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283284 Los(e)/Seite
Los 123
An impressive French Sevres style porcelain mounted ormolu figural mantel clock Unsigned, late 19th century The eight-day bell-striking movement with floral garland painted Roman numeral cartouche dial set into a foliate cast gilt bezel and a blue ground porcelain drum surmounted with semi-clad figures emblematic of Cupid and Psyche and a floral garland, the base fronted with a large porcelain panel polychrome decorated with courting couples in 18th century style dress within rococo scroll cast borders flanked by portrait plaque applied canted angles, the sides of scroll profile and cast with festoons, on shaped base with reeded bun feet, 61cm high.
Los 377
A gilt brass and porcelain mounted mahogany side cabinet, early 20th century, in Louis XVI style, the arched back incised and centred with an oval porcelain portrait plaque of a noblewoman, above a shelf and bevelled mirror, the bow centre with inset Spanish brocatelle marble top, mounted throughout with tasselled drapery and leafy guilloche beneath a pierced gallery, on slender fluted legs set with beading and rosettes, 125cm high, 63cm wide
Los 1
Cecil Mary Leslie (1900-1982) Illustrations for the book Sam Pig by Alison Uttley - six full colour drawings for record covers: Sam Pig in Love, signed lower left, Cecil Leslie 64 , watercolour, 16 x 16cm; and Widdershins, signed lower right, Cecil Leslie 64, watercolour, 16 x 16cm; and Sam Pig, Sam Pig with a Cow, How Many Miles to Babylon?, Squirrel, Puppy and Kitten, watercolour, each 16 x 16cm (4); together with The Sam Pig Story Book, a rough for the jacket cover, watercolour, 26 x 21cm; and Forty-six black and white drawings, all signed, Cecil Leslie, for what was probably The Sam Pig Story Book, ie a re-publication from the separate books, pen and ink, each 23 x 16cm, Provenance: From the collection of Mrs Pauline Hunter Blair. Cecil Mary Leslie (1900-1980) was an engraver, portrait painter, sculptor and illustrator. She studied at the Royal Academy Schools, and exhibited from 1923 until 1939 at the Royal Academy; the Society of Women Artists; the Glasgow Institute of Fine Arts; the Walker Art Gallery, Liverpool; the New English Art Club; the Royal Society of British Artists; the Royal Cambrian Academy; and the Royal Scottish Academy. Cecil Mary Leslie also exhibited in the USA, France, the Czech Republic, Holland, Australia and New Zealand. Her home was in Blakeney, Norfolk.
Los 1
English School (19th Century) Portrait of Thomas Dawson Esq possibly wearing an Insignia related to the Knights Templar, with his Sword and Plumed Hat, oil on canvas, 110 x 85cm.Thomas Dawson was a wildly eccentric north countryman who is described by Elizabeth Sparrow in her Celebration Essays (Penzance Library 1988) as a rich barrister and dilettante extraordinary. He began to collect Napoleonic memorabilia in 1826, when he was only fifteen and continued for the next forty years. Between the years 1869 and 1877 he presented to the Morrab Library (then known as the Penzance Library) not only this collection of documents, portraits and relics, but a similarly large collection of items relating to the Peers of the Realm. The Morrab Library (which sits in the middle of the sub-tropical gardens of Penzance) has an almost identical painting of Thomas Dawson, by Robert Clothier (fl.1842-1873) but in which Dawson sports a moustache. The regalia reflects Dawsons Francophile interests but cannot be identified precisely. The order of chivalry around his neck is unknown. The most likely suggestion is that it is part of an occasional attempt made by various dilettanti in the 19th century to resurrect the Knights Templar. These movements were usually very short lived. The insignia on the mantle or uniform is very similar to that of the medieval Knights Templar
Los 1
Cecil Mary Leslie, (British 1900-1980) Portrait of Miss Joan Harper, a Nurse in Uniform, oil on canvas in gilt moulded frame, 66 x 54cm. Provenance:Private collection, Wales. Cecil Mary Leslie was an engraver, portrait painter, sculptor and illustrator. She studied at the Royal Academy Schools and exhibited from 1923 until 1939 at the Royal Academy; the Society of Women Artists; the Glasgow Institute of Fine Arts; the Walker Art Gallery, Liverpool; the New English Art Club; the Royal Society of British Artists; the Royal Cambrian Academy; and the Royal Scottish Academy. Cecil Mary Leslie also exhibited in the USA, France, the Czech Republic, Holland, Australia and New Zealand. Her home was in Blakeney, Norfolk
Los 1
Francois (20th century). Portrait of a lady in 18th century dress holding a rose. Watercolour over printed ivorine Signed lower right. Oval 7.5cm x 6cm. Petit (20th century). Portrait of a lady in pseudo-classical dress, wearing a hat embellished with roses. Watercolour on ivorine Signed centre right. Oval 8cm x 6cm. four other painted miniatures of ladies, various sizes, a hand tinted photograph in a blue velvet case and a stippled engraved portrait of a lady (8)
Los 1
Kathleen Rashleigh (mid 20th century). Portrait of Miss Gertrude Rose, bust length, wearing a pendant upon a red ribbon. Watercolour. Signed with initials and bearing date “1898” lower right. Oval 6.5cm x 5cm. Together with two other miniatures by the same hand, one in a silver frame with blue enamel border, the other depicting a lady in 18th century dress, a hand coloured engraving, a black papier-mache frame and a folding leather miniature case (6)
Los 1
George Harvey A.N.A. (1800/01-1878). Portrait of Henry Miller Mackay. Watercolour. Later inscribed with sitter verso. Oval 3.5cm x 2.5cm. English School (19th century). Portrait of Mrs Mackay as a child, set amongst clouds. Watercolour. Later inscribed with sitter verso. Oval 5cm x 4cm. Together with two further portrait miniatures, each watercolour, various sizes (4)
Los 1
English School (c. 1800). Portrait of a gentleman, bust length, facing right. Watercolour. Oval 7.5cm x 6cm. In a gold frame with gold monogram “J W” upon plaited brown hair verso. Together with Manner of Bernard Lens. Portrait of a lady, bust length, wearing a blue dress. Watercolour. Oval 4cm x 3cm (2)
Los 1
English School (c. 1810). Portrait of Richard Thomas, 2nd Lord Cremorne. Watercolour. Oval 6cm x 5cm. In a papier-mache frame. Richard Thomas Dawson (1788-1827) succeeded his great-uncle Thomas Dawson (1725-1813) as 2nd Lord Cremorne, and was Member of Parliament for Co. Monaghan 1812-1813. See provenance Lots 432-434, and also lots 437 and 448, in connection to this sitter.
Los 1
Attributed to William John Thompson (c. 1820). Portrait of a lady in early 19th century dress, likely to be after an existing portrait. Watercolour. Oval 7cm x 5.5cm. In a hammered brass frame. Together with three other portraits by the same hand, depicting Mary, Rachel and Jane Rashleigh, one on paper (4)
Los 1
Charles James Turrell (1846-1893). Portrait of a lady, half length, wearing a white dress and a two-strand pearl necklace. Watercolour. Signed with initials and indistinctly dated 191(0?) lower right. Oval 9cm x 7cm. In a frame with a white enamel and pearl border. In a fitted green leather case
Los 1
English School (late 19th century). Portrait of a lady in 18th century dress. Watercolour. In a gold frame. Oval 5cm x 4cm. Stieler (early 20th century). Portrait of a lady in a red dress and a four-row string of pearls. Watercolour over print on ivorine. Signed lower right. Oval 8.5cm x 6.5cm. And Italian School (late 19th century). Portrait of a lady facing left and wearing a red headscarf. Watercolour. Signed “Garolelli” lower left. 7.5cm x 6cm (3)
Los 1
Attributed to Christian Friedrich Zincke (1683/4-1767). Portrait of a gentleman, believed to be a member of the Vesey family, wearing a blue coat with gold frogging and gold trimmed white waistcoat. On enamel. Oval 4.5cm x 3.5cm. In a gilt metal mounted hezagonal frame. Provenance: Lieut. Col. the Hon. T. Vesey
Los 1
After Johann Heinrich Hurter (1734-1799). Portrait of Thomas Dawson, Lord Cremorne On enamel. Oval 7.5cm x 6cm. Thomas Dawson was 1st Viscount Cremorne (1725-1813), the eldest son of Richard Dawson, a banker and Alderman of Dublin. He was Member of Parliament for Co. Monogahm 1749-68, created Baron Dartry in 1770 and Viscount Cremorne in 1797. The Dartrey Papers are held in the Public Record Office of Northern Ireland, and comprise approximately 3,300 documents, covering the period 1654-1952. They document the estates of the Dawson family of Dawson Grove, alias Dartrey, Co. Monaghan, Lords Dartrey and Cremorne and Earls of Dartrey, in Cos Monaghan, Armagh, Louth, Waterford, Tipperary and Fermanagh.. Thomas Dawson built a mansion in the early 1770s, acquired or built Cremorne House, Chelsea, and employed the garden designer, Nathaniel Richmond, to lay out its grounds. Cremorne House was sold in 1827, and its grounds, “Cremorne Gardens”, became a public park and recreation area which are featured in Trollope (“The Small House at Allington”), and were closed down, in 1877. Provenance (lots 432-434):The Dartrey Papers are held in the Public Record Office of Northern Ireland, and comprise approximately 3,300 documents, covering the period 1654-1952. They document the estates of the Dawson family of Dawson Grove, alias Dartrey, Co. Monaghan, Lords Dartrey and Cremorne and Earls of Dartrey, in Cos Monaghan, Armagh, Louth, Waterford, Tipperary and Fermanagh. See also lots 415, 437 and 448 in connection to this sitter.
Los 1
John Jukes (1772-1851). Portrait of a gentleman, bust length. Watercolour. Oval 7.3cm x 6cm. In a black papier mache frame. The sitter bears a resemblance to Arthur Wellesley, Duke of Wellington. John Jukes sailed in the “Caroline” to Bombay in August 1812, and reached his destination on 10th April 1813. He stayed in India over twelve years before returning to England.
Los 1
James Warren Childe (c. 1778-1862). Portrait of a lady wearing black and with an ermine stole and portrait miniature bracelet, believed to be Charlotte Octavia Codrington; Portrait of a gentleman standing, three-quarter length, believed to be Henry L** Hunter Each watercolour. Each oval 17cm x 12cm (2). James Warren Childe frequently painted actors and actresses.
Los 1
Attributed to Sir William John Newton (1785-1869). Portrait of a lady, believed to be Countess Howe(?). Portrait of a gentleman. Each watercolour. The first indistinctly inscribed “the late Countess Howe (?), William J. Newton pinxit, miniature painter in waiting to their Majesties, 6 Argyle Street, 1837, N. B. - painted for the Queen, Each 11cm x 8.5cm. In a fitted leather display case by W. Lockwood & Co., 75 New Bond Street, London. Sir William John Newton was appointed miniature painter to William IV and Queen Adelaide in 1833, and was knighted in 1837, the year that these miniatures are believed to have been painted, and that of Queen Victoria’s accession to the throne. His works are held in the Victoria & Albert Museum, the British Museum, and the National Gallery, Dublin, as well as private collections including that of Her Majesty the Queen. Richard William Penn, 1st Earl Howe, married Harriet Georgiana in 1820, but she died in 1836.
Los 1
Attributed to George Engleheart (1750/5-1829). Portrait of Lucuis (?) Dawson. Watercolour. Inscribed indistinctly upon a paperlabel verso. In a gold frame within a blue border. With a lock of hair verso tied with split seed pearls and gold wire on opalescent glass. A Captain Dawson is recorded in Engleheart’s fee book as having had his portrait paintd in 1793; it is possible that this is the portrait in question, but this cannot be confirmed. In the Dawson family tree, an Anthony Lucius Dawson, 3rd Earl of Dartrey was born in 1855, married in 1878, and died in 1933, so the miniature may well be attributed to the wrong sitter. See also lots 415, 432-434 and 437 in connection to this sitter.
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283284 Los(e)/Seite