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Preisdatenbank abonnierenIndian School.- Portrait of a Maharajah the bearded figure depicted full-length, seated, holding a ceremonial sword and wearing many emeralds and pearls, gouache, heightened with gold, on thin card, 250x 200mm., 19th century; with 4 other Indian courtly figure groups, including 2 erotic scenes, gouache, variously heightened with gold or silver, v.s., 210 x 155mm. to 315 x 230mm., two framed and glazed, 18th or 19th century(5)
Attributed to Herbert St. John Jones (1870-1939) `A portrait of champion Hereford cattle, the yearling heifer Shelsley Primula and two year old heifer Shelsley Queen`, oil on canvas, 41cm x 51cm This picture, painted circa 1910, was commissioned by Mr J G Cooke-Hill, Shelsley Bank, Stanford Bridge, Worcester to commemorate his prize winning cattle.
James Hamilton Hay (1874-1916) `Portrait of Mrs Hamilton Hay wearing hat and coat with fur collar`, half length seated, oil on canvas, signed and inscribed on label on reverse, 91cm x 71cm This is a portrait of Enid, the artist`s wife, painted circa 1908. Enid was an accomplished flower painter who exhibited at the Walker Art Gallery, Liverpool, and the London Salon.
Jacob Gerritsz Cuyp (Dutch School 1594-1651), PLEASE NOTE: AFTER CONTINUED RESEARCH HALLS HAVE REATTRIBUTED THIS LOT AS CIRCLE OF JAN CLAESZ (Dutch School, born circa. 1570 - died after 1618), 'Portrait of a young girl wearing a lace collar and black dress, holding a basket of cherries, her lap dog at her feet', oil on panel, inscribed 'Aetatis Svae 1¼ anno 1606, 83.5cm x 64cm. Provenance: Lady Oxford's collection. Christie's sale April 2nd (19) 06? 115 gns. Thomas Agnew and Son's, Old Bond Street Galleries, Piccadilly, London, private collection and then by descent. Jacob Gerritsz Cuyp was born in Dordrecht in December 1594. He entered the 'Guild of St Luke in Dordrecht in 1617, the same year that he executed his first important commission of a depiction of the Masters of the Holland Mint (Dordrecht, Museum van Gijn). He specialised in landscape and portrait painting, winning many commissions from the Dordrecht nobility. Jacob married Aertken van Cooten from Utrecht in 1618. His only child Aelbert, born 1620 became one of the most important landscape painters of the Netherlands in the 17th century.
A Flight Barr & Barr (Worcester) porcelain two handled cabinet cup and saucer finely enamelled with a profile portrait of His Grace the Duke of Wellington within a raised gilt border reserved on a blue ground below a beaded border, 8.5 cm high, puce Worcester and London House script marks, circa. 1830, chip to foot rim verso.
Miss C Brenda Coward (early 20th century), Elizabeth; miniature portrait of a fashionable lady, head and shoulders wearing a veil, pearls and silk dress signed and inscribed with artist`s address 10. Melbourne St., Kensington, with Royal Academy seal on a label attached to the reverse. Oval 7cm. * Exhibited: The Royal Academy 1910
Johann Konrad Hamburger (1809 -1871), Miniature portrait of a fashionable lady, bust length, wearing a black gown with matching broad rimmed hat surmounted with ostrich feathers, a three string pearl necklace with matching pear drop earrings, signed and dated C. HAMBURGER 1835 top right, on ivory, 11.5 x 8.75cm, in leather case
Robert O. Lenkiewicz (1941-2002), Portrait of Albert Fisher, The Bishop, signed pencil drawing, 24 x 16.5cm. Framed together with Mr Fisher`s Plymouth Magistrates` Court £5 fine, dated 22.12.72, for the offence of `drunk`. Albert Edward Ernest Fisher was one of the close group of Plymouth vagrants who became a subject for Lenkiewicz. This drawing was bought by the present owner in 1972, together with the fine which had been paid by Lenkiewicz.
Henry Bone (1755-1834), George Lord Seton aged 27, three-quarter length holding a baton of The Queen`s Household, signed H.Bone bottom right, inscribed on the reverse below a coat of arms, `George Lord Seton AE TATIS SV AE 27/The original in the possession of The Rt. Hon.ble Lord Somerville/London Feb.1811, Painted by Henry Bone, R.A., Elect/Enamel painter in Ordinary to His Majesty The Prince of Wales (after J.A. MORE in 1578)`, enamel on copper 20.5 x 16.5cm. Exhibited at the Royal Academy 1811 no.321 as one of five framed enamels. George Seton, 5th Lord Seton, was son of George Seton, 4th Lord Seton, and Elizabeth Hey. He married Isabel Hamilton on 2nd August 1550 and they had six children. George Seton was educated in France and succeeded to the title in 1549. He held the office of Master of The Household to Mary Queen of Scots in 1563. After Mary`s defeat at the battle of Langside in 1568, George Seton fled to the low countries. In 1573 he was invested as Privy Councillor (Scotland) and held the office of Scottish Ambassador to France in 1583. He died on 8th January 1586. The enamel is based on a painting originally in the possession of the Rt. Hon. Lord Somerville, now in the collection of The National Galleries of Scotland. The original painting is attributed to the French School, circa 1558, and was painted when Lord Seton was aged 27 years. The sitter is portrayed in the magnificent clothes that he wore at the wedding of Mary Queen of Scots in April 1558. His baton is that of The Master of The Queen`s Household, a position he held in 1561. Henry Bone has depicted the sitter as more youthful than the original oil painting. There is a pencil drawing squared in ink for transfer by Henry Bone, of the enamel of George Seton in the possession of The National Portrait gallery (NPGD17103). The original painting was received by The NGS in 1965 at the bequest of Sir Theophilus Biddulp in 1948. Provenance; The vendor`s mother bought the enamel at Christies Glasgow in 1995 because of her family connection (Hey) to the sitter. The Stanhope Robb Collection of Henry Bone Miniatures. The collection of six Henry Bone miniatures was compiled by the vendor`s grandfather, Stanhope Rodd Esq., of Trebathan Hall, North Hill, Launceston circa 1920, from inherited portrait miniatures in the family. Henry Bone 1755-1834: Enamel painter and miniaturist on ivory. Born in Truro, Cornwall, and a son of a woodcarver and cabinet maker. At the age of 16 he was apprenticed to William Cookworthy of the Plymouth China Works (see lot 77 in this sale) where he developed into a highly skilled painter on porcelain, buttons and brooches. By 1778 he had moved to London where he painted in watercolours on ivory and enamel. He first exhibited at The Royal Academy in 1781 and was made an Academician in 1811. By 1800 he was official enamel painter to The Prince of Wales. His works are in the Metropolitan, New York and The National Portrait Gallery amongst many others worldwide. His eldest son, Henry Pierce Bone, became enamelist to Queen Adelaide and Queen Victoria.
Henry Bone (1755-1834), Portrait of the Reverend Henry Hawkins Tremayne, initialled HB bottom left, inscribed on the reverse `H.Bone, Hanover Sqr, Hanover P.` on ivory, 9 x 7.5cm. The Reverend Tremayne (1794-1829), married Harriet Hearle of Penryn. A curate of Lostwithiel and much respected gentleman of the County of Cornwall, he inherited Heligan (formerly part of an estate of the Arundell family) in 1766 and effected many notable improvements. In 1820 Gilbert noted, "Heligan is situated at the head of an extensive paddock, spotted with masses of foliage commanding the richest and most diversified views...the whole of the grounds are rendered delightful by their natural uneveness, deep valleys with lively plantations adorned with temples". In 1809 the Rev. Tremayne also inherited estates at Croan in Cornwall and Sydenham. He was succeeded by his son John Hearle Tremayne in 1829.
Henry Bone (1755-1834), Portrait of Philip Rashleigh, Esq., inscribed on the reverse `Philip Rashleigh esq., MP, Henry Bone pinx. Sept. 1704`, on enamel, 9 x 7cm. Philip Rashleigh, 1728-1811, antiquary and mineralogist. On his father`s death in 1765 was elected member for the family borough of Fowey. Elected Fellow of The Royal Society in 1788, he married Jane Pole (1720-1795), the only daughter of Rev. Carolus Pole and had no family of his own. Philip died in Menabilly on 26th June 1811. His collection of minerals was remarkable for its various specimens of tin, the most important of which are held in the Natural History Museum.
Henry Bone (1755-1834), Portrait of Admiral John Tremayne Rodd, KCB, inscribed on the reverse `John Tremayne Rodd painted by Henry Bone`, on ivory, 7.5 x 6cm. Vice Admiral Sir John Tremayne Rodd, KCB., circa 1769-1838, was an officer of the British Royal Navy noted for his services during the Napoleonic Wars. He served in HMS San Joseph and HMS Indefatigable. He married Jane Russell in 1809 and was knighted in 1832.
Henry Bone (1755-1834), Portrait of George, 1st Earl of Mount Edgcumbe, inscribed on the reverse `Earl Mount Edgcumbe, Henry Bone pinx 1794`, on enamel, 9.25 x 7.25cm. Admiral George Edgcumbe, 1720-1795, was a British peer, naval officer and politician. Commissioned a lieutenant in the Royal Navy in 1739, in 1746 he was returned a Member of Parliament for Fowey in Cornwall and in 1761 inherited his brother`s barony and in the same year married Emma Gilbert. In 1766 he was made a Privy Councillor and became Commander in Chief, Plymouth. He was promoted to Admiral in 1778 and became Earl of Mount Edgcumbe in 1789
Henry Bone (1755-1834), Portrait of Richard 2nd Earl of Mount Edgcumbe, signed and dated HBone 1799 bottom left, inscribed on the reverse `Richard Earl of Mount Edgcumbe, Henry Bone pinx April 1799`, on enamel, 7.25 x 6cm. Richard Edgcumbe, 1794-1839, was an English nobleman styled Lord Edgcumbe from 1781-1789 and Viscount Vallettort from 1789 until his succession to the Earldom in 1795. He was author of `Musical Reminiscences of The Earl of Mount Edgcumbe` containing a list of the operas he heard from 1773 to1823. The only child of Sir George and Lady Emma Edgcumbe, Richard married Lady Sophia Hubart, a daughter of The Earl of Buckinghamshire in 1789. A member of Parliament for Fowey 1786-1795, and a Doctor of Civil Law, on his succession to the Earldom he was appointed Lord Lieutenant of Cornwall.
Sidney Sprague Morrish (fl.1852-1894), Portrait of an army officer, head and shoulders, dressed in uniform with white facings, epaulets and double row buttons, medal group comprising GSM (1793-1814) with six bars, Waterloo Medal (1815) and Army Gold Cross 1806/1814, signed and dated 1858, oil on canvas, 75 x 62cm.
GALE, NORMAN (1862 – 1942; poet). An extensive series of autograph letters to [Lydia Jennie] Winifred Craven (1886-1984), the first dated 1919,Winifred had written to Gale initially as an admirer of his work; his letters to her are at first mildly formal, he discussing his work and making suggestions regarding her own writing. As well as becoming his "Pupil" (he was "Master" and often signs himself so) she assumes a secretarial role, typing up his manuscripts, arranging publication and sending out complimentary copies of his works according to lists of recipients drawn up by Gale – three of these lists are present. Their relationship would appear to change rather, in perhaps June 1923, the content leads us to surmise that they may have become lovers. He begins to sign himself, "Masterwoodman", "Your hungry Little Norman with devotion", "Fairyman", and "The Only Snowdrop`s Only Fairyman sends his hopes, his fire, his love", My love to you, my want of you is – well, Honey Guess!" He addresses Winifred as, "Giver of Gold", "Freckleflower", "Cherished Snowdrop", "Woodmaid", "Refined Honey", and "My three flowers in one" etc.Gale hardly ever dated his letters to Winifred but approximately 80% are datable from the postmarks of the envelopes addressed to Winifred variously at Kingsbridge, Devon and Wilmington House, East Grinstead and elsewhere; those of 1938-39 to her in Italy and Egypt.Present are three signed statements in which he gives to Winifred the copyright of his published and unpublished works, with the titles listed. Curiously although written in different years, 1926, 1930, & 1938, all are dated June 1st. The statement of 1926 commences, "the terms of our agreement having been satisfied, I now acknowledge that the copyright of the following books are your outright property".A number of the letters are accompanied by leaves of autograph poetry sent by Gale to Winifred as revisions or new work for her opinion; 27 such poems (on 37-leaves) are dispersed throughout the series. Together with a few signed greetings cards, an etching of Gale (the frontispiece of "A June Romance" [1894] inscribed to Winifred with the title-page still attached); two photographs of Gale; and an attractive portrait miniature of Winifred. Also, two charming letters from Gale to the young Suzanne Craven (Lucas) at Roedean sending a copy of "Messrs. Bat & Ball" for the school library.A remarkable series of lyrically passionate letters that reveal much of interest, not only in relation to his work and manner of composition but also his deepest feelings, hopes and anxieties. He never had any money, having no interest in, "£s shillings and pence", preferring to give his publications away to those he thought worthy recipients. Amongst the letters is a cheque for £5.00 he had sent to Winifred to cover postage costs – it remains uncashed. In October 1930, facing ruin, he writes asking Winifred to purchase a "Sheraton Bureau" – "… Is it possible for you to give me £50 for it … .how I detest being forced to write this ….. I am at the far end; nearly beaten in fact. Nearly. When I admit that I am beaten you will understand that your Fairyman is Finished . By the way I Love You".Transcripts of extracts of some of the letters that we have read are available upon request.
Follower of Rembrandt Harmensz. van Rijn (1606-1669). Portrait of Rembrandt`s son Titus (1641-1668), oil on canvas, 71 x 57 cm (28 x 22 1/2 in). Another version of this work (measuring 72 x 56 cm), with a doubtful attribution to Rembrandt, is in the Louvre. It had been in the Hermitage, St. Petersburg, since 1784 and was sold by the Soviet government in 1930
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