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Preisdatenbank abonnierenBerkeley: Engraved Portrait & Prints. A collection of portraits of George Berkeley, and of people and places (Kilkenny College) associated with, or contemporary to him, including Thomas Prior, Jonathan Swift, Henry Sacheveral, Samuel Johnson, Oliver Goldsmith, David Hume, Robert Boyle, John Locke etc., approx. 20 items. As a lot, w.a.f. (1)
Photographs: European Leaders, A small Carte-de-Visite Album containing approx. 42 carte-de-visite portrait Photographs of Queen Victoria, Prince Albert & other members of Royal Family, members of British Government, Gladstone, Ld. John Russell, Lord Palmerstown, Pope Pius IX, Cardinal Antonelli, members of the French, Russia, Prussian, Greek, Italian & other royal families, Prince of Morocco and many others, all c. 1860,in sm. leather bound Album. As a coll., w.a.f. (1)
Privately Printed - Limited to 200 Copies Only Wilde (Oscar) The Portrait of Mr. W.H., 4to Privately Printed No. 189 of Limited Edition of 200 Copies. c. 1904. Hf. title, 48pp. large margins, uncut, orig. ptd. blue wrappers, a few nicks to fore-edge, title printed within floral decorated border. V. good copy. Very Scarce. (1)
With Illustrations by Patrick Newell Illustrated Volumes: Carroll (Lewis) Alice's Adventures in Wonderland, & Through the Looking Glass, 2 vols. N.Y. & London (Harper & Brothers) 1902, First Edn., portrait frontis, black and white illustrations throughout by Peter Newell, decorated borders, uncut, gilt decor cream boards, original d.j. Good set. (2)
Republican Music: Gaelic Press - Clarke (Richard) The Prison Grave of Kevin Barry, Music by Joseph Stanley, 4pp folio D. (Gaelic Press) c. 1920; also O'Neill (Phil) The Felons of Our Land, published by J.J. Walsh, Dublin c. 1920. Four pages 4to with illustrated oval portrait of Séan Mac Diarmada on front cover. As music, w.a.f. Both Very Rare. (2)
O'Brien (Edna) A Manuscript Note, & drawing, 'Self-Portrait,' Signed by author, and dated Jan. '75 from Algonquin Hotel. Black marker on paper, 9" x 6". Self portrait, done at the request of collector Burt Britton. A minimalist rendering of her own face, over a six-line note. As a m/ss., w.a.f. (1)
Burton (Capt. Sir R.F.) Personal Narrative of a Pilgrimage to Al-Madinah & Meccah, 2vols. 8vo Lond. 1893 Memorial Edition Edited by his wife, Isabel Burton Two hf. titles, 2 portrait frontis & other coloured & bl. & white plts. fold. maps etc. (19 plts.in all), orig. gilt decor. cloth. V. good copy. (2)
Walter Kelvington Gold, Australian (1847-1895) Australian Interest [Sketch Album & Diary] An important small Album of attractive Portrait Sketches, landscapes etc., of Australia including a Self Portrait, views of Port Elliott, Mount Bryden, Simit Island, Survey Camp (N.S.W.), some miniature watercolours, notes, written passages, sketch of a Koala, some m/ss costings / expenses. Interesting Album from the late 19th Century showing the later stages of exploration in Australia. As an Album, w.a.f. (1)
Michael Angelo Hayes (1820-1877) A View of Sackville Street (1854), watercolour and ink on paper, approx. 49cms high x 67cms wide (19" x 26"), heightened with gouache, framed. (1) In 1854, Michael Angelo Hayes painted A View of Sackville Street, showing the Post Office, Nelson’s Pillar, and the palatial Mart of the Messrs. McSwiney and Co. The view shows Sackville Street (now O’Connell Street) with, on the right, the new department store ‘McSwiney, Delaney & Co’, due to open in May the following year. A business venture by George Delaney and Peter Paul McSwiney, some thirty years later it was re-named Clery & Co., but continued in business. In the mid 1860’s, when McSwiney was elected Lord Mayor of Dublin, Hayes, who was his brother-in-law, worked for him as secretary. He evidently regarded this watercolour as one of his finest and in 1888, a highly-finished watercolour entitled Sackville Street, Twenty-Five Years Ago, was shown at the Irish Exhibition in London--that painting is likely the version now in the National Gallery of Ireland. The present painting appears to be an earlier work by Hayes, and is full of the incidental detail he observed in the busy street, including a man in the foreground holding a sign, “Summer Goods - McSwiney Delaney & Co’. The pavements are crowded with people, dressed in the latest fashions, the men in top hats and the women wearing crinoline dresses. Horse-drawn omnibuses, carriages, jaunting cars and drays traverse the cobblestones. The painting is an important record of Dublin’s main thoroughfare in the mid-nineteenth century; today Nelson’s Pillar is no longer there, while Clery’s Department Store was destroyed in 1916 and rebuilt six years later. While it closed its doors in recent years, there are plans to renovate the building as offices and a hotel. Born in Waterford in 1820, Michael Angelo Hayes was given his first lessons in art by his father Edward Hayes (1797-1864), a portrait and equestrian painter. Around 1831, the family moved to Dublin, and having begun to exhibit at the Royal Hibernian Academy, aged seventeen, Hayes went on to specialise in equestrian and military subjects. He is perhaps best known for his illustrations Car-Driving in the South of Ireland in the Year 1836 which were published as aquatint prints by Ackerman. He painted many scenes of horse racing and hunting, including The Race for the Corinthian Cup at Punchestown (1854). In 1842 he was appointed “Military Painter-in-ordinary” to the Lord Lieutenant, and painted a watercolour of troops parading at Dublin Castle. He also depicted the Yorkshire Hussars in 1840, and The Charge of the 3rd King’s Own Light Dragoons at Moodkee, an engagement in 1845 during the First Sikh War. In 1846 he painted 16th Lancers Breaking the Square at Aliwal and nine years later, The Heavy Cavalry Charge at Balaclava. Hayes’s paintings were based on direct observation and he made a detailed study of equestrian anatomy, writing a paper in 1876 entitled The Delineation of Animals in Rapid Motion. He also painted early animations, called ‘phenakistoscopes’ of people dancing. In the late 1840’s Hayes was in London, where he became an Associate Member of the New Society of Painters in Water Colour. However most of his career was spent in Dublin; he became a member of the RHA in 1854, and was elected Secretary two years later, when George Petrie was President. The two men quarrelled and over the years following the Academy’s activities were marred by bitter disputes. Many of Hayes’s works were published as engravings and lithographs, including a series illustrating the ballad “Savourneen Deelish” (his sweet love). He died in 1877, having fallen into a water tank on the roof of his house and drowned. Dr. Peter Murray, 2023
Irish Musical Interest: A group of three Irish Harpers Portrait Engraving, to include: * Carolan - The Celebrated Irish Bard, engraved by J. Martyn, published Nov. 12th, 1822, Dublin, approx. 44cms x 31cms (17'' x 12'') unframed; * Edward Bunting, author of the General Collection of the Ancient Music of Ireland, engraved by James Sidebotham, Dublin, Sept. 1st, 1811, approx. 40cms x 28cms (16'' x 11''), unframed; * Hempson - The Harper of Magilligan, County of L'Derry, after E. Scriven, published by E. Bunting, No. 1809, approx. 43cms x 32cms (17'' x 12 1/2''), unframed. As a lot. (3)
19th Century Irish School Portrait of Archbishop Thomas G. Croke 1824-1902. O.O.C., 92cms x 76cms (36" x 30") (1) Set against a grey background, Archbishop Thomas William Croke is depicted dressed in clerical ‘choir dress’— a black wool cassock, trimmed with purple silk. Grey-haired, his expression is severe but not unkindly. The identity of the artist is not known, but this portrait probably dates from the 1880’s, when Croke was Archbishop of Cashel and Emly. Born in Castlecor, near Kanturk in County Cork, Thomas William Croke was the son of William Croke, agent for the Freeman Estate, and Isabella Plummer. Although William was Catholic, his wife Plummer was Protestant, a descendant of the Knights of Glin, and in 1817 when she married Croke, her parents disowned her. When William died, his brother Thomas took on responsibility for educating the couple’s eight children. Three of the boys entered the priesthood, while two of the girls became nuns. After attending school at Charleville, Thomas William went to Paris to further his studies, and then to the Irish College in Rome, where he was awarded a Doctorate of Divinity. In 1847 he was ordained at Cloyne, Co. Cork, and shortly afterwards was appointed a professor at Carlow College. Eleven years later Croke was made President of St. Colman’s College in Fermoy, and he also served as parish priest of Doneraile. He attended the First Vatican Council in 1870 and that same year was appointed Catholic Bishop of Auckland in New Zealand. Four years later Croke was back in Ireland, serving as Archbishop of Cashel and Emly, and becoming an ardent supporter of the Irish Nationalist movement. However, he was summoned to Rome to be given a dressing-down for his support for Charles Stewart Parnell, and thereafter became less directly involved in politics. He died at the Archbishop’s Palace at Thurles in 1902. A keen supporter of the Gaelic Athletic Association from the outset, Croke Park is named after him.Dr. Peter Murray, 2023
1916 Broadside: An unusual American Publication printed Poster commemorating Irish Martyrs of 1916, with sm. oval portrait Photographs of P.H. Pearse, T. MacDonagh, Wm. Pearse, Thos. J. Clarke, Ed. Daly, John McBride, Con. Colbert, Eamonn Ceannt, John McDermot & James Connoly, published by Wolfe Tone Co., N. York & dated 1916, approx. 36cms x 28cms (14" x 11"). V. good. Scarce. (1)
de Marolles(M.) Tableaux du Temple des Muses; Tirez du Cabinet de Feu Mr. Favereau. 4to Amsterdam (Abraham Wolfgank) 1676. Engd. title (rebacked wd. cut device on title) & 58 full page fine emblematic engravings, title soiled, & few plts. repaired, some browning, lacks portrait, cont. calf backed boards. (1)
Relating to Lands in Co. Kerry, 1762 Manuscript: Large document on Vellum, in English, 3 membranes. Royal portrait at top left corner; across the top a scroll of vine leaves with an English rose and a Scottish thistle. Seal of the Irish Court of Common Pleas (intact). Endorsed: “An exemplification of a recovery suffered by Richard Chute Esq. and Francis Chute his son of lands in the county of Kerry, Easter Term 1762.” Prior to 1834 it was illegal for the owner of an entailed estate to sell any part of his lands. Lawyers, however, found some ingenious methods of evading this restriction, one of which was a fictitious lawsuit in which the owner was said to “suffer a common recovery”. An “exemplification of common recovery” was generally an impressive (and no doubt expensive) document – large, written on vellum in an ornate script, headed with the royal portrait and national emblems, and bearing the large seal of the relevant court. The legal phraseology was often extremely complicated, but so formulaic that it was seldom written out in full. In this case, the owners were Richard and Francis Chute of Tullygarran and the prospective purchasers were the Hon. William Crosbie of Ardfert and Stephen Mills of Cork, banker. The lands are named as Tullygarran, Ballygakin alias Ballygakee, Ballyard, and Clogherclinin alias Clogherclemin, in the barony of Traughanackmee. A large impressive document, as a m/ss., w.a.f. (1)
Two Presidents [De Valera, Éamon, & Kennedy, John F.] Inaugural Address by President John F. Kennedy, January 20, 1961. Full text of the celebrated address, with portrait and with first-day-of-issue Kennedy commemorative stamps, postmarked Boston, May 29 1964, with a reproduced Kennedy signature, and with De Valera’s original signature. De Valera was President of Ireland during Kennedy’s four-day visit in June 1963, when he said ‘I will come again in the springtime’ – but it was not to be. De Valera went to Washington in 1964, and addressed Congress; presumably this item was signed during his visit. Single sheet, oblong A4. Rare memento. (1)
§ § Anna Katrina Zinkeisen (English, 1901-1976) Portrait of Surgeon Captain William Llewellyn Hamilton-Harrisonoil on canvassigned57 x 46cm***CONDITION REPORT***Oil on original canvas in somewhat neglected condition, a notable dent in the canvas just below his chin with resulting loss of paint, also a small scuff mark near his right shoulder, small scuff dents top left and bottom left corners not going through the canvas, otherwise rather dirty, housed in the original gold painted oak frame which is now flaking, Stacy Marks label verso along with pencil inscription giving details of the sitter.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
* Amadeo Modigliani (Italian, 1884-1920) 'Femme Accoudee' Portrait of de Mme Anka Zberowskapencil on paper laid down on boardsigned41 x 25cmPlease note this lot attracts an additional import tax of 5% on the hammer price Provenance: Madame Hanka Zborowska (wife of the artist’s dealer); Galerie Zac, Paris; Ronauld Laaren, The Netherlands; Parke-Bernet, New York, 13th May 1964; Bloomsbury Auctions, London, 12th July 2009;Literature: Oscaldo Patani, Amadeo Modigliani, Catalogue generale; Disegni 1906-1920, Milano 1991. no. 124. Illustrated. A photo-certificate issued by the Wildenstein Institute, Paris was issued for this work.Private Collection Guernsey.The primitive style of this Expressionist painter is perhaps best epitomised by the many portraits he painted of Hanka (Anka). These hang in the major art galleries, such as the New York Museum of Modern Art and the London Tate. In this sketch, as with Klimpt, it has been drawn with a very light pencil, so the positioning of the frame to avoid too much reflection, is critical for easy viewing.Madame Zberwoska was the daughter of a Polish aristocrat who, with her husband, arrived in Paris on 1914 with both becoming very close to the artist, her husband Leo was his main agent whilst she remained his primary model, until his early death aged only 35. It is likely therefore that this drawing was executed only a few years before his death. Other artists who painted her include Utrillo, Derain and Fujita. Modigliani drawings are both uncommon and expensive, so given its excellent Provenance and Literary references this is a rare chance to acquire a work by an artist now eagerly sought.***CONDITION REPORT***Paper evenly discoloured with further darker damp spots, looks very flat so thought to be laid down, signature lower right corner, housed in a later card mount and modern glazed gilt frame, various Exhibition labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
18th century English School Portrait of a child standing wearing a blue dressoil on canvas75 x 62cm***CONDITION REPORT***Oil on canvas relined 10 - 20 years ago or so, canvas remains tight and paint clean, slight stretcher marks showing along with a flattened fine craquelure throughout, signs of old scuff marks down the right hand margin, possibly cut down from a larger work, housed in an Edwardian gilt gesso frame, no inscriptions or labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
* Follower of Willem Wissing (1656-1687) Portrait of a gentleman, three quarter length, in a brown waistcoat, lace jabot and crimson wrap, leaning on a stone pedestaloil on canvas124 x 100cm, in a George III carved giltwood framePlease note this lot attracts an additional import tax of 5% on the hammer price Provenance: Christie’s 26th October, 2011, Lot 1250: thence Private collection Guernsey***CONDITION REPORT***Oil on canvas relined 30 to 40 years ago or so, canvas remains tight and paint in very good clean condition, possibly two very light surface scratches at the bottom of the red robes, housed in highly ornate carved giltwood scroll frame with some old faults and small losses, label verso for Haynes Fine Arts.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
After Constantin Netscher (Dutch, 1668-1723) Portrait of Peter The Great, Tsar of Russiaoil on canvas43 x 32cm***CONDITION REPORT***Relined 20 to 30 years or so ago, canvas remains tight, paint in good clean order with a fine but stable and slightly flattened craquelure throughout, housed in a 19th century gilt gesso frame which is overpainted in gold, handwritten label of attribution verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
After Luigi Pompignoli (Italian, 19th C.) Portrait of a young lady artistoil on canvas74 x 58cm***CONDITION REPORT***Oil on canvas relined and restored within the past 20 years, canvas remains in good clean condition and paint in good order with no faults noted, housed in an ornate gilt Florentine frame which is in equally good order.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
* * A Russian lacquer Catherine II portrait snuff box, by Lukutin, c.1840, painted with a miniature portrait of Catherine II to a circular reserve on the cover, gilt foliate borders on a blue ground, the faux tortoiseshell interior with Imperial warrant and signature, 8cm wideProvenance – bought from the Winter Palace, Kensington Church Street, 8th September 1987.Please note this lot attracts an additional import tax of 5% on the hammer price***CONDITION REPORT***Collection inventory no 27.Some wear to the lacquer on the edges and corners of the box, slight flaking to the edges of the faux tortoiseshell interior on the cover and by the hinge, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
* An important pair of late 18th century Venetian carved baroque giltwood throne chairs, the seats and backs upholstered in red floral silk. c.1770, each with cartouche shaped backs, flanked by cherubs, above scrolling legs with similar cherubs, united by acanthus carved ‘X’ stretchers, re-gilt, the undersides with metal plaques stamped ‘KG1663’, 64cm wide, 55cm deep, 132cm highPlease note this lot attracts an additional import tax of 5% on the hammer price Provenance: Paolo Renier (1710-1789), Doge of Venice, (one of the chairs from the suite is to be seen in a portrait of Renier, in his Doge’s robes, by Ludovico Gallina); Christie’s London, 18th May 1995, lot 306 and 10th June 2004, lot 21; thence Private collection Guernsey.Other furniture from the suite, include four armchairs and one of the two console tables, en suite, from the original set for Paolo Renier, are now in the Ca’ Rezzonico, Venice, see Pedrocco, Filippo - Ca’ Rezzonico: Museum of 18th Century Venice, Musei Civici Veneziani, 2nd edition, 2005, (pp. 52/53); the Wallace Collection, London, (Inventory number F491), and various private collections. Also illustrated (p. 104) and on the front cover of - Linley, David and Cator, Charles - ‘’Star Pieces: The Enduring Beauty of Spectacular Furniture’’, Thames and Hudson, London, 2009***CONDITION REPORT***Both in fair to good condition probably restored 10 to 20 years or so ago, seats drop in and back padded panels equally push into place, minor small losses to the frames.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Three stained glass fragment panels, 17th century and later, one depicting a female bust, another of a Pan like figure emerging from scrolls and the last, a portrait of a 16th century gentleman, largest overall 17cm.***CONDITION REPORT***Formerly in the collection of George WigleyPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Follower of Sir Edward Coley Burne-Jones (English, 1833-1898) Portrait of a ladysanguine chalk36 x 25cm***CONDITION REPORT***Sanguine chalk on light buff paper which may have slightly but evenly discoloured, a fine horizontal bleached line showing just abover her hairline running across the work, some loose insect dirt and a few small dirt spots upon the work, discoloured washline mount and plain wood frame with inscribed attribution verso stating sitter to be Harriet Marian Stephen (1840-1875) (Mrs Herbert Duckworth) however the work is thought to be circa 1910.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
* Studio of Sir Peter Lely (1618-1680) Portrait of Henrietta Hyde (née Boyle), Countess of Rochester, (1646-1687) three quarter length, in a gold dress, wearing a gold-embroidered blue mantle, seated by a pilasteroil on canvas123 x 101cmPlease note this lot attracts an additional import tax of 5% on the hammer price Provenance: Christie's sale 13/10/23 Lot 106. By descent through the Dukes of Leeds, Horny Castle, Yorkshire; Christie’s, London - The Property of the 10th Duke of Leeds Will Trust, 30th October, 2014. Lot 106 [When incorrectly described as portrait of Bridget Bertie, Countess of Leeds]; Thence Private collection Guernsey.***CONDITION REPORT***Oil on canvas relined many years ago, canvas remains tight, one or two tiny dirt and paint flecks on the work but essentially looks to be in good order, housed in an original gilt frame which is rather tatty, Collection reference label numbered 60 applied to the front, labels verso for a Christie's sale in 2014.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Sir Gerald Festus Kelly RA, KCVO, PRA (British, 1879-1972) Portrait of Mademoiselle Gabby Aumontoil on canvasinscribed verso44 x 37cm***CONDITION REPORT***Oil on original French canvas in good clean condition albeit rather dark, possibly signed lower right, inscribed with the title 'Gabie' verso, later burr wood frame with title plaque giving the details of painted in 1904 and Exhibited Royal Academy and Diploma Gallery 1954.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
An ivory portrait miniature of a young lady in a 9ct gold pendant mount, 3.5cm x 2.5cm, in a fitted white metal case, a silver vesta case, a silver dolls house chair, marked 925, a silver cigarette case, John Rose, Birmingham 1937, rectangular, engine turned, engraved to top corner 'Pam' and a silver mounted matchbox, approximately 136g in total, (5)Ivory registration reference: Q19SVSYQ
ARR Mary E Carter (born 1947)Tuning the Violinthree-quarter length portrait of a womansigned and dated lower right 2008oil on board10.5cm x 9.2cm with Richard Hagen Fine Paintings, Broadway Framed. Generally very good condition overall, with some light surface marking to the artwork itself. Some wear to the deliberately distressed frame that is largely part of the making process.
Small quantity of jewellery, including a yellow metal keeper chain marked 9c, 144cm, 31.5g.9ct gold bar brooch, 2.4g, 9ct gold pin, 2.5g, 22ct gold wedding ban, 2.9g, yellow metal bar brooch with seed pearl set initial C, carved portrait cameo brooch, cameo pendant and ring, 9ct gold and garnet pendant, 9ct gold pendant and chain, gilt metal selal fob, mourning brooch with hair lock.
Royal Doulton, Lambeth stoneware jug commemorating the reign of Queen Victoria 1837-1897, inscribed to neck ‘Dei Gratia = Victoria = Queen & Empress/ 1837-1897/’ and to bowl ‘Lasting Good She Wrought Her People’, two portrait medallions in relief of a young and old Queen. Plus, matching Royal Doulton Lambeth Victoria cup, inscribed ‘Victoria RI 1837 / 1897’ with two medallion portraits. Both stamped to base with Doulton Lambeth England impression mark. (2)
Collection of various unframed limited edition prints and archive printer’s proofs, ex gallery collection, interesting lot to include; Barbara Gilligan ‘ Illustration ‘ (1950’s Archive Printers Proof, 41cm x 30cm), Melville Coleman ‘ Illustration ‘ (1950’s Archive Printers Proof, 38cm x 29cm), Clara Biller ‘ Sketch Sheet ‘ (1950’s Archive Printers Proof, 44.5cm x 56cm), Aitken ‘ The Mourners ‘ (1950 Lithograph proof copy, 23.5cm x 17.5cm), Aitken (Print, 13cm x 23cm), Kate Miller ‘ King of the Castle ‘ (Limited edition print 5/11, 35cm x 49cm), Kate Miller ‘ Leicester Square ‘ (Limited Edition print 4/6, 21cm x 42cm), Roland Collins ‘ Illustration ‘ (1950’s Archive Printers Proof, 21cm x 13cm), Susan Williams-Ellis ‘ Illustration ‘ (1940 Archive Printers Proof), Moy Keightley (30cm x 25cm), Stefan McComnell 27cm x 44cm), ‘ Train Approaching ‘ (Lithograph 25cm x 29cm), Charles Mozley ‘ Illustration ‘ (Lithograph proof copy, 26cm x 33cm), Russell Reeve ‘ Self Portrait ‘ (Lithograph proof copy, 31cm x 22cm) etc. Total quantity 19. Due to quantity buyer to collect or organise their own transportation. (19)
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