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Preisdatenbank abonnierenA gold, mounted tortoiseshell and half-pearl pendant brooch, designed as a cross with filigree decoration, length 6.2cm, width 4.7cm, a pair of earring drops of similar design (fittings lacking), length 4.7cm, and an oval shell cameo brooch, carved as a portrait of an angel, width 4.3cm, fitted with a safety chain.
A pair of Continental silver stork ribbon threaders, height 9.5cm, a silver spoon, the oval bowl decorated in relief with a portrait of Henry VIII, import mark Chester 1906 by Berthold Müller, length 12cm, and a small group of other silver and silver mounted items, including three folding fruit knives and an identity bracelet, weighable items 118.9g.
A gold pendant cross, detailed ‘9ct’, length 4cm, with a gold neckchain on a cylindrical clasp, detailed ‘9’, length 37.5cm, a gold and synthetic red gem set solitaire ring, ring size approx J, total weight 3.6g, and a Victorian oval shell cameo brooch, carved as a portrait of a lady, width 2.5cm.
A 9ct gold ropetwist link neckchain on a boltring clasp, length 49cm, another 9ct gold ropetwist link neckchain, length 41cm (lacking clasp), total weight 8.1g, a 9ct gold mounted oval shell cameo brooch, carved as a portrait of a lady, width 2.4cm, a similarly carved 9ct gold mounted oval shell cameo pendant, length 2.4cm, and another 9ct gold mounted oval shell cameo pendant, length 1.7cm, total weight 7.4g.
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STOCKING, 2020-21 oil on canvas 75cm x 62cm (29 ½in x 24 ½in) (unframed) Exhibited: Scottish National Portrait Gallery, Edinburgh, Alison Watt: A Portrait Without Likeness, 17 July 2021- 9 January 2022‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) FRANCES, 2022 signed, inscribed with title and dated ‘8th August 2022’ to stretcher verso, oil on canvas 76cm x 62cm (30in x 24 ½in) (unframed) Exhibited: Tristan Hoare Gallery, London, A Kind of Longing, 3 February - 10 March 2023‘I can’t deny the lure of the past.’ – Alison WattAlison Watt is one of the UK’s most respected painters working today. Her oeuvre has gradually evolved since her figurative works first came to public attention at her sold out Glasgow School of Art degree show. Over time the figures left our line of sight, leaving only the suggestion of their presence, her paintings pushing almost to the point of abstraction in her famous canvases of minimalistic white drapery. The latest direction - represented by the two works offered here - is markedly different again, though along a logical continuum. The figures have left the frame entirely and what remains is a psychological examination of their vestiges. Those familiar with her career will recognise that her work’s current iteration is the next step in her on-going exploration of, as she puts it, ‘the different ways in which a human being can be represented without being present…’Though an artist with a singular voice, her work is underpinned by a fascination with and debt to the precise and lusciously detailed work of the Old Masters. It was this aspect of her work that the Scottish National Portrait Gallery sought to explore in their exhibition Alison Watt: A Portrait Without Likeness (Edinburgh, 2021-2022), which juxtaposed Watt with the work of one of her great inspirations, Allan Ramsay. Watt immersed herself in the gallery’s collection of Ramsays, including accessing his archived sketchbooks. The resultant body of work was exhibited alongside two of his most celebrated portraits, those of his first and second wives. Many of the aspects Watt admires in Ramsay’s work, she also shares: the simplicity and “geometry” of composition, balanced against the fine detail and delicacy of technique, and a depth of feeling tangible in the painting process itself. Ramsay’s portraiture is celebrated for its deep intimacy; his best work is frequently said to be of the interesting, intellectual women of his close acquaintance. Watt conveys that same intimacy in the present paintings, an unspoken narrative suggested in the quiet grandeur of her still lives. She raises gentle, unanswered questions about the objects’ symbolism. In Watt’s own words, the still life ‘can both offer you familiarity with an object, but also transcend the everyday.’Stocking was one of the works created for the Scottish National Portrait Gallery exhibition, with Frances a continued exploration on the theme in 2022. The cabbage leaf in the latter is a reference to the one held by Ramsay’s sitter Lady Boscawen in his portrait of her of 1747. In the exhibition catalogue text, historian Tom Normand remarks on the eccentricity of Ramsay’s choice of such an object as a prop. At face value, Boscawen was a keen horticulturalist, and on a second level it might be understood to represent the mother of five’s fecundity. Watt, intrigued by the mystery, amplifies it further by isolating the object and placing it within a contextless blank backdrop. As with Watt's famously allusive folds of drapery, the elevation of a mundane object and the strange intimacy this choice engenders makes complex what at first appears simple. As Normand puts it, the cabbage leaf ‘is revealed as a charismatic organism. Its familiarity is complemented by its wild exoticism; its mundane aspect becomes a strangely erotic cypher.’ Boscawen, a painting closely related to Stocking and Frances, was purchased for the Scottish national collection with support from the Patrons of the National Galleries of Scotland in 2022.
Boxes and Objects - stamps, two albums, containing British and world stamps, 19th century and later; a Mariquita Perez doll, glass eyes, in traditional Dutch costume, 36cm high, boxed; an AA badge; nutcrackers; Corpus Christi; English School, Portrait of a Lady, oil on board; other original works; etc, qty
Greyhound Racing - a pair of early 20th century brass flatback portrait models, of Waterloo Cup winners Harmonicon and Dilwyn, rectangular bases, 29cm wide, c. 1918Harmonicon, by Heavy Weapon out of Camorra, won the Waterloo Cup in 1916 Waterloo Cup. Recognised for his size and strength he was sold at the Barbican for 600 guineas in February 1917 to breeder Denis Gorey and became a major influence on the Irish GreyhoundOwned by Mr A F Pope, Dilwyn won the Waterloo Cup in 1914.
DAVID WILSON "Marjorie in the kitchen at Maivel", study of an interior with woman in kitchen, oil on canvas, signed lower left and titled verso, 61 cm x 46 cm together with JOHN WALTON "Portrait of a middle aged lady wearing pearl necklace and blue blouse and gilet", oil on board, signed and dated '51 lower left, bears photo inscribed "1962 with Gerald Durrell for Guide Dogs for Blind" verso, 41 cm x 30 cm (2)
A 19th Century mahogany cased long case clock, the eight day movement with enamelled dial, the dome painted with portrait of Second Earl Grey PM amongst symbols for Britannia, justice and an angel seraph with pamphlet "Rights of the People" over a circular dial with Roman numerals to the chapter ring enclosing subsidiary seconds dial and date dial inscribed "C. Robertson Blairgowrie" amongst figural symbols for Scotland, England, Ireland and Wales to the spandrels, approx. 50 cm x 24 cm deep x 214 cm high
An 18th Century Vauxhall salt glazed stoneware mug of large proportions, the white metal rim inscribed "Mr Carter Eastham 1730", the main body decorated with white metal engraved oval medallion engraved "JAC 1783" with central portrait of Queen Anne flanked by two guards with pole axes amongst trees, a stag hunting party in the foreground with plain reeded loop handle (with 19th Century stapled repairs throughout and metal banding to the handle), 14.9 cm diameter at rim by 22.5 cm high CONDITION REPORTS As per description several areas of cracking and repair with early stapled repairs particularly around the handle area with metal strengthening of banding in four places to the the handle. Handle connected to the main body with staple, other larger and smaller staples almost throughout. Some signs of wear and tear throughout, otherwise conducive with age and use, particularly to the base. See images for further details,
Late 18th century British School. An oval portrait miniature of Edward Croxall as a young man , wearing a brown coat and white stock, height of miniature 7cm and a late 18th century British School. An oval portrait miniature of Edward Croxall wearing a blue coat and white stock, framed, height of miniature 8cm. These two miniatures depict Edward Croxall who died in 1827 and was High Sheriff in 1796
Mid 19th century British School. A portrait of a boy, pencil, framed 15 x 10cm and a small handwritten journal dated 1841 and three various silhouette profile portraits two members of the Tongue family and another of Croxall, an oval miniature of a 4 year old Agnes Arnold Hepburn and two others
A LOUIS XV STYLE GLASS AND GILT METAL MOUNTED OVAL TRINKET BOX, early 20th century, of neo classical design raised on four Ionic style legs, the top inset with a circular ivory portrait indistinctly signed and inscribed verso "Elizabeth Jardiniere", 4" h x 6" w x 3" d, together with a small oval Louis XV style gilt metal trinket box, 1" h x 3 3/4" w x 3" d (2) (Est. plus 24% premium inc. VAT)Non transferable standard ivory exemption declaration numbers TXPYWRUL & 7QTHSFZF Condition Report: The larger glass box with broken hinge to lid and numerous small areas of damage to the glass body. The second box has dents to the base and is in used condition.
ENGLISH SCHOOL (20th Century) Portrait of a lady, head and shoulders wearing a lilac dress and enamelled pendant, oil on canvas, 20" x 15 1/2", 20th century swept style frame (Est. plus 24% premium inc. VAT) Condition Report: No holes, tears or repairs visible to the canvas. The frame with some small losses.
ENGLISH SCHOOL (19th Century)Portrait of Henry Howard, Earl of Surrey (1516/17-1547), half length with inscription "Henry Earl of Surrey son of Thomas 3rd Duke of Norfolk and the lady Elizabeth daughter of Edward Duke of Buckingham. Beheaded 1548. Buried at Framlingham. Matchlefs with his pen, victorious with his lance bold in the lists and graceful in his dance", watercolour, 10 3/4" x 7 1/4", glazed gilt composite frame (Est. plus 24% premium inc. VAT)Condition Report: Watercolour with some areas of discolouration and edges likely to have been trimmed prior to framing. Losses to gilt frame in places.
JACQUES GABRIEL HUQUIER (1725-1805) Portrait of Mr Wilson of Rigmaden Park, Mansergh, Kirkby Lonsdale, head and shoulders with powdered hair wearing a lime green jacket and a white stock, signed middle left, pastel, oval, 18" x 14", glazed gilt composite frame (Est. plus 24% premium inc. VAT) Condition Report: The pastel is in good condition. The frame with some small losses and the glass loose in its fitting.
ENGLISH SCHOOL (19th Century)Portrait of Lt. Colonel Coleridge and his wife Frances Taylor, a pair, oil on panel, 9 3/4" x 8" and 9 3/4" x 8 3/4", burr maple frames (Est. plus 24% premium inc. VAT)Condition Report: Both panels structurally sound. Each paint surface with small spots of loss and scratches through use and age. The frames with losses to the corners and edges.
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