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283287 Los(e)/Seite
Los 1075
A late 19th Century French ormolu and porcelain mantel clock with eight day movement striking on a bell, the circular enamel dial with Roman numerals, the drum case surmounted with rose festoon, quiver and torch, flanked by two putti, one seated holding a head and shoulders portrait of a lady, on a rococo scroll moulded base framing a porcelain panel painted with flowers, torch and quiver, height approx 25.5cm, together with pendulum and key (minor elements lacking).
Los 1499
A terracotta model of a terrier dog, probably Austrian, late 19th Century, modelled seated on its hind legs, wearing a bonnet and smoking a cigar, inset with glass eyes, impressed factory marks to base, height approx 29cm (minor faults), together with a similar tobacco jar in the form of a portrait bust of a sailor smoking a pipe.
Los 901
An early French brass 5in. Combination Lens, set up as portrait lens, with attachable stop engraved `Paysage`, and lens cap, circa 1850, body P-F, elements G, incomplete, locking screw possibly later rear element of landscape lens appears to be missing, unnamed, possibly parts mismatchedANNOUNCE: This lens is by Dubroni
Los 25
Evan Williams and others: seventeen HMV, G & T and Victor records,12-inch; and fourteen others, Velvet Face, Vocalion, Parlophone and V Disc, by Norman Wiliams, Makushina, Gerhardt, Eisdell, Allin, Burke, Ponselle, Ben Davies, Winter, Ruth Vincent (portrait label Col 6009) and others (166, in 2 racks and 2 carriers)
Los 763
Richard Beard (1801-1885), pair of sixth plate portrait daguerreotypes of young man and young woman, each hand-tinted with gilt highlights, in folding morocco cases stamped in gilt `Beard`s Photographic Institution, 85 King William Street, 34 Parliament Street and the Royal Polytechnic Institution London and 34 Church Street, Liverpool`, F-G, some spotting and foxing, slight oxidisation to edges of one (2)
Los 766
Antoine Francois Jean Claudet (1798-1867), ninth plate self portrait daguerreotype, seated in profile, writing with quill pen, painted backdrop behind, in folding morocco case, with gilt stamp `Claudets Daguerreotype Process, Adelaide Gallery Strand`, 1841 - 1844, G, case hinge broken *Antoine François Jean Claudet(1798-1867) Lot 765 and Lot 766The following two lots are offered forsale by direct descent from AntoineClaudet, the property of his greatgreat-great-granddaughter. Theself-portrait of Claudet is possibly theearliest known example of an imageof him, from the period when he wasthe pre-eminent - and one of theearliest - daguerreotypists of his dayin Great Britain.
Los 3063
HARDY, Thomas. The Dynasts. London: Macmillan and Co., Limited, 1927. Limited large paper edition of 525 copies, signed by the author, 3 vols., 4to (271 x 190mm.) Etched portrait frontispiece by Francis Dodd signed in pencil by the artist, text printed in red and black. (Occasional light spotting.) Original vellum-backed paper-covered boards (extremities bumped), dust-jackets (torn with some loss, backstrips darkened, stains from previous adhesive tape repair to one dust-jacket).
Los 3068
BOYCE, Anne Ogden. Records of a Quaker Family: the Richardsons of Cleveland. London: 1889. 8vo (255 x 185mm.) 4 photographic portrait plates, 10 folding pedigrees. (Some browning and occasional soiling, 1 pedigree torn without loss.) Original cloth (slightly soiled, extremities bumped, spine label lacking). Provenance: H.M. Wood (signature dated 13th April 1894).
Los 3149
BINDINGS. – Robert BROWNING. The Poetical Works. London: 1897. 2 vols., 8vo (188 x 132mm.) Portrait frontispieces. (Some spotting to first few leaves of each volume.) Contemporary green morocco gilt, bound for Denny, the spines in six compartments with raised bands, lettered in the second and fourth, the others with repeat decoration in gilt, g.e. (spines faded to brown). – And nine other leather-bound works (11).
Los 673
Sir Joshua Reynolds PRA (1723-1792), (SH) PORTRAIT OF LADY WRAY, HALF LENGTH, IN A WHITE-SPRIGGED DRESS AND PINK ERMINE-TRIMMED CAPE Oil on canvas, feigned oval 76 x 63 cm, in a fine mid-18th century carved giltwood frame Provenance: By descent from the sitter to Captain Dalton, Sleninford, near Ripon,Yorkshire; Mrs Dalton; Christie's 29 June 1878, lot 56 (250gns. to Agnew); W. Lee, Esq.; Samuel S. Joseph, Mrs S.S. Joseph, his widow, 1910 (considerable history on file); Christie's, 12 April, 1991, lot 15. Exhibited: London, Royal Academy, 1882, no.2; London, Royal Academy, 1894, no. 6. Literature: C R Taylor and T Taylor, 'The Life and Times of Reynolds', 1865, I, p.282, note 4; A Graves and W V Cronin, 'A History of the Works of Sir Joshua Reynolds', 1909, III, p.1070; Sir Walter Armstrong, 'Sir Joshua Reynolds', 1910, p.237, illus. p.25; E.K.Waterhouse, 'Reynolds', 1941, p.59; M.Cormack, 'The Ledgers of Sir Joshua Reynolds', Walpole Socity, XLII, 1970, p.139; David Mannings, 'Sir Joshua Reynolds: a Complete Catalogue of his Paintings', Yale University Press, 2000, cat. no. 1937, p.483, fig. 928. The sitter was born in 1733, the daughter of James Summers of Fillingham, Lincolnshire. She married Sir Cecil Wray Bt. (1734-1805) of Fillingham, who built for her the splendid 'Gothick' Castle at Fillingham to the designs of John Carr of Doncaster. Lady Wray died in 1825 aged 88. Sittings to the artist are recorded in April 1767, and the entry in the artist's ledger notes a payment of 35gns. CONDITION REPORT: She has a pallid complexion. Extensive repainting- most noticeable on face, especially lower part and neck, continues down chest and dress. Also, evident to background- viewing recommended.
Los 677
George Romney (1734-1802), (SH) PORTRAIT OF ISABELLA, COUNTESS OF GLENCAIRN, FULL LENGTH, STANDING WITH HER RIGHT ARM RESTING ON A PEDESTAL SUPPORTING A VASE, WEARING A LONG WHITE DRESS WITH A BLUE SASH AND RED STOLE, A LANDSCAPE BEYOND Oil on canvas 178 x 122cm Provenance: Cunningham Graham M.C.D. Borden; sale, Plaza Hotel, New York, 13 February 1913, lot 35 ($57,000 to Agnew); with Knoedler & Co., New York; Mrs E.H. Harriman, New York; sale, Parke-Bernet, 24 October 1946, lot 27 ($5,700); purchased for the main staircase at Saling Hall at Christie's, 12 April 1991, lot 25. Exhibited: Knoedler & Co, January 1912, no.31. Literature: H Ward and W Roberts, Romney: Catalogue Raisonné of his Works, 1904, II, p. 69. Lady Isabella Erskine (1734-1824) was the second daughter of Henry, 10th Earl of Buchan. In 1770, she married William Leslie Hamilton, Attorney-General of the Leeward Islands, who died in 1780. She returned to England penniless and Lord Nelson supported her. She married secondly, in 1785, the Hon. and Rev. John Cunningham, later 15th Earl of Glencairn. Sittings are recorded as Lady Isabella Hamilton in 1777, 1780, 1782 and 1783, as Lady Bell Cunningham in 1788, and as the Countess of Glencairn in 1791. A note in Romney's ledger records two full lengths and a half length of the sitter; the present portrait is presumably one of the former, possibly the unfinished version mentioned, which has been slightly cut down, as the other may be the full length at Parham House. A half length portrait is recorded as formerly belonging to Henry Phipps in New York.
Los 686
English School (17th century), PORTRAIT OF HENRY VI OF ENGLAND (1421-1471), HALF LENGTH Inscribed 'Henricus Vl', oil on panel 58 x 44cm Provenance: The Earl of Hereford, Hampton Court, Herefordshire, 1969 (according to label on reverse). CONDITION REPORT: Oak panel joined vetrically. Various retouching and in painting. Overpainting to eye sockets, to left side on shoulder, background and hands. Cracking and lifting to paint. Bad splits and bowing to boards. Provenance: private collection.
Los 688
After Gerlach Flicke, PORTRAIT OF THOMAS CRANMER, ARCHBISHOP OF CANTERBURY, BUST LENGTH, IN CLERICAL ROBES Inscribed 'ET PIUS & CLEMENS THOMA CRANMERE' t.l., oil on panel 40 x 29.5cm Provenance: Col. The Hon. L.P.Dawnay. Exhibited: Yorkshire, Fine Art and Industrial Exhibition, 1892. CONDITION REPORT: Probably 17th century. Panel joined horizontally. Various restorations appear under UV, particularly round edges and along panel join. Cleaned and re-varnished. Much overpainted. Please view images (available upon request). Needs viewing. Provenance: private collection.
Los 704
John Dirk Bowie ARSA (1860-1914), PORTRAIT OF MRS ALEXANDER BOWIE NÉE HENRIETTA CHICHELE-PLOWDEN, HALF LENGTH, SEATED IN A BLACK DRESS AND FUR STOLE AND MUFF Oil on canvas 112 x 82cm CONDITION REPORT: Relined. Possible tears. Repairs to corners visible on the face below Restored and overpainted not original frame. Provenance: private collection.
Los 419
A Worcester Mug, c.1761, transfer printed in black by L Sadler, Liverpool and so signed, the portrait of the king within elaborate scrollwork, one engraved 'George III King of Great Britain', slight wear, 11.5cm The portrait was apparently engraved by Billinge after Jeremiah Mayer for a competition for the Society for the Encouragement of Arts. It was once held that the mugs were sold in the white to Liverpool for the transfer to be applied. This is obviously not feasible. CONDITION REPORT: Printing is very faded. Surface scratches, minor wear to base rim.
Los 420
A Coalport porcelain Tankard, October 25th 1809, transfer printed in black with a portrait of George III and a banner inscribed 'Glorious Jubilee to England' between gilts lines, wear and restored, 10cm The king was, at this date, in the throes of porphyria and unable to reign effectively; his son, later George IV, was Regent. It is interesting to note that the moulded handle has been borrowed from a contemporary Chinese example. CONDITION REPORT: gilt wear to the top rim, printing is faded to the portrait, some evidence of overpainting to the gilt lettering below, restored through the body to the base rim
Los 421
A creamware Mug, c.1765-70, the bulbous body printed in black by J Sadler, Liverpool, and so inscribed, and with 'George III King of Great Britain', 10cm CONDITION REPORT: Crack to left of printed portrait. Crazing to body. Minor nibbles to base and larger chip (approx 1cm). Some rubbing to printed portrait.
Los 422
A small creamware Mug, c.1789, of cylindrical form, printed in brown with a portrait inscribed 'George.III King' and with 'Britons Rejoyce; Cheer Up and Sing; And Drink His Health Long Live the KING' within a wreath, the rim with green dots, minor cracks and wear, 6.5cm Probably made to commemorate George III's return to sanity in 1789, although he lapsed in and out for many years. CONDITION REPORT: Three cracks into top rim. Wear to printed area. Crazing throughout. Nibbles to top rim.
Los 424
A pearlware Mug, c.1809, printed in black, with two portraits of George III and Charlotte, inscribed 'A King Revered, a Queen Beloved' within a laurel wreath above 'Long May They Live' below a blue border, chips filled, crack, 12.5cm CONDITION REPORT: Three areas of filled chips tp top rim. One large crack, 5cm, into body. Wear to printed area. Base rim has two filled areas, large crack and chip (filled chips 4cm and 1cm). Staining below portrait medallion. Handle has fritting.
Los 426
A Barr Flight & Barr Mug, c.1810, well bat-printed with a portrait of Queen Caroline between gilt borders, flanked by a cornucopia and a dove of peace, impressed crown and BFB, slight wear, 8.5cm Made to commemorate the Golden Jubilee of George III in 1809. The king and queen visited the Worcester factory in 1788, bought several services and gave permission for them to use the crown in their mark. CONDITION REPORT: Gilt wear throughout. Scratches to body and to cheek of Caroline.
Los 427
A creamware small Mug, c.1819/20, well printed in black with a portrait of King George III, and so titled, wearing full dress uniform, traces of another inscription above, 6.5cm This attractive, small mug probably commemorates the death of George III in 1820. CONDITION REPORT: Minor fritting to top rim. Otherwise no obvious major faults, crazing to interior.
Los 428
GEORGE IV A rare creamware Mug, 1820, of cylindrical form printed in black with a portrait of George IV encircled by the inscription, painted number 269, minor chip, 7.5cm The inscription reads 'GOD SAVE THE KING, Crowned July 19th 1821 GEORGE IV Born August 12th 1762 Succeeded to the Throne January 29th 1819'. The accession date of 1819 was incorrect and should have been 1820. CONDITION REPORT: Portrait medallion badly worn and faded. Fritting to rim and one 0.5cm chip to rim above handle.
Los 430
A very rare moulded pearlware Tankard, probably 1822, the portrait of George IV wearing military style uniform above a banner impressed 'King George IIII' between flowers, all carefully picked out in enamels reserved on a pink lustre ground, 13.4cm This large mug may well be Scottish and commemorating the visit of George to Scotland, much against his courtiers' advice. He devised his own uniform to the horror of his advisers, but to the delight of his Scottish people. CONDITION REPORT: Restored to the left side of the bust George IV, the lustre has been touched up which is visible to the rim and sprayed to the inside, which runs to the base of the tankard
Los 431
'Prinny', while having married Mrs Fitzherbert morganatically, was forced by his father to divorce Mrs Fitzherbert and marry his choice, the German Princess Caroline. On her arrival in London, Prinny was disappointed. She was nothing like the portrait miniature supplied and she bathed very infrequently. He went to the wedding drunk and weighing 20 stone. Despite this, on that, his wedding night, they managed to conceive - the only time he slept with Caroline. He then tried to divorce her, which needed an Act of Parliament. The evidence he concocted was presented to parliament in green cloth bags and largely comprised soiled bed sheets from her supposed relationship with an Italian Count. She returned to England for the coronation in 1821 wearing a hat with the three ostrich feathers of the Prince of Wales in which she is invariably depicted - see the following lot. The populous, loathing Prinny for his excesses, but rooting for Caroline, lined the streets and acclaimed her. At Westminster Abbey, Prinny had lodged gatekeepers, including the World Champion pugilist, Tom Cribb, preventing her entering on the grounds that she hadn't got a ticket. Distraught, Caroline turned away and died some months later, some saying she was poisoned - see lot 432. Despite his monstrosity, Prinny, a gambler, spendthrift and womaniser, was actually a man of great aesthetic taste. He built Carlton House (hence the desk) to his design, the Brighton Pavilion and formed its Sèvres collection, now belonging to Her Majesty the Queen. A man of curious contrasts. A rare pearlware Mug, c.1820, printed in black with a commemoration of the Parliamentary Bill to divorce Caroline (which failed), the base ribbed, the mouth pink lustre, some wear, 8.8cm According to May: 'Possibly the rarest of Carolinae known'. Illustrated as plate 57. The print shows the scales of justice overseen by John Bull with speech bubbles reading 'Well done Caroline, they think to make light of you, but it won't do, I'll see fair play'. The lighter Prinny, trying to be dragged down by courtiers and the law beneath bags titled 'Green' and 'Secrets', but much outweighed by Caroline, with justice on her side, and acclaiming soldiers. This took place at the height of the Napoleonic Wars, hence the soldiers and ships in the background. CONDITION REPORT: Lustre wear to top rim and to handle. Printed area worn. Base rim discoloured and visible crack to base rim, also possibly a restored chip 3.5cm long.
Los 432
Two Queen Caroline Mugs, c.1820, one creamware with a black portrait, one porcelain with a puce portrait, both titled, 7 and 6.5cm, and a lustre Mug, with a long verse 9.4cm, all with minor faults (3) The last commemorates Caroline's death and ends with a couplet 'On Earth thou could'st not crowned be, But here thou art Eternally'. This mug is an interesting commentary on the ceramic industry of the time. The swag and pateræ border on the last would have been engraved on a copper plate at least twenty-five years earlier and held in the pottery in case they would ever find a use for it. CONDITION REPORT: Lustre mug has wear to lustre, crack to rim, restored through body to the left of the printed area. Overpainting, crazing, star crack to base. Smaller puce mug has crack from rim into body 4cm. Another smaller crack. Printed portrait worn, some discolouration to body. Third mug has cracks, chips to rim, staining, crazing and star crack to base.
Los 433
WILLIAM IV A pearlware Mug, 1831, printed in black with a portrait and title of 'William IV King of Great Britain', and on the reverse, with a scene of the coronation, slight wear, faint crack, 9cm William never expected to come to the throne, but on the death of his brother, George IV, he was catapulted into the role. It was not one he enjoyed, being far more interested in the navy and fathering - it is believed - over a hundred children. CONDITION REPORT: Cracked, nibbles to rim. Crazing throughout. Wear to handle and base rim.
Los 434
Two pearlware Mugs, c.1835, one with the familiar titled portrait on one side and Queen Adelaide on the other, 6.8cm, the other a Memorial Mug in black with a sarcophagus inscribed 'William IV died June 20th 1837 aged 72, there is rest in heaven', minor wear, 7.4cm (2) William's reign was short, only seven years, and he made little impact and appropriately, of the early mugs, he is the least well represented. May p.79, pl.80. CONDITION REPORT: Lustre mug has lustre wear to both top and bottom rims. Some wear to memorial. Second mug has wear to extremities.
Los 473
A Victorian white marble statue, a young girl sitting on a tree stump holding a baby bird in one hand, its nest in the other, signed 'Prof G Lazzerini, Carrara', 109cm high Professor Giuseppe Lazzerini (Italian 1831-1895) His work 'La Fanciulla che intreccia', can be found in the Accademia di Carrara. He worked with his brother and they produced public monuments, statues and portrait busts and he was the Director of the Academy in Carrara from 1889 to 1893. The vendor's mother remembered the angel (as they always called her) arriving in their house when she was a child in the 1930s. The vendor's grandfather was an inveterate gambler. He had a bet with the local stonemason on which he staked his house. Needless to say, he lost, and his wife was distraught; they had three small children and she had no idea how they were going to manage. She went to see the stonemason and begged to let them keep their home and not put the family on the street. The stonemason then offered to let her husband win it back with interest on another bet. Luckily for the family, her husband won the bet and the interest was the pick of anything in the stonemason's yard. He chose the angel. CONDITION REPORT: Bird's tail and wing incomplete and chicks have lost beaks. Chips to leaves on headdress and on base. Areas of robes with chips. Discolourations. No bird to left shoulder.
Los 538
John Smith, after William Wissing (1653-1687), (SH) PORTRAIT OF THE ARTIST WILLIAM WISSING, HALF LENGTH Mezzotint, the image oval Plate size 34 X 25cm Wissing, a Dutchman, moved to England in 1676 and worked in Sir Peter Lely's studio as his assistant. After Lely's death in 1680, he succeeded him as court painter and, in 1684, was sent to Holland to paint the Prince of Orange (later William III) and Princess Mary. CONDITION REPORT: Thunder flies under glass, foxing to image frame worn
Los 568
*Alfred Kingsley Lawrence RA (1893-1978), PORTRAIT OF A GIRL, BUST LENGTH IN PROFILE, IN A PINK DRESS Signed and dated 1971 in pencil l.l., bodycolour on paper laid down on board 76 x 50cm, unframed *Artist's Resale Right may apply to this lot. CONDITION REPORT: Provenance: From the artist's grandson.
Los 583
French School (17th century) after Sophonisba Angiussoia, (SH) A PORTRAIT OF THE ARTIST AT HER EASEL Miniature on ivory 5 x 7.5cm Provenance: Sir Bruce Ingram. Chosen by Hugh Johnson at Sotheby's as a leaving present from his colleagues at Condé Nast in 1964. Sophinisba was one of the first women artists of the Renaissance. CONDITION REPORT: Small areas of paint loss. Some small spots of staining to background. No viewed out of frame.
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283287 Los(e)/Seite