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Preisdatenbank abonnierenFlorentine School (early 17th Century) Portrait miniature of Grand Duke Cosimo II de' Medici of Tuscany (1590-1621), in half-length armour and a wide lace ruff, wearing the Military Order of St Stephen, of which he was Grand Master oil on card, in a carved frame 10 x 9cm (4 x 4in) A little dirty and loose in its frame. Scuffed edges.
Nathaniel Plimer (British, 1757-1822) Portrait miniature on ivory of a young woman wearing a white dress and a mob cap in an oval gold frame (untested), the glazed reverse containing an opalescent plaque set with hair, split pearls and a blue glass tablet initialled "B" 7cm (3in) Dirt under the glass. Minor abrasions to the paint surface at the top of the sitter's hat. Some fading and loss of colour throughout. Some minor abrasions to small areas of the edge of the ivory support. Some surface dirt present
Andrew Plimer (British, 1763-1837) A portrait miniature of Charles John Forbes (1786-1862), Deputy Commissary General of Montreal, in uniform watercolour on ivory in an oval frame with a lock of hair verso 7½cm (3in) Other Notes: Charles John Forbes was an official in the British Army and political figure in Canada East. In 1805, he joined the Commissariat Department of the British Army. Forbes served in the Mediterranean region, in the Peninsular War and at the Battle of New Orleans. He retired from the army in 1817 but returned to the Commissariat in 1824 and was sent to Nova Scotia. He then served at Montreal, during which time he purchased land near Carillon in Lower Canada, and in Jamaica. After becoming ill, he retired again in 1836 and returned to his property at Carillon. During the Lower Canada Rebellion, Forbes organised and led a group of volunteers who helped put down the rebels at Saint-Benoît in the Lac des Deux Montagnes region. In 1837, he was named a magistrate. A little dirt under the glass. Some very minor abrasions to the edge of the ivory support lower right, where the sitter's arm meets the frame. Some very minor loss of colour but in general condition is good.
English School (19th Century) Portrait miniature on ivory of a young gentleman wearing a blue coat and white stock, said to be George Poyntz Ricketts, BCS (Bengal Civil Service) (1774-1815) inscribed on the backboard with details of sitter watercolour, in a black papier mache frame 6cm (2in) A litte dirt under the glass. Some bowing to the ivory support. Abrasions to the paint surface around the edges of the ivory support, with a larger area of damage to the upper right edge. Some surface dirt present.
French School (circa 1900) Portrait miniature of Mademoiselle Madeleine-Pauline Dacruet watercolour on ivory, in a gilt leaf chased frame 10cm (4in) Without glass. Needs refixing in frame. Some surface abrasions present. Some surface dirt present. Area of yellowing abrasion above sitter's head.
English School (late 19th Century) Portrait miniature of William Shakespeare (1564-1616), in a black jacket with white collar watercolour on ivory 5cm (2in) Condition in general is good. Some scratches to the frame. Dirt under the glass. A very small area of raised abrasion to the lower left area, next to the sitter's shoulder. Ivory support a little ill fitting in frame.
George Richmond (British, 1809-1896), and the Richmond family A Portrait of a Young Lady seated, inscribed in pencil 'Geo. Richmond delt. 1860'; together with a portfolio of loose studies to include landscapes, still-lifes, nudes, portraits, animal studies and various prints, including two nude studies bearing initials and dated 'GR 1879' and a drawing inscribed 'Mary Richmond, Dec ?/52'. drawings, watercolours, etchings and prints, various sizes, 56 x 41cm (22 x 16in) (album) Provenance: By descent within the Richmond familyall loose, except one framed, few mounted; Portrait of a Young Lady inscribed 'Geo. Richmond delt. 1860' with several foxing spots mostly to the bottom and left margin; others occasional foxing and some staining, some worn edges, few with previous signs of affixation; the first nude study bearing initials 'GR 1879' with severe wrinkling of the edges and foxing; the second nude study with several foxing spots.
Circle of Sir Thomas Lawrence, RA (British, 1769-1830) Portrait of the 10th Earl of Westmorland, KG, PC (1759 –1841) pencil and red wash 23 x 20cm (9 x 8in) Provenance: Private collection, Cambridgeshire. Other Notes: In 1789, Westmorland was appointed Joint Postmaster General by William Pitt the Younger and sworn on to the Privy Council. In the same year he was appointed Lord Lieutenant of Ireland by Pitt, a post he held until 1794. On 18 February 1793, he was appointed a deputy lieutenant of Northamptonshire. From 1795 to 1798 he was Master of the Horse under Pitt. The latter year Pitt made him Lord Privy Seal, a position he would hold under five prime Ministers for the next 35 years, except between 1806 and 1807 when Lord Grenville was in office. Westmorland raised a Northamptonshire volunteer cavalry regiment in 1797, and was appointed its Colonel on 20 April 1797. He was made a Knight of the Garter in 1793. Sir Thomas Lawrence's full length portrait of John Fane, 10th Earl of Westmorland, oil on canvas, 247 x 147cm, is in the Prado Museum, Madrid.Very very faded and just a ghost of an impression there.
Antonio Mancini (Italian, 1852-1930) The artist's mother, Maria Mancini signed along the bottom edge "Mancini" charcoal heightened with white on buff paper 48 x 33cm (19 x 13in) Provenance: Private collection and by descent within an Italian family Other Notes: Antonio Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823–1901), a painter of historical scenes who favoured dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (Italian,1818-1899) who founded the Naples Società Promotrice di Belle Arti in 1861. Mancini worked at the forefront of the Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in Il Saltimbanco (1877–78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds. While in Paris in the 1870s, Mancini met the Impressionist painters Edgar Degas and Édouard Manet. Mancini devised his own method of portraiture known as his string technique, in which he used this method to square up before starting a portrait. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter.Paper is crinkling under the glass.
Harriet Sneyd (British, 1796-1867) A sketchbook of portraits of the Thynne children, to include: Frederic Charles Thynne as a child by Harriet Sneyd (2); Archdeacon Croft Hauterburg, pen and ink silhouette; Gertrude Harriet Thynne by Harriet Sneyd; Portrait of Harriet Sneyd by "WS", pencil; Gertrude Harriet Thynne by Harriet Sneyd; Harry Bagot, copied by Miss J Davies; Charles Walter Bagot, 1819, copied by Miss J Davies; Emily and Minnie Bagot, copied by Miss Davies; Emily Bagot, copied by Miss Davies (2); Minnie Bagot, copied by Miss Davies; Portrait of a lady in a hat by Inskipp, copied by Miss Jenny Davies; Gertrude Harriet Thynne by John Hungerford Pollen; Miss Gladys Vaughan by John Hungerford Pollen, Clifton, Sept. 7 1853; The Very Rev. Dr Canon Neve by John Hungerford Pollen, Sept. 5 1853; Richard Bagot by Harriet Sneyd; Hugh Dawnay, afterwards Viscount Downe, copied by Miss Davies; Richard Bagot by Harriet Sneyd; Hugh Dawnay, afterwards Viscount Downe, copied by Miss Davies; Lady Constance, Lady Eleanor Paget, Lord Paget, afterwards Lord Uxbridge and then Lord Angelsey Fanny Caroline Bagot; Emily Bagot; Elizabeth Pratt; Lord Charles Thynne by Harriet Sneyd. Torquay 1839-1840; Lady Charles Thynne by Harriet Sneyd, Torquay 1839-1840; The Reverend Herbert Vaughan, afterwards Bishop of Salford, by Henry Doyle; General Lord Strathnairn by Henry Doyle (2); Lord Strathnairn, standing, in uniform, by Henry Doyle (2); Charles Edward Thynne by Henry Doyle; Eleanor Sneyd, two head studies; Roger Vaughan, Archbishop of Sydney, two head studies; Newcomer to Woodchester by A H Thynne (a woman in a park); T Carlyle from "WS"; Lady Emily Bathurst; Various animals by John Hungerford Pollen in a distressed folder with end papers of classical subjects by S D Bella pencil, various sizes Provenance: The album has a Bookplate of the Reverend Lord Charles Thynne Harriet Sneyd (1796-1867) was the third of nine children. Her parents were Louisa Sneyd, nee Bagot (1764-1834) and Lieutenant-Colonel Walter Sneyd (1752-1829). The Sneyds of Keele Hall were landed gentry, prominent in county society, with several members of the family serving as MPs, Sheriffs and Mayors for Chester and Staffordshire. Louisa Sneyd encouraged her daughters (Harriet, Fanny, Charlotte and Elizabeth) to develop their creative and artistic talents and they were taught by the artist William Mulready (RA). Charlotte in particular possessed considerable artistic ability. Harriet did not marry and lived alongside her two unmarried sisters, Charlotte and Elizabeth. The Thynne family regularly feature in the Sneyd family correspondence. Keele University hold Charlotte Sneyd's panoramic watercolour of Almack's Assembly Rooms (1819-20), spanning more than two metres and depicting almost 200 people, including Lord John Thynne in conversation with Lady Georgiana Bathurst.
Follower of Hans Holbein the Younger (German, 1497-1543) Portrait of Queen Jane Seymour (1508-1537) half-length, her hands folded, wearing a pear-shaped pendant jewel of rubies and pearls oil on panel, in an elaborate frame surmounted by the Royal Crown carried by an angel's wings 64 x 48cm (25 x 19in) The angel’s wings at the top of the frame are part of the Seymour family coat-of-arms.The Seymour arms were then augmented with the lions of England with the consent of King Henry VIII himself. Provenance: Patrick Campbell Johnston, 16, St James's Place (according to a label on the reverse); Believed to have been acquired sometime in the first half of the 20th Century by the parents of the late owner. Other Notes: Jane Seymour (1509-1537) was the third wife of King Henry VIII of England and mother of the future King Edward VI. She succeeded - where Henry's previous wives had failed - in providing a male heir to the throne. Jane's father was Sir John Seymour of Wolf Hall, Savernake, Wiltshire. She became a lady in waiting to Henry's first wife, Catherine of Aragon and then to Anne Boleyn, who had married the King in 1533. On 30 May 1536, Henry and Jane were quietly married a few days after Anne's execution. In October 1537, she gave birth to Prince Edward but died a few days later and was buried at Windsor. During her life as Queen, Jane had managed to restore the Princess Mary, Henry's daughter by Catherine of Aragon, to her father's favour, presumably as the King was believed to have genuinely loved Jane and did this to please her. This portrait derives from the prime original which Holbein painted shortly after the sitter's marriage to the King, which is now in the Kunsthistorisches Museum, Vienna (also on panel, size 65 x 47cm), and for which there is a preparatory drawing now in the Royal Collection at Windsor Castle (50 x 27cm) [see K. T. Parker, The Drawings of Hans Holbein in the Collection of His Majesty The King, 1945, p.47, No.39]. Due to the Queen's untimely death giving birth to a male heir and the consequent elevation of the late Queen's Seymour relations, numerous repetitions were made in the Holbein studio for others at Court seeking the King's approval and the Seymour family's patronage (ref. K T Parker, ibid, " ... the artist seems to have used the study repeatedly"). One such, though considerably larger (on panel, 102 x 77.5cm) is at Woburn Abbey in the Bedford Collection which is believed to date between 1545 and 1550, at the very time that Jane's star during the reign of her son was in its ascendancy. The present painting is on a panel which has a felling date of post circa 1532. It is therefore perfectly possible that the present painting was worked on in Holbein's studio in his lifetime and its apparently earlier unfinished state would seem to suggest that. A version post-dating Holbein's death taken from the original or the preparatory drawing is more likely to have been completed. A copy is less likely to have been painted much later in the 16th Century during the reign of Elizabeth when the Seymours were no longer considered important or influential, and especially on a panel prepared from a tree felled in the 1530s. It would seem that the present painting was subsequently in the 19th Century "improved" by the addition of the gold and green curtain. The pear-shaped pendant-jewel, which Queen Jane is shown wearing, is that set with a table-cut sapphire and a red stone (either a ruby or a spinel) which was a piece of jewellery that Henry's fifth wife, Katherine Howard, is known to have worn. This sort of recycling of jewels was then common practice. The condition report concerning the dating of this painting and the panel, from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online.Oil on panel formed of three boards in vertical alignment. Central join has been recently repaired. Slight vertical warp to the panel. Retouching to sitter's forehead. Paint layer of face simply painted, slightly worn. Under drawings is now visible through the paint layers. Costume and curtain appear to be later reworkings, with unusual surface texture in the paint in these areas. Varnish is dull and uneven. Some wear to gilding on frame, crown decoration is insecure. Sold with a reproduction seal of the Queen's arms supported by the lion and unicorn . The condition report concerning the dating of this painting and the panel from the Hamilton Kerr Institute and the Dendrology report by Ian Tyers are both available upon request and also online. Jane Seymour, Queen of England 1536 Oil on wood, 65,5 x 40,5 cm Kunsthistorisches Museum, Vienna Label to reverse: Patrick Campbell Johnston 16 St James's Place
Bolognese School (circa 1600) Portrait of a young man, half length, in a ruff and black doublet with velvet sleeves, holding a letter oil on canvas, in a 17th Century English Auricula carved and gilded frame 68 x 55cm (27 x 21in) Provenance: F W Farrer; His Trustees' sale, Christie's, London, 23 June 1916, Lot 122, when bought by a member of the family for 11 guineas, thence by descent within the Farrer family.Lined canvas - liner's name scored into stretcher at reverse, 'F. (?)eedham. Paint layer stable but slightly worn. Scattered retouchings and old fill on end of sitter's nose. Old varnish is very discolured and dark. Some flaking and loss to gilding on the frame. Old label on the frame -reads 'Portrait of Sir Philip Sidney' (not the sitter) 8 CB - old Christie's stencil. (Mistakenly catalogued by Christie's in 1916 as "Sir Philip Sidney").
Florentine School (17th Century) Portrait of three favourite dogs, all seated, before a red curtain, upon a 16th-17th century Anatolian Ushak rug of Lotto design oil on canvas, in a period carved and giltwood frame 50 x 64cm (20 x 25in) Provenance: By decent within the Farrer family The dog seated on the right is an Italian greyhound, the two seated on the left are toy terriers of as yet unidentified breeds.Lined canvas. One hole at upper right corner. Paint layer has a few scattered losses and areas of raised and flaking paint. Varnish is yellowed and matte.
Attributed to Peter Paul Kirchebner (Austrian, 1812-1842) Portrait of Philippine Welser, head and shoulders, in black dress with white ruff, wearing a gold collar necklace with pendant set with pearls, rectangular-cut rubies, emeralds, a cabochon sapphire, and a headdress of pearls and oval cabochon sapphires oil on panel, in a gilded black frame 19 x 14cm (7 x 5in) Other Notes: Philippine Welser (1527 – 1580) was the morganatic wife of Ferdinand II, Archduke of Austria. She was granted the titles Baroness of Zinnenburg, Margravine of Burgau, Landgravine of Mellenburg and Countess of Oberhohenberg and Niederhohenberg. She was born in Augsburg. Her family, the Welsers of Augsburg, were merchants and financiers of European significance and great wealth. Her uncle Bartholomeus V. Welser received Venezuela as security for a loan from the King of Spain in 1528 and the family thus became rulers of the colony. Philippine Welser was renowned for both her beauty and her learning. She died at Schloss Ambras, Innsbruck in the Tyrol. A print exists of this composition by Kirchebner which is believed to have once been or still is in the Welser family's Augsburg house. A painting of Philippine Welser by Kirchebner is in the Tiroler Landesmuseum Ferdinandeum, Innsbruck.. to which the presdnt painting may well be related. Peter Paul Kirchebner came from a traditional Malerfamile. Already at the age of 13 years, he copied paintings and was then awarded a scholarship at the Academy in Munich, where he studied between 1826-28. Then he attended also the academies in Vienna and Venice. After completing his studies, he returned to the Tyrol and earned his living with portraits, genre paintings and religious panel paintings in the style of the Biedermeier period. Some of his works are preserved in the Tyrolean State Museum. Born on 29 June 1812 in Axams he died on 4th September 1846 in Fügen.Panel has three vertical cracks running through the panel. A little dirty. In a painted oval with scuffing all round the edges. Loose in its frame. Frame is quite distressed.
Central European School (mid 17th Century) Allegories of Spring and Autumn - Spring, Portrait of a lady, three quarter length, in a red dress trimmed with Brussels lace, with a feather in her cap, holding flowers and a rose; and Autumn, Portrait of a lady in a black dress trimmed with Brussels lace, holding a basket of fruit the first inscribed "VER" upper right; the second inscribed upper right "Autumnus" oil on canvas (a pair) 88 x 71cm (34 x 28in) Provenance: From a Kent country house.Lined. Somewhat flattened and rubbed. Autumn has a double scratch by the shoulder of the sitter.
Follower of Sir Peter Lely (1618-1680) Portrait said to be of Hortense Mazarin, Duchess of Mazarin (1646-1699), niece of Cardinal Mazarin pastel on canvas, unframed 38 x 30cm (15 x 12in) Hortense Mancini, Duchesse Mazarin (6 June 1646, Rome – 9 November 1699, Chelsea) was the favourite niece of Cardinal Mazarin, chief minister of France. She was a mistress of Charles II, King of England, Scotland and Ireland. She was the fourth of the five famous Mancini sisters, who along with two of their female Martinozzi cousins, were known at the court of King Louis XIV of France as the Mazarinettes. Charles II of England, the first cousin of Louis XIV, proposed to Hortense in 1659, but his offer was rejected by Cardinal Mazarin who believed the exiled king to have little in the way of prospects. Mazarin realised his mistake when Charles was reinstated as King of England only months later. Mazarin then became the supplicant and offered a dowry of 5 million livres, but Charles refused.Unframed and dirty.
Attributed to John Closterman (German, 1660-1711) Portrait of a gentleman, head and shoulders, believed to be Daniel Wilson of Dallam Tower, Westmorland (1680-1754), in a red and gold braided jacket, white stock and high grey wig oil on canvas, oval 74 x 62cm (29 x 24in) Provenance: By descent within the family of the sitter at Redgrave Hall, Suffolk. Daniel Wilson of Dallam Tower was MP for Westmorland from 1729-1741; High Sheriff of Lancashire in 1727; and father of Thomas Wilson who married Lucinda Holt of Redgrave Hall, Suffolk, in 1752.Unlined canvas on an oval stretcher. Tension is poor, causing undulations in canvas. Two holes at bottom edge with paint loss. Old damage in sitter's chin mended with patch on reverse. Paint layer is cupped but generally stable. Varnish is very glossy and slightly yellowed - bloom is beginning to form in areas. Scuffs and scratches to the paint layer. Craquelure overall. Old stretcher bar marks can be seen from the front.
Follower of Allan Ramsay (Scottish, 1713-1784) Portrait of Thomas Holt of Redgrave (1731-1799), half length, in a puce coat and waistcoat and lace stock, in a painted oval oil on canvas, in a carved and giltwood English frame of circa 1740 75 x 61cm (29 x 24in) Provenance: By descent within the family of the sitter at Redgrave Hall, Suffolk. Thomas Holt bequeathed the Redgrave Hall Estate to his sister Lucinda Wilson (nee Holt) from whence it passed into the Wilson family.Lined canvas. Heat in the lining has affected paint layer - noticeable in the sitter's hair, with uneven texture. A few areas of paint loss, but paint layer generally secure. Varnish is clear and glossy but slightly uneven. Retouchings mismatched - especially in the face. Frame has several losses to carbving.
French Provincial School (early 18th Century, circa 1740) Portrait of an elderly gentleman, half length, in a puce jacket oil on canvas, unframed 76 x 63cm (30 x 25in) On a Continental stretcher. Unlined canvas. Tension is slightly slack but for its age in good condition. Some flaking paint, wear and abrasion but paint layer is generally sound and stable. Thick, discoloured varnish layer which is yellowed and dirty. Unframed - edges of canvas have some scuffing.
Circle of George Knapton (English, 1698-1778) Portrait of Rowland Holt III of Redgrave (1723-1786), head and shoulders, in a grey waistcoat and blue frogged coat, with white lace stock oval, oil on canvas laid down on panel Provenance: By descent within the family of the sitter at Redgrave Hall, Suffolk. Rowland Holt of Redgrave (1723-1786) was a Jacobite sympathiser. He paid court to Prince Charles Stuart in Rome whilst on the Grand Tour. He commissioned Capability Brown to redesign Redgrave Park and rebuild the house there. Rowland Holt was MP for Suffolk in 1759.Oil on canvas mounted onto panel. Vertical split in panel affecting the canvas and paint with losses and undulations. Retouching in sitter's jacket. varnish is very glossy but yellowed. Losses and damage to frame caused by woodworm. Three lines of damage running vertically.
George Knapton (British, 1698-1778) Portrait of Miss Lucinda Holt of Redgrave (1719-1792), half-length, in white, wearing a blue rosette, blue ribbons in her hair, pearl earrings and a pink shawl signed lower left "Knapton / pxt. 1750" oil on canvas, a painted oval, in a carved and giltwood frame , 75 x 62 cmProvenance: By descent within the family of the sitter at Redgrave Hall, Suffolk. Lucinda Holt married Thomas Wilson (see Lot 815) , a Barrister of Gray's Inn, and Chief Justice of Dominica, in 1752; Lucinda Holt was the heiress of her brother, Thomas at Redgrave Hall.Lined canvas. Paint layer is stable and secure. Very uneven and yellowed varnish - caught in texture of paint and becoming matte in areas. Sections of frame has bronze paint over gilding. Surface dirt present.
William Shuter (British, active circa 1771-1799) Portrait of Mrs Kynaston of Oteley, Ellesmere, Shropshire, wearing a lace hat over her powdered hair, and a grey silk dress with lace fichu and pearls oil on canvas, oval 29 x 24cm (11 x 9in) The Kynastons, who claimed descent from Bleddyn ap Cynfyn, an 11th Century Prince of Powys, were a prolific family concentrated in north-western Shropshire and adjacent parts of Montgomeryshire.The painting has been cleaned and relined and very tightly stretched. Craquelure is present throughout but the paint layer is sound and stable. Shiny varnish. Area of retouching to the lower left area, around the knot on her shawl.
English School (18th Century) Portrait of George Delaval, High Sherriff of Northern Ireland, 1740, Member of Parliament by 1767, old labels verso, unframed; Portrait of a Naval Officer, 56 x 43cm (22 x 17in); Portrait of a Gentleman in a blue jacket, white stock and grey wig, in a painted oval, 56 x 43cm (22 x 17in) pastel on canvas laid to board, unframed (3) 55 x 43cm (21 x 17in) All unframed, dirty and with spotting. Bad tear to the naval portrait.
English School (18th Century) Portrait of Captain W Penel of Stamford, Lincolnshire, 1789; and Study of two Georgian ladies, one reading, in a garden, watercolour, oval, unframed, 20 x 14cm inscribed lower right with title oval, pastel on paper, mounted and unframed 24 x 18cm (9 x 7in) Girls - colours good, mount is torn. Captain Penel - a little smudging to the pastel. Both unframed.
After Sir John Lavery (Irish, 1856-1941) Portrait of Miss Constance Jones, Mistress of Girton College, Cambridge signed on the reverse "this copy from the original picture at Girton College has been retouched and passed by John Lavery, 1917" oil on canvas, in a superb Spanish section frame 110 x 85cm (43 x 33in) Provenance: By descent within the family of the sitter at her home in Llancayo House, Usk, Monmouthshire . Other Notes: A copy of the portrait of Miss Constance Jones from the portrait painted by Sir John Lavery and presented to her by past and present students of Girton College in 1916. This version was commissioned by Miss Constance Jones for her own family and has remained within her family until now. There is a study by Sir John Lavery of Miss Jones held at Aberystwyth University, School of Art Gallery and Museum. Every effort was made to replicate the original - even down to commissioning the Spanish section that Lavery used to frame his pictures at the time. Constance Jones gave the original to Girton College, where she was Mistress between 1903 and 1916, and it now hangs in the Dining Hall of the College. We are grateful to Professor Kenneth McConkey for his assistance with the catalogue entry.Unlined canvas. Support appears to be sound and stable. At some point the painting had been in contact with the glass in one area to the right of the sitter's face - this had resulted in a minor areas of paint becoming transferred onto the inside of the original glass. This unsatisfactory relationship with the glass has now been resolved by a restorer. There were a few powdery areas of paint, which was mould growth. These mould deposits have now been removed through dry cleaning by a restorer. Otherwise the support and paint layer are in stable condition. A wax and varnish coat has now been applied to the portrait by a restorer. Sold with seven books by the sitter.
English School (19th Century) Portrait of Mrs Cobbold of Hollywells Park ( Holy Wells) at Ipswich, Suffolk, head and shoulders, in a red dress with gold sleeves, and lace-trimmed bonnet, 1830 oil on canvas, unframed 40 x 36cm (16 x 14in) Provenance: Private collection, Suffolk. Other Notes: Mrs Cobbold may possibly be Elizabeth, an amateur artist and banker's wife of Hollywells, near Ipswich, Suffolk - friends of John Constable. The Cobbolds were a rich Suffolk brewing family and their main seat was Hollywells Park ( Holy Wells) at Ipswich, Suffolk. Penciil sketches were made of some of the Cobbold family by John Constable in 1806.Under the stretcher is the Roberson & Miller stamp. Over half the stamp is under the stretcher, with the stamp running right up the canvas edge - could this indicate it as a re-used canvas which has been cut down? The number on the stamp looks to end in "399" which wouldn't work as a date - it may read "1899" but it really does look like a three to me, and I can't quite see the whole thing under the stretcher. There's no sign of the royal cipher. There are a few pencil inscriptions on the reverse, one reading "London 1830" and another looks to read "Cobbold / Glemham)". Unframed. Old stretcher bar marks can be seen from the front. Inscribed on the reverse "Cobbold, Glemham 1830". The painting appears to have been cut down at the top edge. The stretcher at the top has been reduced. Would benefit in being increased in height. Inscriptions in pencil on the stretcher reads "Cobbold / Glemham" and "London / 1830". Roberson and Miller canvas stamp.
Follower of Sir Francis Grant (British, 1803-1878) Portrait of John Whyte Melville on his hunter "Morven", viewing a fox away oil on board 29 x 34cm (11 x 13in) Condition in general is good. Paint layer is stable and secure. Varnish is clear and even. Retouchings present, mainly in the sky, which are well matched to the original. Surface dirt and white spots are present.
Rosa Bonheur (1822-99), a bronze figure of a bull, the beast walking across a rectangular base rounded at the narrow ends, signed, 27cm (10.75 in) wide Rosa Bonheur (1822-1899) was a French animalière and sculptor. Her best known paintings, Ploughing in the Nivernais and the Horse Fair, hang in the Musée d'Orsay and the Metropolitan Museum, New York, respectively. Bonheur had failed her apprenticeship as a seamstress so her father, himself an artist, agreed to take her on as his apprentice. The realism she achieved in her art was borne from many years study of animals, including studying the anatomy of animals in the abattoirs of Paris and carrying out dissections at the Paris veterinary school. Her work was well known in England through the dealer Ernest Gambart and much admired by Queen Victoria. Bonheur was a member of the New Woman movement; a feminist movement of the late 19th century and was famous for wearing men's trousers, having at one point been given a permit by the police to wear them whilst working in the slaughterhouses. Bonheur loved depicting bulls and made several sculptures, the largest of which in Fontainebleau was melted down by the Nazi's in 1941. In 1857, Edouard Louis Dubufe, painted her portrait with a bull, symbolic of her work as an animalière.
Giovanni Battista Gatti (1816-1889), Rome, an inlaid ebonised framed portrait, the slip of the frame with lapis lazuli rectangles alternating with ochre and red pudding stone, the portrait of a lady labelled on the back 'Eliza Rolls' Mother', the mahogany back with Gatti's stencilled stamp, the frame 30 x 25cm (11.75 x 9.75 in)
A small eccentric collection of jewellery including an early photograph locket and an early Felix the Cat brooch, the double sided oval locket, circa 1840, with engine turned covers and carved case and suspensory loop, of yellow precious metal, tests for 9-12ct gold, containing on each side a daguerreotype or similar early photographic portrait, length with loop 4.3cm; together with two Victorian carved jet pendants in the form of an anchor and a heart, representing hope and charity; and a vintage Felix the Cat bar brooch, stamped 'Silver', the cat in his 1920's shape, enamelled black with green eyes, length 4.4cm (4)
A portrait cameo of a young woman by Saulini set in an enamelled brooch, the finely carved shell cameo of a woman's profile with neatly dressed hair (in the fashion of the 1840s), slender neck and loosely draped shawl, signed 'Saulini F' (for 'fecit' = made it), in a yellow precious metal mount with open ropetwist border, one strand being of turquoise enamel, length 6.3cm Tommaso Saulini (1793-1864) and his son Luigi (1819-83) were the foremost cameo carvers of their day. Working in Rome in both hardstone and shell, their subjects were predominantly Classical figures and scenes, but also portraits of their contemporaries. They are known to have used Castellani to mount their cameos.
A Napoleonic portrait ring with diamonds circa 1800, the oval glazed panel portrait, believed to be of Napoleon, facing three-quarter left, and wearing the green, red and gold uniform of the Chasseur à Cheval with side-to-side bicorne, to a border of cushion cut diamond chips, verso with blue and green enamelled plaque depicting a pansy (a rebus on the French word for the flower - pensée - which also means 'thought' or thinking of you) and inscribed 'Ma seul, c'est toi' (you are the only one for me), to a plain shank size N-O, length of bezel 1.3cm
A late 17th century Delft dish commemorative of William III, yellow tulips flanking a portrait of the monarch central to gadrooned sides painted on the broad rim with a band of tulips interspaced with green and blue leaves, 34.5cm (13.5 in) diameter This has a frining crack at 3pm and minor glaze losses to the rim
An early 20th Century enamelled devotional panel depicting head and shoulders portrait of the Virgin Mary at prayer, with white metal plaque beneath "Ave Maria" and contained in lancet shaped gilt tooled leather case with two hinged doors to the front, easel support, height of case 15cms ++case with some wear, the enamel panel with damage to the left hand side and with some wear
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