An early 19th century coloured engraving - An exact representation of the grand funeral car which carried the remains of Lord Nelson to St Paul's on Thursday January 9th 1806, published January 13th 1806 by S W Fores of Piccadilly, 26 x 24 cm approx., unframed, an early 19th century watercolour study of a street scene with church, inscribed verso Martock Church, Somerset, painted by Caroline Way (?), 21 x 30 cm, and a black and white print after Pouchre of a coaching scene, both unframed together with a miniature portrait of a man with a blue cravat, 5 cm maximum oval and a 19th century engraved miniature portrait of a young woman, 8 cm oval maximum, both in black frames
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A collection of 19th and early 20th century pictures including a pair of gouache studies of mountainous lake scenes, signed bottom right J Hey, 14 x 9 cm, a study of a robin on a branch, 28 x 16 cm, a pair of oriental relief moulded and painted pictures of landscapes including Mount Fuji in lacquered frames, a photograph of oval form - Portrait of a Gentleman in rosewood frame, 23 x 21 cm overall, cock fighting engravings, etc
German School mid 19th Century- A tortoiseshell and horn snuff box, the lid inset with a miniature portrait of a lady, bust-length, with long dark hair plaited and tied high, wearing drop earrings and a black dress with lace collar:- indistinctly signed bottom right, on ivory, oval miniature 5.3cm, the box 9.5cm.
* Ruskin Spear [1911-1990]- Portrait of a lady, half-length, seated in an interior:- with short bobbed hair, wearing a colourful Summer dress signed and inscribed 'Ruskin Spear, 20 Rivercourt' on a label attached to the reverse oil on board 95.5 x 67cm. * Provenance. The artist's studio sale. Christie's South Kensington, 27 November 1997, lot 117.
Sir Richard Shelley (b. 1514), Grand Prior of the Knights of Malta in England, later Turcopolier of infantry, cast bronze portrait medal, 1577, by Bernard Rantwic, half-length bust right wearing armour bearing the cross of the Knights of Malta on breastplate, ruff collar and scarf tied at his left, RICARDVS SCELLEIVS PRIOR ANGLIΖ, signed below truncation, rev., a griffin, ducally gorged, in landscape, PATRIARVM EXCVBITOR OPVM, 68.5mm (MI 127/74; cf Eim. 49; Schembri - ; Pollard 2007, II, 780; Kress 640 [an electrotype]; Salton 151). An early aftercast (from a pierced example), very fine. Provenance: Baldwin Auction, 25 March, 1998 (lot 10); ex Spink, 1977
JANCIS HARVEY - A collection of 3 x original title/pressing LP's. Titles are A Portrait Of… (Westwood Recordings WRS 107 - Ex/Ex signed by Jancis on the reverse), Distance Of Doors (King KLPS 47 - NOTE: WARPED RECORD), and Time Was Now (Westwood Recordings WRS054 - Ex/VG with crease - signed).
Follower of Sir Thomas Gainsborough (1727-1788), a large 18th century oil on canvas portrait of a young man, with lace jabot, pantaloons and cape, seated with his hound against a landscape backdrop of woodland and hills, his family seat in the background to one side 127cm x 101.5cm (50” x 40”), in later gilt frame Some losses, trimmed down and restretched
A late 19th century gilt metal mounted Sevres style cobalt blue ground oval box and cover, the reserve on the lid decorated with farmyard scene signed Lauqué and the reserves to the body with lakeside landscapes, together with a gilt metal box with Berlin style printed portrait plaque, and two other metal boxes with inlaid porcelain disks (4) Spurious Double Louis mark to the base, heavily restored to the lid
After Lemuel Francis Abbott (c.1760-1802), 19th century oil on panel quarter length portrait of Admiral Horatio Lord Nelson. Taken from the original painted in 1797 depicting him in his Rear-Admiral’s uniform and wearing the Star and Ribbon of the order of Bath, and Naval Gold Medal 33cm x 26.5cm, in gilt frame with title bar With The Collector's Gallery receipt 1989
Circle of Richard Rothwell, Irish 1800-1868- Portrait of Mrs Jane Boswell Tucker 1780-1869, half-length, seated in a black dress and white lace bonnet, with landscape beyond; oil on canvas, 76.6x63.4cm, (unframed) Provenance: The family of the sitter; thence by descent CONDITION REPORT: the canvas has been relined, circa early 20th century verso: the stretcher appears to be the original with old tape residue wedges are lacking and or later replacements the canvas is stained and with defects which correspond with old repaired tears to the canvas recto top left and lower centre are raised areas corresponding to dents on the recto salvage a little frayed, roughly trimmed in places and loose tacking edge with copper tacks recto: multiple old repaired tears prominent on face of the sitter and to left of sitter's head the surface of the canvas is raised along the edges of these old repaired tears under inspection with uv lamp, there is significant over painting and retouching across the sitter's face and to the left of the sitter's head corresponding to the tears to the canvas the paint surface appears to have been cleaned probably at the time of lining, particularly in places where there is overpainting there is also much heightening and overpainting to the dress, particularly in the shadows some overpainting lower right edge some flaking to the paint surface top right corner canvas worn through lower left corner, front edge, and frayed dents are visible, lower centre and top right small hole lower left and lower right corner, both with associated flaking evidence of use of bitumen in the background centre right and in the dress some pigment separation to the lace work of the dress some superficial splatter marks centre lower section paint surface a little dry with surface scuffs
Fred Yates, British 1922-2008- Portrait of a courtesan, c.1945-50; watercolour, signed with initials FJY, 28x9.5cm, (may be subject to Droit de Suite) Provenance: gifted to the grandmother of the current owner by the artist circa 1945-50; thence by descent. Note: The grandmother of the current owner met Fred Yates whilst working at J J Yates & Co Insurance in Manchester shortly following World War II CONDITION REPORT: rough cut sheet laid onto blue sugar paper which has been tried to be removed around the edges, some glue and sugar paper residue to edges of the sheet painting with grid lines around the sides and unclean edges painting itself appears in overall good original condition
* HARRY HOLLAND (b 1941), STROKE monotype on paper, signed 13cm x 15cm Mounted, framed and under glass Note: Martin Tinney Gallery of Cardiff exhibition label verso. Holland was born in Glasgow in 1941. He trained at St. Martin's School of Art from 1965-69. Since the seventies this extraordinary classical artist has had over thirty solo exhibitions and figured in countless group exhibitions worldwide. Not surprisingly, his work has developed a substantial international following amongst collectors and has found its way into numerous important public collections world-wide including the Tate Gallery, British Museum, Metropolitan Museum of Art New York, National Museum of Wales, National Portrait Gallery Canada, Welsh Arts Council, European Parliament Collection, Belgian National Collection and the Fitzwilliam Museum Cambridge.

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