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Preisdatenbank abonnierenENGLISH NAIVE ARTIST, C1835 A LADY AND A GENTLEMAN SAID TO BE MR & MRS ALFRED PIGGIN a pair, watercolour and/or ink on card, and white, 11.5 x 9cm, maple frames (2) See footnote to lot 607. ++In satisfactory entirely original condition the joints of the frames separating but entirely undisturbed and unrestored. Note: some time staining on the support in the portrait in particular of Mrs Piggin
WILLIAM BUTLER (1824-1870) PORTRAIT OF A CLERGYMAN three quarter length seated in an oak armchair before a stone pier, signed and dated 1848, pencil and watercolour heightened with white, arched top, 41 x 31cm ++Two faint scratches extreme lower centre left but in otherwise very good condition. Loosely mounted in the original (?) card window mount in contemporary giltwood and composition swept frame
ENGLISH SCHOOL, C1830 PORTRAIT OF A YOUNG MAN SAID TO BE ROBERT ONEBYE WALKER (1792-1866); PORTRAIT OF A LADY SAID TO BE HIS SISTER JANE WIFE OF THE REV ROBERT MONTGOMERY (M 1825) two, half length, he in a brown coat, she in a red dress, 25.5 x 20cm and 26.5 x 23cm (2) ++Undoubtedly by the same hand as the preceding lot and in the same condition, that is to say, basically good original state with slight paint shrinkage and some dulling of the rather dark varnish of the portrait of R Walker with some small retouching on the extreme right hand side, both supports unlined in what are likely to be the original giltwood and composition frames
ENGLISH SCHOOL, C1810 PORTRAIT OF A GENTLEMAN; PORTRAIT OF A LADY a pendant, bust length, he in a dark blue coat and white cravat, she in an Empire style dress with pearl bandeau and earrings, 64 x 54cm (2) Provenance: An old label on the frame of one is addressed "J T Barrow Esq Staveley Station near Chesterfield...." ++Both lined in the early mid 20th c and with some paint shrinkage particularly in certain passages on the portrait of the female sitter beneath a discoloured varnish darkened with the passage of time. In contemporary early 19th c giltwood cavetto frames
CHINESE SCHOOL, 19TH CENTURY PORTRAIT OF THE SS "ORESTES" OFF HONG KONG 42 x 56cm ++In finely preserved, entirely unrestored original condition with some light craquelure but undamaged, not lined, the varnish very slightly yellowed with time. In what is presumably the original English plain oak frame
ENGLISH SCHOOL, C1700 PORTRAIT OF A LADY bust length in a blue dress with fur stole and red drapery, oval, 74 x 62cm, 18th c giltwood panel frame According to a label on the frame the sitter, is probably Mary Woolhouse (1677-1763) daughter and heiress of William Woolhouse, MD of North Muskham, Nottinghamshire. She married, on 20th May 1698 the Reverend John Disney (1677-1730) Vicar of St Mary`s Church, Nottingham from 1722 until his death. ++The support lined probably in the early mid 20th c and unevenly stretched, some fairly obvious overpainting including a small repair to the bridge of the nose, the varnish uneven and heavily darkened. The fame with old repairs, chipped gilding and regilding. The handwritten label of 20th c date and presumably a transcription although the sitter`s Christian name is mistakenly given as Catherine which leaves open the somewhat less likely possibility that the sitter could be the Reverend John Disney`s mother, Catherine Fynes-Clinton.
* ATTRIBUTED TO JOHN BOULTBEE (1753-1812) PORTRAIT OF ROBERT BAKEWELL OF DISHLEY GRANGE on his bay cob with a group of longhorn cattle beyond, with inscription verso "PORTRAIT OF MR BAKEWELL OF DISHLEY ON HIS FAVOURITE BAY HORSE TOM", 77 x 105cm Illustrated: The Squire de Lisle, Robert Bakewell, article in the Journal of the Royal Agricultural Society of England, vol 136 (1975), facing p 58. The present well documented picture is one of no less than five recorded versions of the celebrated portrait of Bakewell on his bay horse by the Leicestershire artist John Boultbee. The others are in The National Portrait Gallery, Leicester Museums and a private collection. Of these, that in the NPG was originally owned by Bakewell`s friend Robert Fowler who also commissioned Boultbee to paint a series of portraits of Longhorn cattle. It was sold anonymously (by Miss P E J Williams), Sotheby`s, 11 July 1987, lot 139. That at Leicester was bought at auction in the 1960s. Although its earlier history is not recorded, the present picture has hung at Brooksby College for a great many years and it is reasonable to surmise that it may never have left the locality, given its proximity to Bakewell`s home. Which of these is the `prime` version is uncertain and all are essentially the same (and about the same size) including the former monastic Great Barn (demolished in 1856) and several Longhorns, grazing in the distance. The NPG picture has the addition of a small dog in the foreground. Pentimenti of the horse`s legs is evident in this, the Brooksby portrait. Robert Bakewell (1725-1795) was born and lived his entire life at Dishley Grange near Loughborough. A sizeable (440 acres) and well run farm, Bakewell took over its management in 1760. Although remembered for his highly influential work in the selective breeding of livestock, in particular the beautiful Longhorn cattle and Dishley strain of Leicestershire sheep, his farm became a focus of attention for the innovative and efficient methods of production he employed, even for example, sending turnips down an irrigation canal, itself then a novel method to greatly improve grassland, the importance of dykes, roads, hedges, the internal wintering of animals and the rotation of crops. No aspect of husbandry escaped his enquiring mind. He both travelled to and received visitors from the Continent and writers such as Arthur Young keely recorded their visits to Dishley. Without the vastly improved breeds of livestock Bakewell`s revolutionary work in selective breeding did so much to further, it is doubtful if population growth would have been sufficient to sustain the Industrial Revolution. His work in artificial selection influenced Darwin, whose theory of natural selection was published in On the Origin of Species (1859). Equally at ease with yeomen, the learned and the owners of great estates he is known to have been a big man, weighing about 16 stones, for his 5` 10" stature, a noticeable feature in all the portraits. ++Unlined, cleaned and with some localised restoration particularly in the lower part of the composition, general craqueleur and some paint separation/blistering. The pigments clear and bright beneath a recent varnish, in recent 18th c style gilt frame
* ATTRIBUTED TO JOHN BOULTBEE (1753-1812) ROBERT BAKEWELL`S BLACK CART-HORSE STALLION DISHLEY GRANGE BEYOND with inscription THE CELEBRATED CART HORSE PROPERTY OF MR BAKEWELL OF DISHLEY 1790., 62 x 75cm Provenance: (according to an old label on the stretcher) Mrs J S Bakewell and her son, Capt Robert Harrison Bakewell. Illustrated: Moncrieff (E) and S & I Joseph, Farm Animal Portraits, Woodbridge 1996, col plt 297. Exhibited: (possibly) Royal Academy, 1788, No 102 (`Portrait of a Favourite Horse of Mr Bakewell). Engraved: Francis Jukes (1745-1812) (`Portrait of a Horse Six Years Old. The Property of Mr Bakewell of Dishley`). Even before Bakewell`s time, the area of N W Leicestershire was notable for its fine black cart horse stallions. Determined to improve the breed, Bakewell toured Flanders and Holland, purchasing several West Friedland mares which according to Pitt (General View of the Agriculture of ... Leicester, 1809) "excelled in those points wherein he thought his own horses defective... he produced some capital horses, in particular his famous horse Gee, the noblest and most complete and beautiful creature of his kind that had been see in Europe... for a time he was the first subject of conversation... he was taken to Tattersall`s and shown to the nobility and gentry with great approbation; Mr Bakewell had the honour of showing him personally to his Majesty [King George III]." Bakewell`s cart horses soon became a familiar sight on farms, further selection resulting in the distinctive characteristics of the Shire Horse. Sadly Gee met with an untimely end, being killed by lightning in his pasture at Dishley. ++Restored and relined in recent years. The early 19th c stretcher and contemporary early 19th c giltwood and composition frame preserved, the frame with loss, repairs and regilt in a bronzing paint.
FOLLOWER OF CONRAD FREYBERG EQUESTRIAN PORTRAIT OF THE EMPRESS ELISABETH OF AUSTRIA AND BAVARIA (1837-1898) canvas laid on board, 29 x 24cm ++Small areas of retouching principally confined to the extreme upper and lower edges, the paint surface a little uneven. In contemporary mid 19th c English giltwood composition frame
ENGLISH SCHOOL, C1840 PORTRAIT OF A LADY bust length in a white dress with lace collar and cornelian brooch, canvas laid on board, 59 x 48cm ++Some paint separation/shrinkage extreme upper centre and lower right and left. Some ingrained dirt the varnish slightly discoloured; in reproduction Maratta frame
A GEORGE V SILVER `BROWNE MEMORIAL TROPHY` SHIELD, repousse decorated and engraved with a portrait cartouche, ribbon tied laurel swag and banner, finely engraved locomotive and the inscription `To Commemorate Sir Benjamin C. Browne Kt DCL JP and to encourage Technical Study and Proficiency in Locomotive Engineering`, all within a reeded and strapwork border, Sheffield 1917 maker Walker & Hall, total approximate weight 40oz, in excellent condition, 35.5cms x 46cms. See illustration
Four items of Worcester over-glaze black-printed porcelain, comprising; a Robert Hancock bell-shaped mug decorated with a profile half-portrait of HM King George II, naval battle and trophy of war, beneath which inscribed RH Worcester, 12cm high; a finger bowl decorated with swans, a cabbage-leaf moulded mask jug decorated with milkmaids and a classical ruins plate, circa 1755-60. Provenance: Property of the late Mrs G.D. Otto
A Dresden decorated (Franz Till) Berlin porcelain plaque painted with a portrait of an old woman after Balthasar Denner (German 1685-1749), 20.5cm x 18cm, impressed KPM and sceptre marks, incised 8 - 7 (8 x 7 inches), printed mark for Franz Till, Dresden and paper gallery label. Note: The original hangs in the Gemaldgalerie, Dresden.
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