British School (19th Century) Portrait Miniature of John Palfreman and another of his wife Elizabeth Palfreman, watercolour on ivory, 1857, 8 x 6.5 cm, frame 17 x 15.5 cm (2) Handwritten labels verso 'for my dear nephew, John Palfreman, Sept 20th 1857'. John Palfreman was born in Devon, they were married in 1849 in Aberdare, Wales Notes: Ivory licence AFQAXZPE for Mrs Palfreman, SSLM2VLR for Mr Palfreman Provenance: Consigned by descendants of the sitters, a private Cheshire collection
283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Thomas Gosse (1765-1844) Portrait Miniature of John Gosse (1809-1874), watercolour on ivory, 7.5 x 5.5 cm, frame 14.5 x 12.5 cm, together with an Australian School (circa 1900) portrait miniature of Edith Gosse (1875-1947), watercolour on ivory, 6.3 x 5 cm by another hand (2), sold together with a signed copy of Raymond Lister book 1953 Thomas Gosse, numbered 22/60 (total 3) Provenance: Consigned from a descendant of the Gosse family Notes: Thomas Gosse painted portrait miniatures of his family members, the majority are now located in Adelaide, Australia. Edith Gosse was born in Moonta, South Australia- daughter of Dr John Gosse and Mary Gosse Ivory licence numbers Z9Z61VWW for the Thomas Gosse, portrait of Edith Gosse ivory licence number T1SK2Z47
BRITISH SCHOOL, PORTRAIT OF A MAN DEFECATING, LATE 19TH CENTURY oil on tin, unsigned, framedimage 17cm high x 14.5cm wide, 33.5cm high x 30.4cm wide overall In overall good condition. Signes of gilt touch ups throughout. Age related wear and surface scratches. Some flaking to the frame. The reverse with hole and signature. Additional images now available.
1891. VICTORIA D:G: BRITT:REG:F:D:, second laureate portrait ('Bun Head') of Queen Victoria to left / F A R T H I N G, seated figure of Britannia to right, trident in left hand, shield with Union flag in right hand, date in exergue, sea behind with lighthouse on left and ship on right. KM.753; SCBC 3958. 2.81gr, 20mm, 12h (). Property of a Cambridgeshire, UK, gentleman. Good Extremely Fine. [No Reserve]
1967. [5 x 25 = 125] Obvs: +ELIZABETH II DEI GRATIA REGINA, portrait of Queen Elizabeth II facing right, by Mary Gillick / FID DEF HALF CROWN 1967, crowned quartered shield of arms with the initials E and R on each side, engraved by Cecil Thomas. S.4145. 1.82kg total, 32mm each (). By inheritance; Property of a Lincolnshire lady. Uncirculated. [125, No Reserve]
Early 3rd century A.D.. Carved head of a prepubescent worshipper of Isis, with soft facial features, long nose, small downturned mouth, heavy-lidded eyes, the whole giving the face a sombre or mournful appearance; the hair textured to indicate a short cut and combed forward across the scalp, sidelock above the right ear; mounted on a 16th century carved breccia upper body with leather cuirass and pteruges to right shoulder, cloak draped across the shoulders and fastened at the clavicle on the right side with a disc-brooch; socle base; some restoration. See Bianchi Bandinelli, R., Roma, la fine dell’arte antica, Milano, 1970, fig.55, for Roman sculpture of the period; for another portrait head of a boy with short hair and sidelock, also dating to the 3rd century A.D. in Petworth House, Sig.Wyndham, Petworth, and for a discussion of the Horus lock in imperial iconography, see Gonzenbach, V., ‘Untersuchungen zu den Knabenweihen im Isiskult der römischen Kaiserzeit‘, in Antiquitas 1. 4, Bonn, 1957, pp.105-128, and 139ff., K.8 pl.9; Raeder, J., Die antiken Skulpturen in Petworth House, MAR 28 (2000), 216 ff. Kat. Nr. 83 [Arachne Sculpture Database no.1084685]; for related example of hairstyle in the British Museum see Walker, S. & Bierbrier, M., Ancient Faces. Mummy Portraits from Roman Egypt, London, 1997, pp.192-193, no.261; for ancient sculptures reproduced or inserted in Renaissance marble see Fittschen, K., ‘Sul ruolo del ritratto antico nell’arte italiana’ in Setis, S., Memoria dell’antico nell’arte italiana, ed., vol.II, Turin, 1985; Favaretto, I., ‘La fortuna del ritratto antico nelle collezione venete di antichità: originali, copie e invenzione,’ in Bolletino d’Arte LXXVIII, no.79, May-June, 1993, pp.68-72; Bava, A.M., Le Meraviglie del mondo, le collezioni di Carlo Emanuele I di Savoia, Genova, 2016, p.233, fig.86. Exhibited at the Museum für Kunst und Gewerbe, Hamburg, 21 January-6 March 1977; published in Hornbostel, W., Kunst der Antike, Schätze aus norddeutschem Privatbesitz, Hamburg, 1977, pp. 55-56, no. 35. 19.6 kg total, 51.5 cm including stand (20 1/4 in.). The child is depicted as a worshipper of Isis with the right side of the head signalling that the boy was a devotee of the goddess’s cult. The head of the boy is probably a funerary portrait, and it is clearly in the first half of 3rd century style. Its resemblance to the portrait of Gordian III in the so-called sarcophagus of Acilia is impressive, so much so that this was probably the reason for which the head was incorporated within a military bust in the 16th century.North German private collection, 1970s, and thence by descent. Antiquities, Bonhams, London, 5 October 2011, no.136. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12185-222445. (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]
4th-5th century A.D.. Plano-convex seal with profile bust; accompanied by a copy of a scholarly note dated 4th August 1999 by A.D.H. (David) Bivar and a museum-quality impression: 'Sasanian Seal. About 4th to 5th century A.D. Greyish-brown chalcedony ellipsoid Sasanian portrait, r. Around, Pahlavi inscription wlwny ZY kwlyky Var?n ? K?r?g 'V. who (is son) of K.' For the first name, the parallel Var?n is attested. For the second, we find K?r?n as a parallel. these exact forms are previously unrecorded.' 10.9 grams, 25 mm (1 in.). Bivar was a British numismatist and archaeologist, who was appointed Emeritus Professor of Iranian Studies at the SOAS (School of Oriental and African Studies), University of London. Among his specialisms was the study of Sasanian seals and art.UK private collection, 1980-1983. Accompanied by a copy of a scholarly note dated 4th August 1999, typed and signed by A.D.H. (David) Bivar.
France, early 16th century A.D. or later. Carved in the half-round, profile portrait bust of a nobleman (probably King Louis XI of France) with tiered cap and collar of S-link chain; later fixing point to reverse. 590 grams, 15 cm (5 7/8 in.). Andre and Marius Dubus collection, Louviers, Normandy, France. Valoir Maison de Ventes aux Encheres, 13 November 2021, lot 170. Ex central London gallery. [No Reserve]
1st century B.C.-1st century A.D.. Carved in the half-round, the eyes with drilled pupils to accept inserts; mounted on a custom-made display stand. See Simpson, S.T., Queen of Sheba: Treasures From Ancient Yemen, The British Museum Press, London, 2002, items 126, 270, and 282, for similar portraits. 3.49 kg total, 22.5 cm high including stand (8 7/8 in.). The eyes of these beautiful statues were inlaid with blue glass or lapis lazuli. These portraits could have been inserted in a funerary stele, but most probably this portrait comes from a statue similar to the 'Myriam of Tamna', as can be understood from the flat back, to which braided hair in plaster was probably attached.From the collection of Dr Mohammed Saïd Farsi (1936-2019), acquired between 1960-1990 at Christie's, Sotheby's and Mayfair galleries.
2nd-3rd century A.D.. From a colossal relief, depicting a life-size head of a goddess or an Amazon with a smooth reverse; pronounced lips and wide brow; the hair arranged in waves leaving the ears partially uncovered, secured with a taenia; mounted on a custom-made display stand. Cf. Bonanno, A., Roman relief portraiture to Septimius Severus, Oxford, 1976, pls.294-295, 306, for similar portrait relief in style, from the Arch of Severus at Leptis Magna. 11.9 kg total, 32 cm including stand (12 1/2 in.). The style is akin to the sculptures of the Severan Age with a naturalistic treatment of the hair, and a more restrained use of the drill. The sculpture displays the same characteristic oval broad face with fleshy round cheeks, widely arched brow and big eyes of the portraits of Julia Domna. The alternative identification of the head as an Amazon can be deduced from the taenia and the details of the tear ducts, linked to a possible representation of a combat scene in which an Amazon suffers in agony after receiving mortal wounds.From an English private collection, 1970s-late 1990s. English private collection. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12163-218598
AD 269-271.. IMP C PIAV VICTORINVS P F AVG, radiate, draped and cuirassed bust to right / INVICTVS, Sol advancing to left, with right hand raised and holding whip in left; star to left. Cf. RIC V.2 113; cf. RIC V.4 507. 2.21gr, 20mm, 2h (). Property of a Cambridgeshire, UK, gentleman. Extremely Fine. Unsual issue of Victorinus with the portrait of Postumus, which seems to have been struck at the beginning of his reign. [No Reserve]
Italy, 19th century A.D.. Female bust modelled in the round with hair centre-parted and dressed in ringlets gathered at the nape of the neck and extending to the shoulders; mounted on a socle base. 22.1 kg, 46 cm (18 in.). This portrait is directly inspired by a Roman model (fig. 1) discovered in 1880, now housed at the Museo Nazionale Romano in Rome and believed to depict Minatia Polla. The young woman depicted showcases the refined features characteristic of Roman feminine nobility, with a rounded oval face, large hemmed eyes, a long nose, and a well-defined, slightly open mouth. Her low forehead is adorned with a sophisticated hairstyle: long, soft locks separated by a middle parting that end in curls, with a few delicate strands falling over her shoulders. She wears a dress with subtle pleats and a round neckline. Upon comparing our portrait with the Roman original of Minatia Polla, it becomes evident that this piece is an exact neoclassical copy of the ancient portrait. The only notable difference is the more pronounced fullness under the chin in our version, which is less evident in the antique model. From the 18th century and throughout the neoclassical era, significant archaeological discoveries sparked immense interest and enthusiasm (as evidenced by Winckelmann), compelling contemporary sculptors to engage with ancient works to showcase their talents. The portrait presented here, given the delicacy of the features and the overall quality of the sculpture, is unmistakably the work of a master sculptor.Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12303-215648. [A video of this lot is available to view on Timeline Auctions Website]
1976-2021 A.D.. Theodore H. Feder - Great Treasures of Pompeii & Herculaneum - New York, 1978, hardback with dustwrapper (damaged); Marina Mattei - Nerone/Nero Caesar Un ritratto inedito recuperato/A Newly Found Portrait - Rome, no date, card covers, English and Italian text; Pompeii AD 79 - London, 1976, card covers. 2.3 kg total, 24 x 22 - 29 x 24 cm (9 1/2 x 8 3/4 - 11 1/2 x 9 1/2 in.). Property of an Essex, UK, gentleman. [3, No Reserve]
15th-16th century A.D. or later. Comprising: with raised rim, profile portrait of von Cheron by Gianlorenzo Bernini; with band of pellets to border, legend '. DVX . LVDOVICVS . XII . DEI . G . FRAN . REX . MEDIOLANI -- ' and reverse ' SEMPER . AVGVSTVS . VICTOR . TRIVMPHATOR .'; ellipsoid with high-relief bust and legend 'GABRIEL SCHEVRL ÆTAT 67' and 'VIVAT POST FVNERA VIRTVS'. 211 grams total, 52-74 mm (2 - 3 in.). Austrian private collection for at least 90 years. Ex central London gallery. [3, No Reserve]
900-400 B.C. or later. A striated green stone head or mask carved in the half-round with semi-naturalistic facial features, in the Olmec style; mounted on a custom-made display stand. See Coe, D., The Olmec World, Ritual and Rulership, The Princeton University, Harry Abrams, 1996, p. 250. 557 grams total, 17.6 cm including stand (6 7/8 in.). This fine maskette displays the classical features of Olmec Art. The eyes are feline and mouth slightly open, representing the snarl of the Jaguar, a revered animal to the ancient Olmec. This face likely depicts the ideal Olmec ruler rather than portrait of an individual and would have been made for important ceremony or individual of high rank.with Throckmorton Fine Arts, 1990s. Private collection, England.
Selection of cameras, exposure meters and flash guns, 3 of Brownie six 20 Model D one is in case, Brownie Cresta II in case with some paperwork, Brownie Reflex, Brownie No 2, Brownie Six 20 Junior, Agfa Syncro Box, Coronet Super Flash, Hanimex electronic 35if, Eumig Servomatic cine camera, Kodak No 6 Portrait attachment. Hanimex TZ328 flash gun, Kodak Brownie flash holder 4, spare flash bulbs, Helios 28 flash gun, National PE200 flash gun, Ilford Sportslite flash gun, Allosa B55 flash gun with bulbs, hand held diffuser
PABLO PICASSO (1881-1973); a limited edition abstract lithograph, 'Portrait Imaginaire', numbered in pencil 136/250, signed in plate and dated 22.2.69 upper left, 64 x 49cm, framed and glazed, with Goldmark Gallery label verso.Provenance: With Goldmark Gallery booklet and handwritten letter from the gallery to the vendor about the recent purchase of the lithograph on 15th September 2016.Condition Report: The image is mounted to a smaller board and high is mounted to the backing image giving it the illusion that the image is floating in the frame, no signs of any rips, tears, sunlight fading or creases.
Teenage vintage fashion dolls, Sooty glove puppets, etc: Franklin Mint Sandy vinyl portrait doll, one earring is broken; Gund Pinocchio glove puppet; Chad Valley Sooty glove puppet; Mattel She-Ra; Mattel Great Shape Barbie, Ken and Skipper dolls; Pedigree Sindy furniture; etc; Fair Plus to Good Plus; (qty).
Pictures & Prints - a late Victorian chrystoleum portrait of a young girl, bold gilt frame; Three Edwardian advertisement posters / plates titled Our Little Gardener, "Trouble, What About These Yere Heggs" and 'Love-Struck'; The Chatsworth Estate - W. Marshall (20th Century) Edensor Village, Hunting Tower, White Lodge, Golden Gates and Chatsworth House, dated 1995, watercolours, framed
A 19th century English porcelain cabinet mug, printed with a view of The Great International Exhibition for 1862; a 19th century English earthenware cabinet plate, Royal Wedding, 1868 titled 'THE PRINCE AND PRINCESS FREDERIC WILLIAM OF PRUSSIA'; A Victorian earthenware octagonal cabinet plate printed with a portrait of former prime minister W.E.Gladstone "Should Auld Acquaintance be forgot" with his various positions of employment to corners (3)
John Cox Dillman Engleheart (1784–1862) (Attributed) "Portrait of a Lady" inscribed in pencil to the back "J D Englehart Pinx at 70 Berners St London". In a Regency ormolu frame. Measures 9 cm by 7 cm (the miniature). In good condition, frame in need of reassembly). Note:- J.C.D. Engleheart was the nephew. of the miniature painter George Engleheart (1750–1829). This lot has an ivory declaration Submission Reference CFJVH2HY.
19th Century English school, oil on board, portrait of a lady, 16 x 12.5cm, gilt framed, unsigned, together with a small 19th Century English pencil drawing, landscapeGenerally in good condition. Needs cleaning. Small losses to frame. Watercolour has some brown stains to the paper. No other damage.

-
283284 Los(e)/Seite