Francois Theodore Rochard (French, 1798-1858) Portrait of John Edmund Severne, the 10th Light Dragoons (1826-1899) signed lower left in gold vertically “F Rochard 1850” watercolour, with shaped corners 39 x 28cm (15 x 11in). John Edmund Severne was an English Conservative politician who sat in the House of Commons from 1865 to 1885. He joined the 10th Hussars in 1849 and became a lieutenant in 1852. He was a Justice of the Peace for Montgomeryshire and High Sheriff of Montgomeryshire in 1854. He was also a JP and Deputy Lieutenant of Shropshire and Northamptonshire and was High Sheriff of Northamptonshire in 1861. In 1865 Severne was elected Member of Parliament for Ludlow and held the seat until 1868; at a by-election in 1875 Severne was elected MP for South Shropshire, a seat he held untl 1885.
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English School (circa 1850) Double portrait of Christopher Giles-Puller and his wife, Emily, of Youngsbury House, Hertfordshire, 1850 watercolour, framed within a leather-bound book 38 x 31cm (15 x 12in). Youngsbury House is a Grade II listed house near Wadesmill, Hertfordshire, England. It was built in about 1745 by David Poole, with 97 acres of grounds, and gardens landscaped by Capability Brown. Christopher Giles-Puller married Emily Blake in 1831 - the present portraits were painted in 1850. He was educated at Eton and Christ Church, Oxford, and was called to the Bar in 1832. He became Member of Parliament for Hertfordshire in 1857.
Alfred Guillaume, Count d’Orsay (French, 1801-1852) Portrait of Ralph Bernal (1808-1882) titled in ink and inscribed in pencil “D’Orsay fecit 16 August 1843” and inscribed in ink by the sitter “Ralph Bernal Junior” pencil 22 x 16cm (9 x 6in). Ralph Bernal, Junior, was the son of the Whig MP and art collector, Ralph Bernal (1783-1854). A lithograph of the same sitter from 1846 by d’Orsay is in the National Portrait Gallery, London. Ralph Bernal Osborne of Newton Anner, County Tipperary, MP (26 March 1808 - 4 January 1882), born and baptised with the name of Ralph Bernal, Jr., was a British Liberal politician. Upon his marriage in 1844, he added Osborne to his name. On 20 August 1844 he married Catherine Isabella Osborne (30 June 1819 - 20 June 1880), from an Anglo-Irish landed family - the daughter of Sir Thomas Osborne, 9th Baronet and Catherine Rebecca Smith. On the same day he took her name and his name was legally changed by Royal Licence, becoming Ralph Bernal Osborne. His two daughters shared his estate. His older daughter, Edith Bernal Osborne, married Sir Henry Arthur Blake at Slough, Ireland, on 7 February 1874. His younger daughter, Grace Bernal Osborne (d. London, 18 November 1926), was married at Newtown Anner, County Tipperary, on 3 January 1874 to William Amelius Aubrey de Vere Beauclerk, 10th Duke of St Albans. His grandson was Osborne Beauclerk, 12th Duke of St Albans.
Circle of Jacob Adriaensz Backer (Dutch, 1608-1651) Portrait of a young man holding a flute, and wearing a wreath of laurel leaves indistinctly signed to the left oil on canvas, in a ripple moulded frame 70 x 58cm (27 x 23in). Provenance: Private collection, Suffolk. Backer’s best-known painting is the “Portrait of a Boy in Grey” (1634, Mauritshuis, The Hague)
Circle of Jean Francois de Troy the Younger (French, 1679-1752) Portrait of a lady, seated, three quarter length, resting her left arm upon a blue cushion lying on a giltwood console table oil on canvas, in a carved and giltwood 18th century English frame 54 x 44cm (21 x 17in). Provenance: Presumed to be the Earls of Albemarle, Quidenham Hall, Norfolk, and by descent; The Lady Cynthia Postan. The attribution was suggested in 1980 by the late Antoine Schnapper.
Attributed to Pieter Nason (Dutch, 1612-1688) Portrait of a gentleman, aged 23, standing half length, in cuirassier’s armour, his right hand upon his feathered helmet before a gold and red curtain, a battle in the far right distance inscribed lower right “AE 23” oil on canvas 108 x 94cm (42 x 37in). Provenance: Sold at auction in Bukowski, Stockholm in 1950 as by John Riley with the sitter unidentified; Acquired by the vendor’s late husband from the Woodbridge Gallery in Suffolk some thirty years ago. The sitter, although as yet unidentified, is clearly, from the quality of his armour and the plumed helmet, of high birth and almost certainly continental, although Pieter Nason was known to have painted Englishmen when in the Hague. Although this is clearly a late 17th century portrait, in the opinion of one specialist the armour may well be in fact circa 1580, although another armour expert has described it as ‘17th Century cuirassier’s armour of very fine quality’.
Follower of Sir William Beechey (British, 1753-1839) Portrait of Edward Nightingale, half length, in officer’s uniform and wearing an East India Company belt buckle oil on canvas 74 x 61cm (29 x 24in). The Nightingale Baronetcy, of Newport Pond in the County of Essex, is a title in the Baronetage of England. It was created on 1 September 1628 for Thomas Nightingale, High Sheriff of Essex in 1627. The fourth Baronet was a Director of the Honourable East India Company. On his death in 1722 the family estates devolved on his cousin Robert Gascoyne. The title should have passed to Edward Nightingale, son of Geoffrey Nightingale, younger son of the first Baronet. However, it was not until 1797 that a later descendant, Edward Nightingale, managed to establish the succession and became the tenth Baronet.
Follower of George Henry Harlow (British, 1787-1819) Portrait of a soldier, said to be the 1st Marquess of Normanby (1797-1863), half length, in red oil on canvas 86 x 69cm (34 x 27in). Constantine Henry Phipps, 1st Marquess of Normanby KG GCB GCH, PC, of Mulgrave Castle, was known as Viscount Normanby between 1812 and 1831 and as The Earl of Mulgrave between 1831 and 1838. He was the son of Henry Phipps, 1st Earl of Mulgrave and Martha Sophia, daughter of Christopher Thompson Maling. He was a British Whig politician and author, educated at Harrow and Trinity College, Cambridge, where he was the second President of the Cambridge Union Society.
A fine hardstone cameo of a Roman emperor, the deeply carved and carefully detailed bust portrait in cream and dark brown sardonyx, with a laurel wreath tied with a ribbon around the short wavy-haired head, the toga with shoulder clasp; simply set in a recessed mount with pendant hook behind; two old labels gummed to verso, one a printed description suggesting that it is the work of Girometti; length 7.3cm Giuseppe Girometti (1779-1851) was a famous gem engraver, cameo carver and medallist with international royal patrons, who trained his son Pietro Girometti (1811-1859) in the same arts; they worked together on a number of important commissions, and are stylistically hard to tell apart.
William Alford (British, 19th Century) Portrait of the artist’s father, William Powell Frith, RA, aged 73 oil on canvas 24 x 20cm (9 x 8in). William Powell Frith (1819-1909) was a British painter best known for his scenes of Victorian life, one of his most popular being “Derby Day”, painted between 1856-8, which drew huge crowds when it was first exhibited at the Royal Academy in 1858. Frith was a friend of Charles Dickens, whose portrait he painted in 1886. William Alford was one of Frith’s illegitimate children; he had 19 children in total, 12 of which he had with his wife, and seven with his mistress.
Lucien Boullemier (1877-1949), an oval portrait plaque of Josiah Wedgwood (1730-95) after George Stubbs (1724-1806), his face turned slightly to the viewer's left, his powdered hair contrasting to the mushroom ground, his cravat white between the lapels of his wine red coat, signed, 23.5 x 18cm (9.25 x 7 in) within black slip and gilt frame The porcelain does not bear a factory mark which suggests that this was painted in the very early 20th century from his own studio The porcelain is in good condition but the frame has a crack at 6 o'clock
Harold Hitchens (fl.1970s) - A pair of woodland studies Pen and black ink and graphite Both signed and dated 1972 Largest 18.5 x 28 cm. (7 1/4 x 11 in) Together with a group of ten other framed prints, including botanical subjects, portrait miniatures, a Baxter print, and others, of various sizes
A German papier mache rectangular snuff box by Meyer & Wried, post 1832 A German papier mache rectangular snuff box by Meyer & Wried, post 1832, the cover painted with a portrait of a semi nude maiden titled Phyllis , marked Stobwasser's Nachfolger Meyer & Wried in Braunschweig and no. 3166 ,8.7cm (3 3/8in) long
A mid 19th century pressed horn circular snuff box A mid 19th century pressed horn circular snuff box, the cover with a portrait bust and William Wallace and The Restorer of Scotland's Freedom , the base with a flower head, 7.7cm (3in) diameter; and a horn and steel vetinary fleam, 8.5cm (4 1/4in) long (2)
A German papier mache rectangular snuff box by Stobwasser's Fabrik, circa 1830 A German papier mache rectangular snuff box by Stobwasser's Fabrik, circa 1830, the cover painted with a portrait of a young lady titled Rebecca , marked Stobwasser's Fabrik Braunschweig and no. 2174 , 9.2cm (3 5/8in) long
A George III and later oak eight day longcase clock, the 12 inch arched brass dial with centred subsidiary seconds dial and date dial within an inner ring of Roman numerals and outer ring of Arabic numerals, signed to a silver disk to the arch 'Mich Wild, Doncaster', the later carved oak case with swan-neck pediment over fluted front corner hood pilasters over a leaf and portrait carved long trunk door and leaf carved box base, raised on short bracket plinth, 217.5cm high
A Wedgwood & Bentley Jasperware oval portrait plaque c.1773, of Jean-Jacques Rousseau (1712-78), facing to the right and wearing a fur-edged hat and coat, impressed mark, impressed S&I, mounted in a later metal frame, broken in half and restuck, the plaque 5.2cm. Cf. The British Museum, Accession No. OA.5054, for an identical example bequeathed by Dr Frederick Parkes Weber in 1906.
A Venetian maiolica albarello 2nd half 16th century, painted to each side with a profile portrait of a man wearing a blue hat, perhaps in the workshop of Domenego da Venezia, reserved on a ground of scrolling leaves and flowerheads, some glaze wear to the rim, 16.5cm. Cf. Italian Maiolica in the Fitzwilliam Museum, pp.418-9 for other examples of work by Domenego da Venezia.
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