English School (circa 1830) Portrait of Lt. General Robert Mallaby, half length, in the uniform of the 13th Bombay Native Infantry prior to 1855, in scarlet with a white leather shoulder belt and plate, bearing the number 13 and a Sphinx. oil on canvas, in a gilt slip 89 x 69cm (35 x 27in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Lt. General Robert Mallaby was born in 1827 and died in 1907. He was appointed Ensign in the 13th Bombay Native Infantry in 1846, and eventually became Lt. General in 1885. Lt. Gen. Robert Mallaby was the eldest son of Joseph Mallaby, Esq., of Loxby Park, Staffordshire and the father of the Hon Mrs John Pleydell-Bouverie, nee Grace Mallaby. We are grateful to Christopher Bryant for his assistance with this catalogue entry Unlined canvas. Paint layer is stable. Some drying cracks in the red but paint is stable. Thick, yellowed varnish layer which is matt and uneven. Possibly some retouching in the upper section. Surface dirt present. Gilding on frame worn. In a gilt slip. Dirty. Craquelure overall.
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English School (early 20th Century) Miniature portraits of Lt. Col. The Hon. John Pleydell-Bouverie (1846-1925, late 17th Lancers), 7.5 cm (3in), signed lower right "Nasey"/"Vasey"? and his wife the Hon Mrs John Pleydell-Bouverie (nee Mallaby, 1860-1953), monogrammed lower right "MWL", 8 cm (3in); and another portrait miniature of Grace Pleydell-Bouverie in a white dress, cracked, overpainted photograph, 11 cm (4.25in); and another 1920s unframed portrait miniature of a Lady, possibly of the Pleydell-Bouverie family, 2.5 cm (1in) watercolour on ivory, both cased (4) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Lt Colonel The Hon. John Pleydell-Bouverie was the son of Jacob, 4th Earl of Radnor and his wife, daughter of James Walter Grimston, 1st Earl of Verulam. The Hon Mrs John Pleydell-Bouverie was the daughter of Lt-Gen Robert Mallaby who served in the Bombay Staff Corps; she married Lt Col The Hon. John Pleydell-Bouverie in 1882 and was widowed in 1925. John and Grace Pleydell-Bouverie cased. Dirt under the glass of both, Generally in good condition.
Attributed to George Vertue (British, 1684-1756) Portrait of Anne Hyde, Duchess of York (1637-71), first wife of James, Duke of York; and Portrait of Lady Margaret Parker (circa 1660) pen and ink over pencil (2) 23½ x 18cm (9 x 7in) Other Notes: Anne Hyde was the first wife of King James II, future King of England. The study of Lady Margaret Parker is after the portrait painted circa 1660 (private collection), but with several notable differences in the composition. Most prominently the inclusion of the column behind the sitter on the right, and the altered angle or direction of the fountain basin, both aspects not present in the final composition. Lady Margaret Parker was the daughter of the Right Reverend Alexander Hyde, Bishop of Salisbury (1598-1667), a first cousin of Edward Hyde, first Earl of Clarendon and brother to the judge, Sir Robert Hyde. Lady Margaret married Sir Henry Parker, 2nd baronet, in 1665 and bore him a number of children. On the death of her brother, she succeeded to her father's inheritance, which included the Heale estates in the Amesbury valley, Wiltshire.
Irish School (19th Century) Portrait of a Lady in a lace mob cap; and Portrait of a gentleman, both half-length, seated, in black oil on canvas, with rounded top corners (a pair) 90 x 70cm (35 x 27in) Gentleman: Unlined canvas. Paint layer is in good condition - areas of slightly raised craquelure, but stable. Old degraded varnish which has become opaque and brittle in areas. Mottling around the sitter's face and dark spots in background. Layer of surface dirt. Frame has large losses to decorative elements. Belfast canvas maker. Lady: Condition the same but varnish even more degraded with scuffs and scratches.
§ A E Harris (British, 1865-1951) A pair of portraits of Indian Princes, possibly from Cossimbazar, the Prince and his heir, both wearing the same diamond turban sarpech with egret feathers, the older Maharajah decorated with three medals - the Delhi Durbar Medal of 1903, the 1875 Royal Visit Medal (commemorating the visit of HRH Albert Edward, the Prince of Wales) and the Empress of India Medal (given on the occasion of the 1877 Imperial Assemblage in Delhi when HM Queen Victoria was declared Empress of India) one signed "A E Harris" oil on canvas (a pair) 123 x 100cm (48 x 39in) Provenance: From an Indian private collection. A E Harris, a painter of portraits and landscapes was born in Birmingham. He studied at the Cardiff School of Art, Hatherley's School of Art and South Kensington College of Art. In 1890, he arrived in Bombay and worked for the photographic firm of Johnson and Hoffman. In 1897, he moved to Calcutta to set up his own portrait studio. During his 37 year stay in India he painted portraits in oils of many Indian princes and British administrators. The two present sitters are wearing the same diamond and probably emerald sarpech; a status symbol of Royalty and usually reserved for Rajas and Princes. A Sarpech is a type of turban ornament, often jewelled as the one seen here, worn at the front of a turban whereby a feather or plume is inserted, often from a bird that is native to the region of the wearer. Around the younger sitter's neck we can see an impressive single row cushion cut diamond riviere and two strands of uniformly sized saltwater pearls, most often sourced from the southern Indian Gulf of Mannar. This diamond riviere is also present in the portrait of the older sitter, worn on his person as a chain looped from his fob and chain, under his medals. The fact that the two sitters are wearing the same jewels indicates that the younger sitter may be the son or successor of the older sitter. Sometimes rulers would adopt an heir rather than naming a son as successor, which would explain the difference in facial features. The younger of the sitters is wearing an alkalack with a bib front and the older is wearing typical court dress with tunic The portraits are likely to have been painted circa 1903-4 and certainly before 1911 when, if still alive, the older sitter would almost certainly have received the 1911 Durbar medal. Around 220 Empress of India medals were issued in total. The medals in the present portrait have been painted in a way not typical with how they would have been worn; in reality Indian princes often wore medals on longer ribbons around their neck and the two British Empire medals would have been larger than the Delhi Durbar medal. The way they have been represented in the present portrait indicates that it was painted by a British artist. It has been suggested that the older man may possibly be The Hon Maharaja Manindra Chandra Nandi of Cossimbazar or his predecessor, however this has not been verified. This man was received by the King Emperor during a reception at Calcutta after the 1911 Delhi Durbar. Cossimbazar (sometimes Kassimbazar) was an ancient ruined city in the Murshidabad state near Calcutta. Murshidabad was ruled by a Muslim prince. We are very grateful to Jeffery Bates for his assistance with the catalogue entry. Older sitter: Lined canvas. Old losses in background and lower half of painting which have been retouched. Appearance of painting is good. Younger sitter: Lined canvas. Some retouchings in the background. Paint thinly applied in some areas. Appearance of the painting is good.
Circle of Johannes Closterman (German, 1660-1711) Portrait of a lady, half length, in a grey silk dress and pink shawl oil on canvas, oval 74 x 59cm (29 x 23in) Provenance: From a Norfolk country house. Lined canvas. Paint layer is stable. Retouchings in the background have darkened and become very matter. Varnish is semi-matter. Surface dirt present, Frame in good condition. Craquelure overall and card to the reverse.
Bianca Boni (Italian, 19th Century) Portrait miniature of an officer watercolour on ivory signed and dated 1827 7½cm (3in) In general condition is good. A little dirt under the glass, with one spot of dirt under the glass near the signature. A little loss of colour around the edges, some discolouration to the background around the signature
Laurence Koe (British, 1863-1913) Portrait of a lady signed lower left "Laurence Koe" oil on canvas 55 x 44cm (21 x 17in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Lawrence E. Koe was a portrait painter and sculptor. He is listed as living in Brighton when he first exhibited at The Royal Academy in 1891, but by 1894 he had moved to London where he appears to have settled for the remainder of his life. Koe exhibited widely; over twenty times at The Royal Academy, but also at the R.O.I, The Royal Society of Artists in Birmingham and the Walker Art Gallery in Liverpool. Most of his exhibited works were portraits, and among his sitters were the wives of fellow artists Harold Speed RP (1872-1957) and Harold Piffard (fl. 1895-1899). In 1896 Koe exhibited "Venus and Tännhauser" at the Royal Academy, now in the permanent collection Brighton Museum and Art Gallery and he showed Sappho two years later. He clearly shows the influence of other artists working at the same time, notably Arthur Hacker RA (1858-1919) and Herbert James Draper (1864-192) who exhibited The Lament for Icarus (Tate Gallery) in the same year. Under glass. Canvas appears to be unlined. Paint layer in good condition. Very yellowed and uneven varnish layer which has significantly yellowed. frame is in good condition
After Francis Cotes (English, 18th Century) Portrait of Mrs Bouverie of Keale, County Cork, in pearls and a blue shawl oil on board, with a maple frame (aperture slightly too narrow) 61 x 48cm (24 x 19in) Provenance: Monks Hall, Syleham, Suffolk Loose in its frame. Losses around edges and creases to support with small paint losses. Uneven varnish which has taken up dirt, noticeably in the sitter's face which is patchy and uneven. Very dirty. Board is bent and torn in places.
English School (early 20th Century) Portrait miniature of Colonel Robert Ripley Leader, Master of Foxhounds, signed with initials lower left "RMK", 7 cm (2.75in); and his wife Mrs Betty Leader,1919, monogrammed and dated 1919, 6 cm (2.5in) watercolour on ivory (2) 7cm (3in) Provenance: Monks Hall, Syleham, Suffolk Robert Riplet Leader: Dirt under the glass, waterspots on the paint surface in the background Mrs leader: Dirt under the glass, some fading to colour
Benjamin Tartarine Leader (British, b. 1847) Portrait of Captain Thomas Radley (of Rockville, Co. Cork) of the Grenadier Company, 27th (Royal Cork City) Militia, c.1820. signed lower right "B T Leader" oil on canvas 89 x 74cm (35 x 29in) Provenance: Monks Hall, Syleham, Suffolk Benjamin Tartarine Leader was the son of John Leader, M.D., J.P. of Keale, Co. Cork (1807 - 1880) and Margaret, eldest daughter of Capt. Thomas Radley, of Rockville, Co. Cork We are grateful to Christopher Bryant for his assistance with this catalogue entry Unlined canvas. Tears and holes to bottom edge of canvas, A few localised areas of paint loss but overall stable. Thick, yellowed varnish layer which has degraded. Scuffs and scratches. Layer of surface dirt. Old stretcher bar marks can be seen from the front. Unframed. Two holes to the right-hand side. Craquelure overall.
Anthony de Bree (British, 1854-1921) Portrait of Mrs Margaret Parsons (nee Gladstone) in a pink dress, holding a bejewelled chatelaine signed and dated "Anthony de Bree 1915" oil on canvas, in an ornate gilt plaster frame with acorns and oak leaf design 126 x 100cm (49 x 39in) Provenance: Womersley Hall, Yorkshire, and by descent. Other Notes: Miss Margaret Betty Parsons was the daugher of Sir John Evelyn Gladstone, 4th Baronet. She married the Hon. Geoffrey Parsons, brother of the 5th Earl of Rosse, on 5 September 1911. Craquelure overall, particularly in the right-hand corner. Good gilt frame.
English School (20th Century) Portrait of "Weeny", Mrs Amoret Fitz Randolph Leader as a bride on her wedding day to Colonel John Leader on 21 February 1934, holding white lilies watercolour and bodycolour 37 x 26cm (14 x 10in) Provenance: Monks Hall, Syleham, Suffolk A little dirty and with dirt under the glass.
Richard Houston (Irish, 1721–1775), after William Hoare Portrait of The Right Hon. William Pitt, Esq., one of His Majesty's Principal Secretaries of State; and Portrait of The Right Hon. Henry Bilson Legge Esq., one of the Lords of the Treasury inscribed "Wllm. Hoare pinxit" and "Richard Houston fecit" reverse glass mezzotint (a pair) 36 x 25cm (14 x 10in) Some discolouration and browning. Both frames are dirty and discoloured.
Scottish School (19th Century) Portrait of an Officer on the regimental staff of the 78th Highlanders, head and shoulders, circa 1810-1820, possibly a surgeon due to his single-breasted red jacket, with tartan sash oil on canvas 75 x 62cm (29 x 24in) Provenance: Monks Hall, Syleham, Suffolk We are grateful to Christopher Bryant for his assistance with this catalogue entry. Unlined canvas. Small loss to paint layer at upper left corner, otherwise paint layer is stable. Wide drying cracks and alligatoring in dark paint passages, Thick and yellowed varnish which is matt and uneven. Surface dirt present. Scuffed edges. White mark to the right-hand side. Crinkling of the canvas to the left top corner.
Irish School (circa 1720) Portrait believed to be of Frances, Duchess of Tyrconnell (1647-1730), half length, in blue, with gold cloak oil on canvas 73 x 60cm (28 x 23in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Frances Talbot, Countess of Tyrconnell (née Jennings, circa 1647 – 9th March, 1730) was a prominent figure in the Restoration Court, together with her younger sister, Sarah Jennings, later Duchess of Marlborough. Once a maid of honour to the Duchess of York, Frances was twice widowed and eventually died in poverty. The daughter of Richard Jennings and Frances Thornhurst, Frances was born at Sandridge, Hertfordshire. Her beauty earned her the nickname "La Belle Jennings." Macaulay describes her as “beautiful Fanny Jennings, the loveliest coquette in the brilliant Whitehall of the Restoration." In 1664, Frances was appointed maid of honour to HRH The Duchess of York. Wild and reckless as a girl, Pepys records an incident in which Frances disguised herself as an orange seller, but was eventually recognised by her expensive shoes. Lined canvas. Paint layer raised in the background but generally sound. Heavily restored and badly done - not clear how much original paint lies underneath. Retouching has discoloured in areas. Frame surface is flaking with large areas of loss. Craquelure overall.
Circle of Sir Thomas Lawrence, PRA, FRS (British, 1769-1830) Portrait of a Prince of the Blood Royal, said to be the Prince Regent and future King George IV in naval uniform oil on panel 29 x 23cm (11 x 9in) Provenance: Mrs Morris, 1899, and by descent. Paint layer is stable. Areas of retouching on sitter's chin and possibly collar and cravat. Varnish is clear and even. Frame is in good condition.
Circle of Florence Kate Upton (American/British, 1873-1922) Portrait of Winifred Pember, of 8 Bryanston Square, in a lace dress, gold shawl and diamonds indistinctly monogrammed and dated lower right "1892" oil on canvas, in a gilded frame 114 x 86cm (44 x 34in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Here Winifred Pember can be seen wearing a large diamond cluster engagement ring and a plain wedding band alongside a small diamond pinky ring and a three stone diamond ring on her right hand. She is also wearing a long gold chain (similar to Lot 60) draped around her neck and resting in her hand. Unlined canvas. Original tacking margin/foldover visible at top edge where canvas has been put onto a larger stretcher. At centre of painting an area of raised and flaking paint. Uneven and yellowed varnish - probably applied by artist. Bloom on surface of painting, visible in darker paint passages. Very dusty on back of canvas. Glazing is dirty. Small losses to frame but generally frame is in good condition - not original frame. Label to the reverse reads: Portrait of Miss Winifred Pember, 12 Bryanston Square
Provincial Follower of John Michael Wright (British, 1617-1694) Portrait of Sir John Gaudy of West Harling, Norfolk, aged 30, 1670 (1639-1708), in black robe and white lace cravat tied in a bunch, and long fair curly wig, ending in three curls in an elaborate painted stone cartouche painted with grapes oil on canvas, in a black and gilt frame 74 x 62cm (29 x 24in) Provenance: By descent from the sitter; Lord Thurlow; a gift to his friend the Reverend William Leech of Saxlingham; Bequeathed to Mrs Sarah Fuller, his cousin, of Colegate End, Pulham, who died 1830; Bequeathed to her daugher, Judith Fuller; Bequeathed to her daughter, Pitsy Poppy of Pulham Market; who sold to J Sancroft Holmes in 1871 (along with a portrait of Lady Gaudy - present whereabouts unknown) Banningham Hall, Sale; Bonhams, The Contents of the Old Rectory, Banningham, Norfolk, 22 March 2004, Lot 195, whence acquired by the present ownerExhibited: Norwich, Strangers Hall, "The Age of Charles II", 1960, No. 18 Norwich, Castle Museum, "Family and Friends", 1992, no.33, illus. p.101 Literature: Prince Duleep Singh, "Portraits in Norfolk Houses" , 1927, Vol. 1, p.160, No.6 Other Notes: Sir John Gaudy (1639-1709) was the son of Sir William Gaudy, Bart. (d. 1669, son of Framlingham Gawdy) of West Harling, Norfolk, and his wife, Elizabeth (d.1653), daughter and heir of John Duffield of East Wretham. Prince Duleep Singh writes: "Sir John Gaudy was a deaf mute and a pupil of Sir Peter Lely, and he became a painter of considerable merit ... NB It is quite possible that the portrait was painted by himself". Sir John Gaudy took up painting after the family moved to Bury St Edmunds following the death of his mother and he worked in the studio of Matthew Snelling with the intention of having a career as a portrait painter. After the death of his brother, who was also a deaf mute, he inherited the family estate and moved back to West Harling - although he had a reputation as a skilled painter, he now no longer needed to paint as a profession. Sir John married Anne, youngest daugher of Sir Robert de Grey of Merton and his wife Elizabeth (nee Bredon) of Ipswich, with whom he had one daughter and a son, who never married. Restored in 1874. Lined canvas. Paint layer this and worn in some areas. Raised edges of craquleure in background paint with a few small losses. varnish is matte and unevemn. partly due to surface texture of paint. A few scattered areas of retouching. A few chips and losses to paint on frame.
F Graham (British, 20th Century) Portrait of Miss Grace Mallaby, later The Hon. Mrs John Pleydell-Bouverie signed centre left "F Graham / 6/1900" watercolour 26 x 21cm (10 x 8in) Provenance: Monks Hall, Sileham, Suffolk. Other Notes: Grace Mallaby was the wife of Colonel The Hon. John Pleydell-Bouverie. A little dirty and old gilt frame has a piece missing.
An art deco Tiffany & Co black enamel pendant and matching chain, the hexagonal pendant enamelled on both sides, to a similar tapered bale, the interior stamped 'Tiffany & Co, 14k', and with two hexagonal glazed panels, one containing an old portrait photograph of a young soldier in World War I uniform, width of locket 2.8cm; suspended from a single line of four fine long black enamelled links from a chain of the same; length of chain as worn 62cm, length of single line with pendant 10.7cm
English School (19th Century) A portfolio of figural and portrait studies to include Henry Monro (1791-1814), headstudy of a woman, pencil; Sir William Gell (1777-1836), portrait of a gentleman in profile, pencil; Suhielz Briesen, study of life in court, pen and ink; Study of chimpanzees dressed in high society garb, ink; Charles Rolls, a courtly procession along castle walls; Engravings by Augustus Esteve; Self portrait by Thomas R Lamont, ink, 1854; Mr Pitt, pencil portrait; small caricatures by William McConnell, c. 1860; Head study of Isaac Parish, initialled "G P 1810"; Pencil head study by Henry Alken (1785-1851); Figural studies by G Pinwell, pencil and ink, initialed; pen and ink drawings after the antique; Caricature of Countess de Boufflers; Study of a man by C Loraine Smith,'drawn with Spanish Juice" pencil, ink, watercolour, wash, all unframed
French School (18th Century) Portrait miniature of a lady with curled hair in a white turban and dress watercolour on ivory in a blue and gold decorated glazed frame with hair verso and glass bearing monogram "EC" 6cm (2in) In general condition is good. A few scratches and abrasions to the decoration on the frame, which is under glass. Image is clear, some very tiny spots of dirt to the sitter's dress . Perhaps a slight fading in colour
English School (19th Century) Portrait miniature believed to be of Tsar Nicholas I (1796-1855) in uniform, possibly a member of the Leader family, heavily decorated with medals, possibly including the Order of St John watercolour on ivory, set in a decorative wire work frame with red glass stones and faux pearls 3cm (1in) Provenance: Monks Hall, Syleham, Suffolk Loosely mounted onto frame. Glass is dirty on the underside with some pitting. Some abrasions to the paint surface.
A gold leaf sillhouette and diamond set pendant, the octagonal glazed and closed back panel containing a black silhouette portrait of a Regency gentleman with wig tied by a ribbon into a ponytail, and flounced cravat, on a gold leaf ground, in a pierced triple knife-edge frame accented with eight rose cut diamonds, the bale set with four more; length including bale 4.3cm, cased
Attributed to Frederick Buck of Cork Portrait miniature of Lieutenant Henry John Lindsey, Light Company, 11th (North Devonshire) Regiment of Foot, c.1811 - 1816, 6.5 cm (2.5in); and Mrs Buck - Portrait miniature of Henry Lindsey in a black jacket and white stock, 24th December 1817, 6 cm (2.25in) both inscribed verso with sitters watercolour on ivory (2) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Lt. Henry John Lindsey was commissioned as an Ensign in the 11th Foot 5th December 1811, Lieutenant 11th January 1816, and placed on half pay 25th March 1816. We are grateful to Christopher Bryant for his assistance with this catalogue entry. Henry Lindsey; Dirt under the glass. Some fading to colour especially in the bacground. Henry John Lindsey: Glass very dirty underneath, especially around the edges. Some fading to colours
English School (18th Century) Portrait of an officer of the Yeomanry, Mr R Parsons,1800, head and shoulders, probably of the Derbyshire Light Cavalry oil on canvas 73 x 61cm (28 x 24in) Provenance: From a Cambridgeshire country house. The National Army Museum writes: The type of uniform depicted is that of a cavalry officer and, with the initials on the shoulder belt plate rather than a number, it indicates that this is an irregular cavalry unit that is yeomanry or possibly fencible cavalry. The "D" stands for a county and the "LC" for Light Cavalry. The only yeomanry cavalry regiment with dark blue uinform, red facings and (apparently) gold lace, which was also from a county beginning with "D", was the Derbyshire Cavalry. Paint layer in good condition, paint layer is stable. Areas of damage and wear have been retouched - notably in sitter's hat. Varnish is clear and even, semi-matter. Light layer of surface dust. A few scuffs and scratches in varnish. Frame is in good condition.
C Long (Italian, 20th Century) Portrait of Mrs Kitty Leader, wife of Colonel W Lewes, in a silk and lace dress, three-quarter length, wearing a rose and holding a rose signed "C Long" to the reverse and with monogram "CL" lower right oil on canvas 30 x 20cm (12 x 8in) Provenance: Monks Hall, Syleham, Suffolk Under glass. Unlined canvas. Very dusty and dirty on reverse. Slight wrinkling to paint layer at lower left corner with a few localised losses and flaking. Otherwise in good condition. Frame is in poor condition with large losses to gilded surface. Glass is dirty inside and out.
English School (19th Century) A portfolio of portrait studies to include Lady Jane Evelyn Lindsay, portrait of Francis, 5th Marquess of Hertford (1812-1884), politician, and Lord Chamberlain under Disraeli, pencil, 19 x 15cm; Portrait of the Hon. Caroline Fox by Joseph Slater (1779-1837), pencil and watercolour, 25 x 21cm; Attributed to Sir Thomas Lawrence, Study of a girl, signed lower right, pencil, 16 x 11cm; a Portrait of Walter Sneyd Esq, MP for Castle Rising, Norfolk, of Keele Hall, Staffordshire, pencil, 12 x 10cm; and Portrait of the Hon. Mrs Sney, pencil, 21 x 17cm pencil (5) Some foxing, discolouration and one is stuck down to card (Mrs Sneyd).
Provincial Follower of Sir Godfrey Kneller (British, 1646-1723) Portrait of Miss Elizabeth Lacon, half length, in a cream dress and blue cloak, wife of Richard Lacon of Linley, Norfolk in a painted oval and dated on the reverse 1730 oil on canvas, loose from frame 77 x 64cm (30 x 25in) Provenance: The Lacon baronets of Norfolk and by descent Out of its frame. Lined canvas. Paint layer is stable and secure. A few localised aeas of retouching visible. Old degraded varnish which is patchy and uneven. Scuffs and scratches to varnish. Surface dirt present. Inscribed to reverse "Painted by J More, 1730".
George Perfect Harding (British, 1779-1843) possibly After Cornelis Jonson van Ceulen (Dutch, 1593–1661) possibly After Cornelis Jonson van Ceulen (Dutch, 1593–1661) Portrait miniature of Robert Bertie, 1st Earl of Lindsey (1582-1642), standing full length in armour wearing the Order of the Garter inscribed lower right "Earle of Lindsey 1642" and inscribed verso with an account of the sitter watercolour on board 18 x 12cm (7 x 5in) Other Notes: Lord Lindsey was the godson of Queen Elizabeth I and son of Peregine Bertie, 13th Baron Willoughby de Eresby and Mary de Vere, daughter of John de Vere, 16th Earl of Oxford. He was appointed General-in-Chief of the Royalists for the Battle of Edgehill by King Charles I at the start of the English Civil War. He died at the Battle of Edge Hill, where his son, Lord Willoughby also fought. A three quarter length portrait of Robert Earl of Lindsey by Cornelis Jonson van Ceulen was sold in Belgium in 1993 and this may have provided the model for the present painting.
§ Sir Alfred Munnings, PRA (British, 1878-1959) General Jack Seely's war horse Warrior, who survived four years on the Western Front inscribed "Warrior aged 26 / June 1934" and signed "A J Munnings" lower right pencil 19½ x 24cm (7 x 9in) Provenance: Newmarket collection; Thence by descent Literature: Illustrated in the book 'Warrior : The Amazing Story Of A Real War Horse' by General Jack Seely; illustrated by Sir Alfred Munnings ; introduced by Brough Scott, pub. 2013 (originally published as 'My Horse Warrior' by General Seely), p. 156, with the description by Seely "Here is the Munnings second study of Warrior which he regards as a better portrait. It is Warrior to the life." There is a similar study of Warrior by Munnings on the previous page, which Munnings was not happy with - the description for this illustration reads "Munnings made this first study of Warrior at twenty six years of age this summer. Afterwards he felt that he had made his neck a little too long, so he made a second" Other Notes: Warrior was a bay thoroughbred gelding who General Jack Seely, a great friend of Winston Churchill's, bred from his mare Cinderella. She foaled in 1908 near his family home at Brooke on the Isle of Wight. Warrior survived four years of war on the Western Front and became a legend, dubbed "The horse the Germans could not kill." General Seely and Warrior led many battles during the war, including the vital charge at Moreuil Wood on 30th March, 1918. Sir Alfred Munnings was a good friend of General Seely' and he drew many portraits of Warrior during and after the war. Munnings first met Warrior in 1918 on the Front Line near Small Foot Wood after the battle of Paschendale and the attack on Cambrai (which Seely's brigade led). A few days later, Munnings painted his first portrait of Seely astride Warrior, which is now in Canada. After the war, Warrior retired home to the Isle of Wight. He won the Isle of Wight Point-to-Point on 30th March, 1918, exactly four years after the charge at Moreuil Wood. Munnings continued to visit and draw Warrior at home. After drawing him in his paddock at Mottistone, sixteen years after he first painted him on the Front Line, he is quoted in General Seely's book as saying "My first portrait of Warrior was done in mud and frost and east wind, under much discomfort and in a hurry, in 1918. My second portrait was made under very different conditions sixteen years later ... Instead of a few hours in the perishing cold, this time we had days of leisure in the warm June sun, with blackbirds singing and turtle doves cooing up in the elms. I think Warrior a grand type of horse. The sixteen years have passed lightly over him, his legs are still clean, a wonderfully girthed horse, and a good pattern to study."
Benjamin Tartarine Leader (British, b. 1847) Portrait of Lieutenant Henry John Lindsey, Light Company, 11th (North Devonshire) Regiment of Foot, c.1811-1815 (d. circa 1863) signed lower left "B Leader" in a painted oval, oil on mill board, unframed 59 x 44cm (23 x 17in) Provenance: Monks Hall, Syleham, Suffolk We are grateful to Christopher Bryant for his assistance with this catalogue entry. Oil on mill board. Raised areas of paint, notably in a semi-circle above sitter's head. Yellowed varnish. Gilding on gilt slip is worn. Very dirty and only has gilt slip.
Attributed to Frederick Buck of Cork (Irish, 1771-1833) Portrait miniature of Captain Thomas Radley (of Rockville, County Cork) of the Grenadier Company, 27th (Royal Cork City) Militia, c.1820, 6.5 cm (2.5in); and his wife Alicia (nee Lindsey, daughter of Henry Lindsey), whom he married in 1816, 7 cm (2.75in) inscribed verso "Painted by Buck of Cork" watercolour on ivory (2) Provenance: Monks Hall, Syleham, Suffolk Other Notes: We are grateful to Christopher Bryant for his assistance with this catalogue entry. Alicia: Scuffing to the slip and frame dirt under the glass, some fading to colour Thomas Radley: Support raised away from mount to lower left edge. Abrasions and lines of dirt runninf vertically across sitter's face. SOme fading to colour.
Benjamin Tartarine Leader (British, b. 1847) Portrait of Ensign William Lindsey, of the Grenadier Company of the 97th Queen's Own German Regiment of Foot, c.1814. signed lower left "B T Leader" oil on canvas, unframed 92 x 72cm (36 x 28in) Provenance: Monks Hall, Syleham, Suffolk We are grateful to Christopher Bryant for his assistance with this catalogue entry Unlined canvas. A few small holes to the canvas. Canvas is slack with undulations. Rasied and prominent craquleure pattern. Scattered paint losses. Paint layer worn in red passages. Thick degraded varnish layer which is opaque and discoloured in red jacket. Surface dirt present. Unframed.
English School (18th Century) Portrait miniature of Margaret Radley, wife of Henry Leader of Mount Leader, County Cork (married 1689), daughter of Thomas Radley of Knockraur and Mavella Chinnery (daughter of George Chinnery) inscribed verso watercolour on ivory 7½cm (3in) Provenance: Monks Hall, Syleham, Suffolk Cracks to the ivory support with associated losses and fading and discolouration . Glass very dirty underneath. Loose in frame
Miss Irlam Briggs (British, fl. 1880-1950) Portrait of Miss Eveline Maud Pleydell-Bouverie as a child signed lower left "Irlam / Briggs / '80" oil on canvas 39 x 32cm (15 x 12in) Provenance: Monks Hall, Syleham, Suffolk Unlined canvas. In good condition. Varnish is slightly yellowed and dirty but glossy and evem. Dirt layer and acretions present. Losses to frame and splits in the wood.
Atrributed to Frederick Buck of Cork (Irish, 1771-1833) Portrait miniature of Ensign William Lindsey, of the Grenadier Company of the 97th Queen's Own German Regiment of Foot, c.1814, 6.5 cm (2.5in), watercolour on ivory; and his wife Mrs Lindsey (nee Philpot), pencil and watercolour, 7.5 cm (3in) (2) Provenance: Monks Hall, Syleham, Suffolk Other Notes: William Lindsey was commissioned as an Ensign in the 97th Queen's Own German Regiment Foot on the 19th May, 1814 and was placed on Half Pay on 29th January, 1818. The Queen's Own German Regiment had the precedence regimental number of the 97th Foot from 1805 until 1816, when they were re-numbered as the 96th Foot, until they were disbanded in 1818. We are grateful to Christopher Bryant for his assistance with this catalogue entry. William Lindsey: Dirt under the glass. Some loss of colour in background. Mrs Lindsey: Rectangular support in oval surrounding. Glass dirty, surface dirt present, fading of colours
St Helena - The East India Company Gold Coin set, 2015, comprising an Elizabeth II proof 24ct gold Mohur, the reverse with lion and palm tree design, the obverse with Her Majesty's portrait, 11.66gm together with a 22ct gold Guinea, the reverse with lion and shield design, the obverse also with Her Majesty's portrait, 8gm, both encapsulated and contained in a display case. edition limited to 200
A garnet pendant and earring suite, each with a round cabochon garnet in a closed back collet within a loose knot-form nest of yellow precious metal, the pendant with tapered bale, the earrings suspended from screw back fittings, lengths 5.6cm and 2.3cm; together with a single smaller earring or pendant in the same form, diameter 1.2cm Other Notes: This pendant is very likely to be the same as the one which can be seen worn in the portrait miniature of a lady, Lot 596.
Joseph Wright (American 1756-1793) Portrait of a lady, head and shoulders wearing a white lace bonnet Inscribed on an original label verso: Jo Wright Pinx. No 6 Titchfield Street, Oxford Market, London also dated 1780 on the stretcher Oil on canvas, oval 33 x 25cm; 13 x 10in Wright arrived in England in 1775, his mother, the pioneering American sculptress Patience Wright, having arrived in 1772. He studied at the Royal Academy for 6 years winning a silver medal in 1778. In 1781 Wright and his mother went to Paris where he painted Benjamin Franklin. In 1782 he returned to America where he became from 1793 the principal designer and draughtsman for American coinage.
Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of Mrs. Letitia Balfour (1745-1838), seated, wearing a bonnet Oil on canvas, 91 x 71cm; 36 x 28in Provenance: Sotheby~s, London, British Paintings 1500-1850, 12th March 1986, Lot 56 Maryanne Wilkins (Wilkins & Wilkins, art dealers), St. Christopher~s Pl., London, who sold to (10th December 1993) David Fuller, Oakmead Rd., London Private English Collection The portrait dates to the second half of the 1790s. The canvas is stamped: J. Middleton, 81 St. Martin~s Lane. John Middleton was a major supplier of canvases etc. to Lawrence from at least 1790. Lawrence owed the substantial sum of £400 to Middleton in 1801 (Farington Diary). The sitter~s son, Blayney Townley Balfour was painted (unfinished) by Lawrence c.1810. (Catalogue of Paintings by K. Garlick, No. 769, Page 273).
λ English School late 18th Century Miniature portrait of Captain James George Prosser of the Royal Marines, d. 25th February 1796 aged 39, head and shoulders in uniform Oval, in a rectangular rosewood frame 38 x 30mm With another of Mrs Wilmot, c. 1840/50, in profile, oval 84 x 63mm in a rectangular ebonised frame (2)
Pierre Joseph Lion (French 1729-1809) Portrait of General Carpenter (1713/14-1788) Signed indistinctly Pastel, oval 60 x 46cm; 23½ x 18in Provenance: Christie~s, London, 1995 Carpenter was a member of George III~s personal staff and became equerry to him in 1760. He rose to the rang of General in 1783
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