde and Lady Elizabeth Preston.His early years were spent in Ireland and France. He was an accomplished athlete and a good scholar. In 1661 Butler became a member of both the English and Irish houses of Commons, representing Bristol in the former and Dublin University in the latter House. In 1665 he was appointed lieutenant-general of the army in Ireland and in 1666 was created an English peer as Lord Butler.Having proven himself as an expert military strategist, and whilst visiting France in 1672, he rejected the liberal offers made by Louis XIV to induce him to enter the service of France, and returning to England he added to his high reputation by his conduct during the Battle of Texel in August 1673. From 1677 until 1679, he served alongside his father as a Lord of the Admiralty. The earl was chosen to William, Prince of Orange, and in 1677 he joined the allied army in the Netherlands, commanding the British section and winning great fame at the siege of Mons in 1678. He acted as deputy for his father, who was lord-lieutenant of Ireland, and in parliament he defended Ormonde's Irish administration with great vigour. In 1680 he was appointed governor of English Tangier, but his death prevented him from taking up his new duties. Ossory had eleven children, including James Butler who became the 2nd Duke of Ormonde in 1688. A Portrait of Thomas Butler by Lely, painted in 1678 is in the National Portrait Gallery, London and a portrait by the same hand as his father, the 1st Duke is in the ownership of the National Trust at Kedleston Hall.
Los 614
A MINIATURE PORTRAIT ON IVORY OF A LADY AFTER REYNOLDS, in a ribbon tied gilt metal frame. Oval 6 x 5cm; and another of the King of Rome. Oval 8 x 6cm. (2)PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORYBidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory, or any goods containing ivory. Therefore Adam’s advises prospective purchasers who intend to ship this lot to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adam’s will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.
Los 459
STUDIO OF JOSHUA REYNOLDS (1723-1792)A portrait of Captain ByronOil on canvas, 126 x 100cmJohn Byron (1723-1786) 'Foul Weather Buck' is John Byron, British vice-admiral, the second son of the 4th Lord Byron, and grandfather of the poet, was born on the 8th of November 1723. He joined the navy as a midshipman but would go on to be considered one of the finest sailors in all of England; despite his dogged bad luck for which he received the nickname of 'Foul Weather Jack’. During one of his expeditions he was wrecked on the southern coast of Chile but survived and proceeded to write up his adventures as 'The Narrative of Hon. John Byron, Containing an Account of the Great Distresses' (1768), which his grandson, George Gordon Byron, used in his satirical poem 'Don Juan' (1819-1824). Habitually in action against the French, he was chosen to command a secret British expedition in the Dolphin frigate - one of the first British ships to have a copper sheeted hull - to the Falkland Islands to break into the Spanish trade. Afterwards, he completed the circumnavigation of the globe, claiming various Pacific islands for the Crown.The provenance of the present example is with Torridon House in the Scottish Highlands, the estate, which once belonged to the Duke of Leeds and is now home to the Earl and Countess of Lovelace, is sandwiched between rugged, soaring mountains and the deep blue of a sea loch. The family auctioned the contents of the house in 2015 offering a wonderful collection of furniture, paintings and other works of art to the public. The connection with the Byron family resulted from the marriage between Lord King William who married Augusta Ada Byron, the only legitimate daughter George Gordon, 6th Baron Byron. The Lovelace title was chosen to mark the fact that Ada was, through the families of Byron, Milbanke, Noel and Lovelace, a descendant of the Barons Lovelace of Hurley. This union brought the promise, in marriage settlement, of vast estates in the Midlands and also political advantage, for Ada’s cousin was Lord Melbourne, the Whig Prime Minister.In this quarter-length portrait Byron is presented in an appropriate manner of attire wearing his captain's undress uniform and a grey wig. He is set against a dark clouded filled background, with a small patch of light blue sky out of which sails a ship from the British Fleet. Byron strikes a formidable presence in this portrait reflecting his many successive years of dedicated and hard service. The numerous long and arduous expeditions is succinctly captured in the line inscribed on the frame, from Byron’s poem, ‘Epistle to Augusta’, ‘Our grandsire’s fate of yore /He had no rest at sea.’Joshua Reynolds (1723-1792) was apprenticed in 1740 to the portrait painter Thomas Hudson, (1701-90) and after early work in his native Devon travelled to Italy in 1749. He returned in 1753 to London and rapidly began to establish himself as a portrait painter, profoundly influenced by his time in Italy. He was the most influential figure of the century in elevating British painting and portraiture which paved the way for a generation of work. Reynolds borrowed poses from the old masters, such as Lord Bryon’s strong stance with arms crossed and his left hand holding onto the sword hilt, which dignified the status of the sitter.
Los 250
Horatio Nelson, a fan of bone sticks and guards with paper leaf printed with a portrait of Admiral Lord Nelson and the inscription Nelson, Who Gloriously Fell off Trafalgar 21st Oct 1805, My Britton Battled Slain/Rapture gild your parting hour/Death in his Despotic Reign/Claims but here a moments power, 18.5cm.
Los 207
A group of four WWII medals awarded to F T B Mitchell RAF: 1939-1945 and Africa Stars, Defence Medal and 1939-1945 War Medal, with slip, a copy of Mr Mitchell's birth certificate, a Labour Party Diploma certificate for Electoral and Party Organisation, various art work and ephemera relating to Mr Mitchell standing in the 8th October 1959 general election for Bodmin and a portrait of Mr Mitchell by William Turner, oil on canvas, SIZE.
Los 213
An interesting group of mostly vintage jewellery boxes and cases, some late 19th/early 20th century, London, Provincial and Continental retailers, for rings, studs, brooches, earrings, bracelets, 3 cases for portrait miniatures, includes Boin-Taburet, Goldsmiths Alliance Ltd., Skinner & Co., Goldsmiths & Silversmiths Co. Ltd., Asprey, James Ogden & Son, also a case for a Swiss pocket watch (approx. 29) Condition reportVarying condition but generally reasonable to good considering second-hand, some have scuffs, one miniature case lacks its securing hook, one case to hold locket, earrings and brooch has damaged hinge, viewing recommended, as found.
Los 453
Lord Nelson interest:- a modern silver commemorative box issued for the bicentennial of the battle of Trafalgar, by Richard Jarvis, London, 2005, circular with hinged cover and gilt interior, chased in relief with Nelson in naval uniform with orders and medals and superimposed on an engraved depiction of HMS “Victory”, inscribed “Horatio Nelson 1805-2005”, the sides engraved with the semaphore flags for his celebrated signal “England expects that every man will do his duty”, the interior inscribed “Happy Christmas from Phil and Pauline” contained in original lacquered box centred by a portrait of Nelson and retailed by Richard Jarvis of Pall Mall, 9 cm. diameter, wt. 197 gm. Condition reportAs new, excellent condition
Los 545
A French gold-mounted ivory Souvenir with ivory aide-memoire and gold-mounted pencil, with Paris discharge mark for small gold items, 1774/1780, one side with portrait miniature of a lady, her hair dressed with pearls, the reverse with a cut-out gold putto with dog amidst clouds, signed ”D.M”, on red ground, both in gold foliate frames capped by pairs of doves and with crossed torches or baskets of flowers at bases, hinged cover with foliate panel pierced “SOUVENIR” to either side, 8.6 cm. long Condition reportTwo small hairline shrinkage cracks to one side of cover, also another tiny one to base, slight warping to “Souvenir” panels on cover, small split in bottom right hand scroll of frame around putto, couple of pins missing from mounts, small repair to right of frame around portrait miniature, small split to top edge of uppermost mount on cover, mount of pencil present but only remains of pencil itself
Los 704
Five Soviet Russian bronze medallions, one a 25th anniversary dated 1944-1969 featuring in relief a triumphant Soviet soldier in WW2 uniform; another dated 1967 featuring Soviet soldiers of the 1920s era in horse-drawn chariot; two featuring the Mother motherland monument in Kiev, part of the Museum of the Great Patriotic War celebrating Soviet victory in WW2; and a fifth medallion with portrait bust of Lenin (5) Condition reportOverall good condition
Los 716
An oval watercolour portrait of Robert Burns in octagonal tortoiseshell faced frame inlaid in the Boulle manner but apparently with mahogany inlay.12.5x14.5cm. Condition reportVery good, but two chips off the tortoiseshell in top right hand corner and a small area of scratches to left of head in portrait.
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283287 Los(e)/Seite