* Rembrandt (van Rijn, 1606-1669). Self Portrait in a Velvet Cap with Plume, 1638 [but later], etching on pale cream laid paper, with indistinct watermark, probably late 18th century, trimmed to margins, upper outer corner repaired (without loss), sheet size 207 x 157 mm (8 3/16 x 6 3/16 ins), hinge mounted to upper and lower left corners, card window-mount, with an (erroneous) printed auction catalogue description pasted at foot for Rembrandt's etched portrait of Jan Asselyn, third state, dated 1967QTY: (1)NOTE:A copy (probably by Basan) of Rembrandt's self-portrait of 1638 (Bartsch 20, Hind 156, Hinterding 170). The original measures 134 x 103 mm.
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* Miers (John, 1756-1821). Portrait of John Foxcroft, circa 1785, oval head and shoulders silhouette portrait, painted in black on plaster, profile to right, somewhat scratched, verso with original artist's label “Perfect Likenesses in miniature profile, taken by J.Miers, LEEDS, and reduced on a plan entirely new ...", mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, frame verso with clear plastic cover taped at edges, and 20th century ink manuscript label detailing the sitter, overall size 15 x 12.5 cm, together with English School, Portrait of Eliza Talbot (c.1768-1855), circa 1790, oval head and shoulders portrait miniature, watercolour on paper, few light foxing spots, very slightly cockled, verso with later pencil annotation '...Eliza Talbot afterwards Mrs Lister Kaye', mount aperture 85 x 68 m (3 3/8 x 2 5/8 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, verso with mordern card covering, overall size 15 x 12.25 cm, plus another oval head and shoulders silhouette portrait, early 19th century, painted in black, grey and blue on paper, of a fashionable lady in a bonnet, profile to right, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), verso with partly illegible pencil annotation 'Polly Bertroot'?, period framed and glazed (as above), overall size 15 x 12 cmQTY: (3)NOTE:Provenance: The Robertson-Glasgow family of Hinton Charterhouse, by descent. These items have all remained within the same family from the time they were produced, some 242 years.John Foxcroft, born in 1757, was the son of Edward Foxcroft, and brother to Eliza and Frances.Eliza (born Elizabeth) Talbot was the daughter of Colonel Richard Talbot, and his wife Margaret (nee O'Reilly), 1st Baroness Talbot of Malahide, Dublin. Eliza first married George Waters Mellifont in 1796, and then in 1844 she married Ellis Cunliffe-Lister-Kaye (his third wife).
* Attributed to Cornelius Beris Durham (1809-1884). Major Robert Martin (circa 1782-1855), late of the Ceylon Rifles, 1827, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with paper, frame and backing card versos with extensive near contemporary ink manuscript inscriptions detailing the military career of the sitter, and his address: 4 Prospect Terrace, Douglas, Isle of Man, together with A Junior Officer in the British Army, probably the son of Major Robert Martin, 1840, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card (now detached), the card with contemporary ink manuscript 'Cornelius Durham, 100 Strand, London, May 1840', plus Portrait of a Young Girl, probably the daughter of Major Robert Martin, circa 1840, fine oval head and shoulders portrait miniature, watercolour on ivory backed with thin card, portraying a young girl in a blue-green dress with large puffed sleeves, frame apertures 71 x 57 mm (2 3/4 x 2 1/4 ins), uniformly framed in period wood frames with inset oval gilt metal surround, and hanging loop, glazed, some losses to frame edges, each 15 x 12.5 cmQTY: (3)NOTE:Major Robert Martin: The inscription on the frame verso reads: This portrait was taken in 1827 when the Major was 45 years of age, he died 20th June 1855 age 73 at 6.30am, 4 Prospect Terrace, Douglas, Isle of Man.The inscriptions on the backing card verso read: Major Robert Martin late of the "Ceylon Rifles", 49 years in H.M. Service, Ensign "The Loyal Nottingham Fencibles" 2nd June 1801, Ensign 62nd Regiment 15th August 1804, Lieutenant 62nd Regiment 28th March 1805, Captain 62nd Regiment 21st November 1816 ... Major "Ceylon Rifles" [on reduction] 1847, Retired from the Service 1849, Campaign in Egypt - 8 years in the Field in Sicily - Taking of Genoa 1814 - Two Campaigns in America and the taking of Castine & its dependencies on the river Penobscot. India, China and stationed at every British Colony except Australia.Ivory Act 2018 self-declaration submission reference: PX4GRRPX.
* After Nicolas Lancret (1690-1743). La Camargo Dancing, by Paul Artot (?), oil on bone, signed lower right, 14 x 9.75 cmQTY: (1)NOTE:Portrait of the famous French ballet dancer Marie Anne de Cupis de Camargo (1710-1750) after the original by Nicolas Lancret, painted in 1730. The signature appears to be signed by the artist Paul Artot (1875-1958), and the backing board pencil inscribed Tanzerin Camargo
* Dighton (Denis, 1792-1827). Portrait Sketch of Sir Evan Macgregor (1785-1841), Governor General of the Windward Islands, watercolour and pencil on paper, inscribed with the subject in pencil to lower right margin, horizontal crease to the lower half of the sheet, period elaborately decorated black and gilt moulded frame, glazed, with detailed annotations to verso in ink by Arthur Jaffé, sheet size 22 x 15.5 cm (8 5/8 x 6 ins), together with another similar portrait sketch, presumably of the same sitter, in pencil and partial watercolour on paper, by the same artist, period black and gilt frame, glazed, sheet size 173 x 122 mm (6 3/4 x 4 3/4 ins)QTY: (2)
* Rodbard (H., late 18th-early 19th century). Anne Sarah Rodbard, 1803, watercolour with coloured chalks on paper, heightened with touches of white bodycolour, a half-length portrait in profile, of a young woman in a white dress, signed and dated lower left, some faint foxing spots (mainly to left edge), oval mount aperture 203 x 165 mm (8 x 6 1/2 ins), gilt framed and glazed (36 x 31 cm), verso with attached 20th century ink manuscript label detailing the sitterQTY: (1)NOTE:Provenance: Robin Robertson-Glasgow of Hinton Charterhouse, by descent (great-great-great grandson of Anne Sarah Rodbard, d.1857).This work has remained within the family of Anne Sarah Rodbard since it was made by H. Rodbard, some 221 years. In 1804, the year after this portrait was taken, Anne married James Talbot (1767-1850). After James gained his Batchelor's degree from Trinity College, Dublin in 1788, he joined the diplomatic service and for several years was involved in highly sensitive and covert activities on the continent. He and Anne had 13 children together, living initially in France and Italy, before moving back to Anne's family home at Evercreech House, Somerset. When his brother died in 1849, James became the 3rd Baron Talbot of Malahide (near Dublin, Ireland), and Anne was then styled as Baroness Talbot of Malahide.
* Loggan (David, 1635-1692). Mother Louse, 1672, engraving on laid paper with watermark, showing a portrait of an old woman with a pointed chin facing to the right, wearing a ruff and tall conical hat, a tankard in one hand and a jug in the other, a building behind her labelled Louse Hall, with decorative coat of arms upper right, and two columns of six lines of printed verse below, published by John Overton at the White Horse without Newgate, plate size 25 x 18 cm (9 3/4 x 7 1/8 ins), sheet size 26 x 19.1 cm (10 1/4 x 7 1/2 ins), together with Beckett (Issac, 1653-1719). Betwixt a subtile Priest & cursed Wife..., after Egbert van Heemskerck (1645-1704), circa 1681-1688, mezzotint, showing a monk taking confession from a man holding his hat in his hands, an old woman looking on from the doorway, two lines of printed verse in two columns at foot, 26.7 x 18.8 cm (10 1/2 x 7 3/8 ins), trimmed closely to plate margins, sheet size 26.9 x 19.1 cm (10 5/8 x 7 1/2 ins)QTY: (2)NOTE:A portrait of the English alewife Mother Louse of Louse Hall, holding an ale tankard and a pitcher. It is accompanied by a humorous poem and coat of arms featuring three lice and a tankard, with the motto “Three Lice Passant.” Louse Hall (as it was known from about 1547) was an asylum for the poor, though originally it was Gosford Hospital in Oxfordshire, established in the 12th century. Louse Hall subsequently became an alehouse kept by Mother Louse as its alewife. According to legend, Mother Louse was the last English woman to wear a ruff to which the verse printed below her portrait refers.
* Bradshaw, (Frank, 1884–1969). Portrait Study, oil on board, signed, head and shoulders profile portrait of a woman wearing a green short-sleeved blouse, title and artist's address in ink to board verso, board size 38.5 x 28.5 (15 1/4 x 11 1/4 ins), framed and glazed (47.5 x 37.5 cm)QTY: (1)NOTE:Frank Bradshaw studied at the Royal College of Art and taught art at schools in Croydon, Huddersfield, and at Wheelwright Grammar School, Dewsbury, before becoming a part-time tutor at Dewsbury Technical School. His work was regularly exhibited locally at summer exhibitions at Cartwright Hall and further afield at exhibitions in Liverpool, Leeds and Harrogate. A Lake District watercolour, ‘Braithwaite’ was also shown at a Royal Academy summer exhibition in 1940. Four of his paintings are in the permanent collection of Bradford Museums and Galleries.
* English School. Portrait of a Gentleman, circa 1750-1775, oil on wood panel, showing a young gentleman wearing a dark coat with pale yellow lapels and white cravat, 13.7 x 10.3 cm (5 3/8 x 4 ins), fine 18th century carved and gilded wood frame, with dog-tooth and beaded decoration (21.5 x 18.5 cm), old printed label in French for an auction, 23rd February 1906, lot 85, from the collection of F. Bohler, to versoQTY: (1)NOTE:Provenance: Collection F. Bohler, Paris: Hôtel Drouot, Paris, Tableaux anciens, dessins et gouaches, Commissaire-priseur, Maître Paul Chevallier, Vendredi 23 Février 1906, lot 85.Printed label to verso reads: Collection F. Bohler, Vente du Vendredi 23 Février 1906, Ecole Anglaise (XVIII siècle). 85 - Portrait d'Homme. En buste, de profil à gauche. Vêtement noir àpparements jaunes, cravate blanche, perruque. Teint Coloré. Les yeux et les sourcils noirs. Cadre en bois sculpté et doré, de style Louis XVI. Bois. Haut., 13 cent; larg., 10 cent.
* Burleigh (Averil, 1883-1949). Portrait of the artist's husband, Charles Burleigh, oil on canvas, half-length portrait, half-profile to left, of a white-haired gentleman seated, wearing a grey jacket over a blue shirt and yellow waistcoat, a blue silk cravat at his neck, and filling a pipe in his left hand with tobacco from a pouch, signed lower right, 76 x 63.5 cm (30 x 25 ins), framed (91.3 x 78.3 cm)QTY: (1)NOTE:Averil and Charles Burleigh, and their daughter Veronica, were an interesting trio of artists who spent most of their lives working in and around Sussex. Averil and Charles met whilst studying at the Brighton School of Art, and they were married in 1905. Averil was encouraged by her husband to continue painting, and by 1915 both were exhibiting regularly at the Royal Academy and the Royal Institute. Veronica, who was born in 1909, won a scholarship to the Slade School of Fine Art, returning home to her parents in Brighton afterwards, where she became an accomplished portrait painter. The three artists worked closely together, but despite clear cross-influences among them, each developed a distinctive style. Averil, who became a leading figure in the revival of the use of egg tempera recalling artists of the Italian Renaissance, was arguably the most talented of the trio.
19th CENTURY PORTRAIT SILLOUETTEof a gentleman in profile in black frame with acorn metal detail, 13 x 16cm; Jennie Harbour hand painted facsmille 'Araignee du soir espoir'; a pair of vintage French prints in frames; a pair of Carrington house school photographs in frames, and another silhouette (7)
SELECTION OF COLLECTABLES including Buren brass lantern clock, Victorian 'Wood & Sons Glasgow' postal scales, framed miniature portrait in fitted velvet and leather case, embossed on front 'FROM J.R.C TO D.C 29/3/88', Vintage Chad Valley Mah-jong set, Mauchline ware novelty moneybox in the form of barrel - 'A Present from Auchtermuchty', 8cm long (5)
Classical/Instrumental/Contemporary Classical - A collection of sealed and new vinyl records, including Glass Essentials - An 80th Anniversary Tribute, three discs, Leonard Bernstein - Bolero, Philip Glass Kronos Quartet - Dracula, three discs, Ludovico Einaudi - In A Time Lapse, Harry Partch - A Portrait, Michel Butor Henri Pousseur La Rose Des Voix, Willem Pijper - Symphonic Drama Halewijn. (12) PLEASE VIEW CONDITION REPORT
A 19th-century sardonyx cameo set rose gold ring. Well carved with the profile portrait of a bearded gentleman, the shank with faint engraved inscription dated 1869, size of head 20 x 16mm, size K, 7.9g.We are unsure whether the dimple on the bridge of his nose is a chip or a part of the deliberate carving. Some very minute chips to the edges of his cloak. One tiny edge chip to the black surround. Overall good antique condition.
A Sevres style cabaret set, 19th century, including teapot, jug, covered sucriere, tray, cup and saucer, each painted with a portrait of a member of the French Royal Family, including Louis XVI, Marie Antoinette and the Dauphin, within tooled gilt palm frond cartouches on a blue ground, interlaced overglaze L marks, 37cm diameter (5)
An archive of WWI primary source ephemera and other memorabilia relating to 8401/718363 Pte H.D. Graham, 17 London Regt, comprising portrait photograph, extensive written correspondence to and from his wife Mabel, including being notified of the death of his father, his time on the front living in 'German concrete dugouts and tunnels behind the front lines', being careful what to say due to censorship, his grateful receipt of '400 cigs', observations such as '..more I see of the war, the more I want to be here with you..', mentions of airmen conquering the Germans, air raids on London, 'taubes' (an early aerial bomber), the capture and interrogation of two German prisoners of war, the various duties he was expected to perform including venturing into the battlefield to 'bury the dead', descriptions of a parcel of gifts form his wife which included fruit which had 'sweated and gone mildewy' with a plea for 'monkey nuts and cake', observations that the French '..drink a good deal of coffee..seldom tea', his battalion going over the top twice, (Graham did not participate), being wounded in October 1918 and being discharged to Bolougne in November 1918, also including his War and Victory medals in a box of issue with ribbons, London Regiment cap badges, his pocket watch, compass. 'Bert' died on 3rd June 1950 with his wife Mabel his sole beneficiary. His son, Herbert served in the RAF during WWII and his archive is also included in this auction as Lot 167
A 19th Century Berlin woolwork embroidery, portrait of Queen Victoria after Sir Charles Edwin Landseer, seated on a throne with an ermine-trimmed robe, the crown to her right, a romantic landscape beyond, 60 by 45cm, in a heavy gilt frame with Royal heraldry and V.R cypher. Note: with an appraisal from the Victoria & Albert Museum dated 1970
A pair of Aesthetic Movement cased ruby glass and enamelled portrait vases, possibly Jules Barbe and William Stephen Coleman for Thomas Webb and Sons, Stourbridge, circa 1885, footed and shouldered bulbous form, gilt foliate scroll ground, central plaques with busts of women before blossoming branches, within green enamel wreath and half chrysanthemum cartouches, the borders similarly decorated, annealed rims and polished pontil bases, 27cm high (2)
After Carruci called Il Pontormo, Portrait of Cosimo de' Medici (1389-1464), in profile, seated three-quarter-length inscribed ‘Cosm Me / Dices.P.P. / P’ oil on copper, in an elaborate 17th century baroque carved giltwood frame with cherub head and acanthus leaf decoration 11 x 8.5cm Provenance: The Chelsea Collection of Severin Wunderman, Bonhams, Knightsbridge, 30th September 2009, Lot 244 The present painting is after Pontormo’s posthumous portrait now in the Galleria degli Ufizzi, Florence. The painting in overall good, clean, stable condition with no losses. Evidence of minor scattered retouchings to the outer edges of the background under UV light.Frame with losses and restorations and evidence of historic worm. Top left hand corner slightly loose. Wear and minor loss to areas of gilt and gesso commensurate with age. Overall in stable order.Total framed dimensions: 46 x 38 x 4cm

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