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Preisdatenbank abonnierenENGLISH SCHOOL, 19th CenturyPreparing to Start; At Speed; Winning; and Weighing and Rubbing Down;engravingsPl. 8 x 20 1/2 in (20.3 x 52.1cm); a set of four.Sold with six aquatints after T. Rowlandson depicting Dr. Syntax; and a miscellaneous collection of other prints, including a number of portrait engravings, one depicting Queen Victoria by T. Woolnoth (qty)
A SCRAP ALBUM containing a number of watercolours by various hands including 'Kneeling figures in a Cathedral' attributed to J.D. Harding; 'Portrait of a Youth' by a follower of George Perfect Harding; and various wash and watercolour sketches ascribed to David Hall McEwan, David Cox, and other hands, including a number of landscape subjects (qty)
ROBERTO BOMPIANI (1821-1908)Portrait of John Baddeley Wood (1849-1911), in a grey suit and with spotted cravat; and Portrait of his wife Elizabeth (b.1855), wearing a lace-trimmed pink Dressboth signed and dated 'R. Bompiani 1876', one inscribed 'Roma'oil on canvas, oval29 x 24 in (73.7 x 60.9cm) ; a pair (2) These portraits were painted during a stay at Rome by the Baddeley Woods in1876. The artist Roberto Bompiani worked in Rome throughout most of his life. He painted a number of notable portraits in the 1870's including a Portrait of Queen Margherita (1878) at the Palazzo di Montecitorio and various portraits of the Borghese Family. In 1872 he exhibited at the Mostra Internazionale of Vienna, where he won an award for his Portrait of Giovanni Battista Canevari (Accademia di San Luca, Rome)
ALEXANDER RIPPINGILLE (c.1796-1858)Portrait of John Wood II of Brownhills, half-length,wearing black cravat and jacket, a red drapery beyond,inscribed on the reverse 'Alex Rippingille pinx Sep. 1838'oil on canvas,30 x 25in (76.3 x 63.5cm) Alexander Rippingille was a portrait painter, based at Bristol. His brother Edward Villiers Rippingille, a fellow artist, also worked in that city.
ENGLISH SCHOOL, CIRCA 1860Portrait of Marianne, wife of William Davenport of Maer, Staffs, three-quarter length, wearing a mauve dress and lace cap, seated in a rustic chair, a landscape beyond, oil on canvas, 36 x 27in ( 91.4 x 68.6cm )The sitter Marianne Wood married William Davenport in 1832
WILLIAM BOWNESS (1809-1867) Portrait of Mary, (1787-1866), daughter of John Baddeley of Shelton, wife of John Wood, three-quarter length, wearing black dress with lace collar and cuffs and floral head dress holding a fan in her right hand, oil on canvas, 49 x 39in (124.4 x 99.1cm)This portrait is sold with two other nineteenth century portraits by other hands depicting Agnes (daughter of Nathan Hibbert) and a Portrait of Nicholas Price Wood of Brownhills; three (3) AMENDMENT - First item in lot previously described as English School 19th Century. The artists name should read William Bowness (1809-1867) , inscribed and dated 1861 on the reverse
Elvis Presley 1957 Picture Show Loving You (complete), plus 1958 Picture Show featuring King Creole (complete) plus 1957 Full page Portrait, plus NSS Ad and 3 lobby cards (US 11 x 14 inch) for The Trouble with Girls, and How to get into it from 1969, plus Campaign book for Tickle Me plus 3 US lobby cards for Follow That Dream (11 x 14 inch) (1962) (12)
James Bond "Dr. No / Thunderball" 1970s British Double-bill Quad film poster (30 x 40 inch) starring Sean Connery as James Bond 007 featuring the tag-line "Big, Brilliant Bondshell!" with a large portrait of Sean Connery at the centre. From Ian Flemings novels. small areas of paper snag at the top border which have been archivally repaired and a very small area of paper loss of about 1/4 inch square at the bottom left on the name "Harwood" in the credits. [BROWSER 66]
MARITIME PAINTING & ART various standard reference works and catalogues raisonnés, including: Archibald's Dictionary of Sea Painters, 2nd edition, 1989; Arnold Wilson, Dictionary of British Marine Painters, 1970; L.G.G. Ramsey, Montague Dawson, 1st edition, 1967; Alex. A. Hurst, Thomas Somerscales, 1988; K.S. Fischer & Alex. A. Hurst, Anton Otto Fischer, Marine Artist, 1977; Roger Finch, The Pierhead Painters, Naïve Ship-Portrait Painters, 1750-1950, 1983; Davidson & Tibbles, Fifty Ship Paintings by Francis Hustwick, 1999; Peter Neill, Maritime America, Art & Artifacts from America's Great Nautical Collections, 1988; and other volumes (2), all excellent condition, mostly with dust jackets, a useful lot for the enthusiast (10) This lot will be available for viewing at Imperial Road
'BRITISH YACHTS AND YACHTSMEN, A COMPLETE HISTORY OF BRITISH YACHTING'. Mezzotint portrait of Edward VII, numerous plates and illustrations. London, The Yachtsman Publishing Company, 1907, - Heckstall-Smith, B. 'Yachts & Yachting in Contemporary Art'. Plates, some coloured and mounted. Original cloth. London, The Studio, 1925, limited edition. And six other works. (8) This lot will be available for viewing at Imperial Road
A FINE FIGUREHEAD RECOVERED DURING THE ATTEMPTED SALVAGE OF THE PRUSSIAN BRIG GEORGE FORSTER, WRECKED UPON THE GOODWIN SANDS, 30TH NOVEMBER, 1856 carved from solid elm with laminated arms as a half-length portrait depicting George Forster wearing a braided coat with finely carved jabot and hair, terminating in a scroll, faintly inscribed to front GEORGE / FORSTER / Wrecked on / Goodwin / Sands / March 30th 1830 [sic] -- 50in. (127cm.) high Provenance: Until recently this figurehead adorned the True Briton public house, Folkestone, where it had resided for an unknown period of time. The Times for 1st December, 1856 reported the grounding of the Prussian ship George Forster the previous day, 30th November - one of six groundings between September and December that year. At the time it was stated that she was laden with timber and that steam tugs and lifeboats were standing by as it was "feared she would become a wreck". Both her main and mizzen masts had been cut away in an effort to re-float her at the next high tide and it seems highly likely that this figurehead - a weighty adornment when every ounce mattered - was removed at the same time in a last, desperate attempt to save the vessel. In the event it was all in vain as the ship broke her back and became a complete loss, although her crew was entirely saved. George Forster (1754-94) was born near Danzig in what was then Polish Prussia to a family that had British antecedents. His father Johann, a reluctant cleric, took every opportunity to expand his travel and scientific knowledge and his enthused son soon followed suit. In 1766 the pair travelled to London in search for an appropriate position and, on their arrival, the elder Forster established contact with other German-speaking clergy and intellectuals in London. Among them was Carl Gottfried Woide, the Lutheran preacher and man of letters, who helped them find lodgings in Denmark Street and establish contacts within the British scientific and scholarly communities. In 1772 he was engaged to replace Joseph Banks as naturalist on James Cook's second Voyage of Discovery in the Resolution, and took young George along as his assistant. The voyage took the Forsters round the Cape of Good Hope to New Zealand, Tahiti, Tonga, and south beyond the Antarctic circle. George Forster's later reputation was based largely on the descriptions of the voyage he published after their return in 1775. The first of these was a botanical work, Characteres generum plantarum... MDCCLXXII-MDCCLXXV, published together with his father, which earned him election to the Fellowship of the Royal Society. A Voyage Round the World, in His Britannic Majesty's Sloop, Resolution (1777), which Forster published after his father had been denied the opportunity to write the official account of the voyage, had much greater impact. In 1779 he returned to Germany where he held several academic posts and from April to June 1790 he undertook a further journey, accompanied by Alexander von Humboldt. This time be travelled along the Rhine, through the Low Countries, and on to London, returning through revolutionary France and Forster's account of the journey was held in great esteem by contemporaries. Forster remained in Mainz after the occupation of the city by French revolutionary forces in 1792, becoming active in Jacobin circles. A supporter of the incorporation of the west bank of the Rhine into the French republic, in early 1793 Forster was elected deputy for Mainz to the national convention in Paris. His writings about the revolution were significant, if highly contentious, contributions to its reception in the German-speaking world. He died suddenly in Paris on 10th January, 1794 at the age of 39. It is not surprising that such a famous and significant character was honoured with the name of a ship by his fellow countrymen. The George Forster figurehead in Perspective The world of Ships Figureheads can be divided in to roughly four main subject forms: Female, Male, Creatures and Billets-types, each one having a number of subdivisions. Whilst it is no surprise that surviving female figureheads out number males by at least five to one, the vast majority of male figureheads are from unknown vessels, possibly depicting a forgotten vessel's owner or local dignitary; they represent the epitome of late Georgian and early Victorian gentlemen yet, occasionally, a male figurehead survives to show that exceptions to the rule can be found, and the George Forster is one such figurehead. His remarkable state of preservation, due in part to the fact that he has been carved from a solid block of elm, is an indication of high quality coupled with durability. Laminated yellow pine was used for the vast majority of figureheads at this date (around 1830) and was a lighter, less resilient wood, vulnerable to rot and splitting. The use of elm is significant in allowing the carved detail to be as crisp and sharp as the day he was carved. The carver would have relied on pictorial references supplied by the ship's owner, a number of contemporary portraits of both George and his father have survived, plus a number of illustrations published after his death, giving the carver ample reference material to create a portrait carving that has been painted almost to life. Great care and sensitivity has been taken with the face and hair and we see a handsome young man brimming with confidence that belies his tragic death, and particular attention has been made to the delicate and intricate folds of his jabot, while the base has a rich assortment of flowing material culminating in a very finely carved backwards scroll, with acanthus leaves - a true tour de force of the ship carvers skill. During the conservation work on George Forster the original colour scheme was researched and sensitively re-applied; it's not uncommon for a figurehead of this age to have numerous layers of inapt over-painting by the ship's crew and amateur artists, masking the true detail and appearance. In this instance, an important clue as to identity was found on the front of the figure, painted in gold leaf, in a style of typeface commonly used during the second quarter of the nineteenth century, in larger letters is "GEORGE FORSTER WRECKED ON GOODWIN SANDS" with a date of March 30th 1830. Subsequent research has shown this date to be incorrect and the true date of the wreck, while still on the Goodwin Sands, was in fact 1856 - an error put down to the sign writer. What is not disputed are the facts of the wrecking from the journal of the RNLI and The Times; or the exceptional quality of this carving with a strong provenance rarely seen today in today's market. Richard Hunter Figurehead Historian
A collection of silver coloured items, comprising: a straight-sided oval box, indistinct marks, perhaps Dutch, the cover now inset with a photographic portrait, engraved overall, 6.7cm long; a Danish engraved tea strainer; a George IV fiddle pattern sugar tongs by Jonathan Hayne, London 1828; a white alloy model of a dog and a teddy bear child's rattle (5)
Frederick Boyd-Waters, RMS (Canadian, 1879-1967), a portrait of a girl, signed middle right, 7.8cm x 6cm, oval; Frederick Boyd Waters, a copy portrait of a mid 17th century gentleman in armour, signed FBW , 5cm x 4cm, oval and mounted on a box cover; English school, circa 1800, a portrait of a boy, indistinctly inscribed verso and dated 1801, 5.8cm x 4cm; and three others (one unframed) (6)
Diana Hill (fl. 1775-1844) Portrait of a lady, in a plain white dress Watercolour on ivory Dated 1787 lower right Later label verso Possibly Rachael Dashwood w(ife) o(f) Sir Mark Wood 1787 by Diana Hill 7.2cm x 5.5cm, oval In a gilt metal oval frame, the reverse with a hair curl on a green guilloche enamel ground, within a plaited brown silk moire border
English provincial school, circa 1810, a portrait of a young lady in a blue dress, 6.7cm x 5.7cm, oval, the frame reverse with a lock of hair, seed pearls, monogrammed MA and gilt wire; English school, circa 1900, a portrait of a young lady with tousled hair, 7.2cm x 6cm, oval, each in a plain gilt metal oval frame (2)
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