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Preisdatenbank abonnierenPeter Rouw (1771-1852): A Marble Portrait Bust of a Young Lady, a member of the Thorold family, her hair in plaits and ringlets, her head turned slightly to sinister and her shoulders draped in a classical robe, on a waisted socle carved with palmettes, signed P. Rouw Sculpt`r, 1830, 70cm high Provenance: Originally from Syston Hall, near Grantham, the seat of the Thorald family, which was demolished in 1923.
Peter Rouw (1771-1852): A Marble Portrait Bust of a Lady, a member of the Thorald family, her head turned slightly to dexter, her hair tied up in plaits, her shoulders draped in classical robes, on a plain waisted socle, inscribed to the reverse Peter Rouw, London 1825, 67cm high Provenance: Originally from Syston Hall, near Grantham, the seat of the Thorald family, which was demolished in 1923.
Peter Rouw (1771-1852): A Marble Portrait Bust of a Lady, a member of the Thorald family, her head turned slightly to dexter, her hair tied in plaits and ringlets, draped at the shoulders in classical style, on a waisted socle carved with palmettes, inscribed to the reverse P. Rouw Sculpt`r, 1830, 72cm high Provenance: Originally from Syston Hall, Nr Grantham, the seat of the Thorald family, which was demolished in 1923.
A Rare Staffordshire Pearlware Commemorative Mug, circa 1829, printed in underglaze blue with a bust portrait and inscribed TRIED MARCH 31st 1829 BEFORE MR BARON HULLOCK AND SENTENCED TO CONFINEMENT DURING HIS MAJESTY`S PLEASURE, the reverse with a titled scene YORK MINISTER ON FIRE FEBRUARY 2nd 1829, 9.5cm high
A Creamware Commemorative Mug, circa 1826, printed and painted with a bust portrait inscribed BELL AND VICTORY within a laurel wreath and with two flags inscribed TRUE BLUE AND BELL and NORTHUMBERLAND The Great Contest Concluded at Alnwick 6th July 1826 ..., within pink lustre borders, 10cm high
A Creamware Teapot, circa 1760, painted in the style of Robinson and Rhodes with PRINS VAN ORANJE and with a bust portrait within a scroll cartouche, the reverse with a house in a similar cartouche, 14cm high; A Dutch Decorated Creamware Plate, painted in colours with a bust portrait of Prince William within a foliate cartouche and foliate meander and feather rim, 25cm diameter; and A Similar Plate, painted with a maiden and a lion below an all-seeing eye, the border with four cartouche of script, 25cm diameter (3)
A Pratt Type Pottery Ovoid Jug, circa 1800, of military review type, moulded with three equestrian figures with formal foliate borders picked out in blue, ochre, brown and green, 18cm high; and A Similar Jug, moulded with a bust portrait of a gentleman, picked out in blue, brown, ochre and green, 13cm high (2)
A Whieldon Type Dessert Plate, circa 1755, with moulded lattice and basket weave border and ogee rim, 19.5cm diameter; A Black Basalt Circular Medallion, with central bust portrait within a wreath and flute border, 16cm diameter; and An English Terracotta Ewer, attributed to Dillwyn, in Attic Red figure style, 20.5cm high (3) A similar Dillwyn jug is in E Morton Nance The Pottery & Porcelain of Swansea and Nantgarw, pl.LXXXIV E, pg.184.
A Samson of Paris Enamel Snuff Box, late 19th century, rectangular, painted with scenes from the Battle of Trafalgar, the inner cover painted with a bust portrait of Nelson, painted mark, 8cm; A Staffordshire Pill Box and Cover, inscribed ALWAYS THE SAME, 2.5cm; A Silver Gilt and Enamel Shoe Buckle, London import marks for 1928, 8cm; A Tortoiseshell Box and Hinged Cover, 12.5cm; A Coquilla Nut Box; and A Brass Snuff Box, as a shoe (8)
Lady Mary Leighton of Loton Park, née Parker (1810-1864)Sketchbook on inside cover inscribed Mary Parker/Sweeney, near Oswestry/ 1824, various pencil sketches and watercolours of landscapes with views of North Wales Watercolour of a Country House and garden with children playing on a swing: A Scrapbook Inscribed in front cover `Mary Leighton/Scraps from her children/Loton Park 1847-50` Pencil sketches signed S L 1847/48/49/50 Watercolours and Pencil sketches including portrait of Earl of Warwick, and General Monk signed B L 1847/50/51/52/53 Pencil sketches signed Chartte Leighton/C Leighton 1847/50/51 Pencil sketches signed F C Leighton 1844A Sketchbook Inscribed in front over `Baldwin Leighton, Loton Park, Shrewsbury/Augst 1846 Watercolour signed MP 1825 Pencil sketch signed ML (Lord Cobham) 1851 Two Watercolours signed ML 1826/46 Various pencil sketches and watercolours signed Baldwin Leighton/BL/B Leighton 1846/47/51/53 Various pencil sketches signed Stanley Leighton and S Leighton1846/47/48/49 Various pencil sketches and watercolours signed FCL/FSL 1846/47/49/51 Various pencil sketches signed CL and C Leighton 1846/48/50A: Sketchbook Inside cover inscribed Mary Parker/1829/ Various sketches in pencil and pen and ink, drawing of Putti after Bartolozzi on tinted paper (some signed MP) Book plates after Cruikshank Ink and sepia watercolours after Dutch Old Master Marine painters Copy after Richter, signed MP 1830, Watercolour view of Mold in Flintshire, Watercolours of landscapes (including one of Jamaica) some signed MP and dated between 1828 and 1829, sheet Arabic writing
Studio of Sir Peter Lely (1618-1680) Portrait of Elizabeth Thorold, daughter of Sir Anthony Thorold KNT of Marston & Blankney High Sheriff of Lincolnshire 1617, seated, three quarter length, wearing period costume Inscribed on an old label verso, together with a further inscription on a plaque attached to the frame, oil on canvas, 121cm by 96.5cm Contained within an 18th century elaborately carved gilt wooden frame
John Hoppner (1758-1810) "Portrait of Harriet Ann Seale when a child, younger daughter of John Seale Esq of Mount Boone, Devon, sister of John Healey Seale MP for Darge Park, Co Stafford, her only son Thomas Henry Lister was the novelist and dramatist" Inscribed on an old label verso, together with a further label, oil on canvas, 128cm by 100.5cm Exhibited at the Birmingham Loan Collection 1903 Provenance: Duveen Bros Inc, New York Contained within an elaborately carved 18th century gilt wood frame John Hoppner was an English portrait painter. He was a protégé of George III and rumoured to be his illegitimate son. He imitated, without total success, the style of Sir Joshua Reynolds. Hoppner achieved a lifelong popularity rivalled only by that of Sir Thomas Lawrence. He painted with facility and lively colour. Under the patronage of the Prince of Wales, many of Hoppner`s best works were hung in St. James`s Palace, where they remain. Among his famous portraits are those of the Countess of Oxford and the Duke of Kent.
Circle of John Riley (18th century) Portrait of a Fashionable Lady, seated, three quarter length, wearing period costume, waterfall and wooded landscape in the distance Indistinctly inscribed on an old label attached to the frame verso, oil on canvas, 122cm by 101cm Contained within a wooden veneered frame surmounted with a carved wooden crest
Follower of Thomas Gibson (18th century) Portrait of Theresa, Lady Wheler and Sir Trevor Wheler, 4th Baronet, the Lady seated, three quarter length, wearing a blue and cream dress with brown shawl, a young boy seated nearby Inscribed by a later hand verso, also inscribed on the stretcher "Lancing College, Sussex", oil on canvas, 124cm by 101.5cm Inscribed verso Theresa, Lady Wheler, wife of 3rd Baronet, daughter of the Honourable Edward Widdington Ex. collection Rev. H C Thorold, Marston Hall, Grantham
Circle of Mary Beale (18th century) Portrait of a Fashionable Lady, wearing a grey satin dress, with red silk accessories and pearl necklace and earrings; Portrait of a Gentleman, wearing a yellow silk coat, cream shirt and lace cravat and powdered wig Both painted within a painted laurel leaf feigned oval spandrel, oil on canvas, each 76.5cm by 64cm (a pair)
Follower of Henry Pickersgill (19th century) Portrait of William Jamieson (1764-1841), seated, three quarter length, wearing a black suit and white cravat Portrait of Mrs Jamieson, seated, three quarter length, wearing a black dress One inscribed on an old label verso, oil on canvas, each 126cm by 101cm (a pair)
Attributed to Sir Godfrey Kneller (1646-1723) Portrait of Alexander Malcolm (1650-1692), created Lord Lochore a judicial position in 1687, half length, wearing a purple satin coat, blue waistcoat and pink silk scarf; Portrait believed to be Lady Lochore, wife of Alexander Malcolm, half length, wearing a yellow satin dress and blue shawl One signed with the artist`s initials and indistinctly dated, the date partially hidden under the frame, also inscribed on a later label verso, oil on canvas, oval, 77cm by 65.6cm (a pair) Both contained within 18th century carved giltwood frames decorated with foliate scrolls and flowers Further historical documentation and literature can be perused upon request Alexander Malcolm (1650-1692) was the third son of John Malcolm of Balbedie. Born at Balbedie on 13 December 1650, he pursued a successful career as an advocate culminating in his becoming a member of the (Scottish) Privy Council with the title Lord Lochore in 1688. But in 1689 he supported the Stuart succession, and when the plot for a proposed Stuart landing in Ireland was discovered, he was arrested and imprisoned, together with the Earl of Balcarres. He was released, then re-arrested, together with his brother James, and finally released in April 1690 on payment of 20,000 marks bail; he was stripped of all public offices. He died at Cupar in September 1692. It can only be supposed that the female sitter is the wife of Alexander due to the label on the reverse of the picture unless historical evidence proves otherwise. Firstly as there are no surviving records of Lord Lochore marrying (although this may be due to the Ballingry Parish records prior to 1670 being burnt, and he possibly married before this date). Secondly that the title Lord Lochore is a judicial position and not a hereditary title, therefore there would not have been a Lady Lochore. Born in Germany, Sir Godfrey Kneller studied in Amsterdam and Italy under Bol. In the mid 1670`s, he moved to England and became the leading court and society painter around the beginning of the reign of James II. In 1689, when William III and Mary II took the throne, Kneller became their principal painter along with John Riley. He was knighted in 1692 and became a baronet under George I in 1715. See illustration
Attributed to Sir Francis Grant PRA (1803-1878) Portrait of Charlotte, Lady Malcolm (1789-1867), seated beside a desk, a dog at her feet Inscribed on a plaque attached to the frame, oil on canvas, 94cm by 63.5cm Charlotte Malcolm, the daughter of General Sir Alexander Campbell Bt, married Sir John Malcolm at Mysore in 1807 and although she had five children no direct descendants survive. Her portrait was said to have been painted when she was already a widow (Sir John Malcolm died in 1833). Corroborating, although circumstantial, evidence for this comes from the journal of her brother-in-law, Sir Charles Malcolm, who recorded on the 13th February 1840 "Lady Malcolm is sitting for Mr. Grant. I went to-day to see the picture, if she would but sit to him regularly, he would make a very fine picture. It is full length but a small size" (National Library of Scotland Acc12150/21 p53) Sir Francis Grant was a notable Scottish artist of the 19th century. He was an associate of the Royal Academy from 1842 and also served as President of the Royal Academy, elected in 1866, after Sir Edwin Landseer turned down the seat. It should also be noted that Sir Francis Grant was knighted. He was the brother of General Sir James Hope Grant. Sir Francis Grant was the son of a Scottish country gentleman, not of great means. By the age 26 he had squandered his patrimony and decided to earn his living as a painter. He had taken some lessons from John Ferneley, but was for the most part a self taught painter. He first exhibited at the Royal Academy in 1834. Sir Francis Grant was known to be a sporting and portrait painter. Melton Breakfast, The Melton Hunt and The Cottesmore Hunt are some of his well known sporting paintings. Grant painted more than 800 portraits between 1831 and his death in 1878. Scott, Macaulay, Disraeli, Palmerston, and Landseer were among his sitters. Later in life Grant suffered from a sense of inferiority to his eventual successor Lord Leighton. Grant did enjoy the Queen`s patronage, however, Queen Victoria regarded him to be an amateur country gentleman rather than an artist.
Lord Frederick Leighton PRA, RWS, HRCA, HRSW (Baron Leighton of Stretton) (1830-1896) Portrait of Mrs Sutherland Orr, sister of Lord Leighton, in profile, wearing classical dress Extensively inscribed on old exhibition labels verso, oil on canvas, circular, 41cm diameter Exhibited at the Royal Academy of Arts Winter Exhibition 1960 "Italian Art and Britain", no.114; also the RA Winter Exhibition 1956-1957 "British Portraits"; and Sheffield City Art Galleries September/November 1968 "Victorian Painting" Provenance: Sir Michael Leighton, Loton Park, Shrewsbury, Shropshire Leighton was born in Scarborough. He received his artistic training in Europe, from Eduard Von Steinle and Giovanni Costa. In Florence he studied at the Accademia di Belle Arti and painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855-1859, where he met Ingres, Delacroix, Corot and Millet. In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning`s tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 became an associate of the Royal Academy and in 1878 its President (1878-96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition. Leighton was knighted at Windsor in 1878, and was created a Baronet whilst living at Holland Park Road, Kensington, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent, creating him Baron Leighton, of Stretton in the County of Shropshire, was issued 24 January 1896; Leighton died the next day. As he was unmarried, after his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park , London has been turned into a museum.
AFTER SIR JOSHUA REYNOLDS PRA (1723-1792 ) `The Most Reverend Richard Robinson D.D. Archbishop of Armagh. Primate of all Ireland` publ. Sept 7 1776 by J.R. Smith mezzotint, trimmed to plate, sold unexamined out of frame Pl 17 1/2 x 14 in; and a collection of other portrait prints including The Right Hon. William Pitt (after H. Edridge); The Right Honorable Lord Viscount Chetwynd (after Sir W. Beechey); Richard Robinson, Bishop of Kildare, 1764 (after Reynolds); William Murray, 1st Earl of Mansfield; and Edward First Baron, Thurlow (after Reynolds), varying sizes, (6)
A FOLIO containing a selection of unframed drawings and watercolours, by various hands including works attributed to F. Topolski, H. Stannard, and other members of the Stannard Family, J. Dyson, J. Keeley, J.W. Richardson, Phil May and others , subjects include Leisure-Time; Rotten Row; The Fair; and various landscape, portrait and genre subjects (qty)
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