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283284 Los(e)/Seite
Los 239
A Coalport cabinet plate by Thomas Keeling, circa 1901, fully painted with a scene of 'Mother and Child' after Joshua Reynolds, with gilt gadrooned rim, signed 'T. Keeling, '01', green printed factory mark, titled to the reverse, 23cm diameterThomas Keeling was born in 1864 in Stoke-on-Trent, Staffordshire. He is first shown working for Copeland 1882-84 painting figure subjects on tiles and slapped and later worked as a principal artist Coalport in the early 1900s, specialising in fruit, animal studies, figures and portrait heads. In 1909 he left Coalport to open a china shop in Kidderminster.Condition:Good condition with no damages or repairs. Crazing to the glaze. A couple of spots of gilt wear to the rim.
Los 149
A rare Caughley polychrome mug, circa 1785-90of straight-sided cylindrical form, with an indented loop handle, painted with an Angelica Kauffman-style oval panel of a woman seated with a dog, the panel decorated predominantly in brown and green tones with a pink blush to her cheeks, below a gilt and blue 'Flaming Pearl' border, unmarked, 8.5cm high and 6cm diameterProvenance: Ivor Southorn Collection. Ex. Godden Reference Collection.Condition:Rubbing and some minute nicks to the gilding on the upper rim. Two faint hairlines or crazing lines to the upper portion of the handle. There is some gilt loss to the foliage on either side of the portrait panel. Old remnants of sellotape residue to the body.
Los 222
An impressive Coalport limited edition Queen Victoria Diamond Jubilee vase and cover, 1897made exclusively for Osler & Co, a limited edition numbered 4 of 50 and likely painted by J.H Plantthe cover with crown imperial finial, painted with four orders of knighthood in circlets linked by gilt diamond, thistle, shamrock and rose chain, angular lion's head handles, the body decorated to either side with young and old heads of Queen Victoria in profile as portrait medallions on a ruby ground, within a gilt circlet set with six sepia views to either side to document the industrial and agricultural progress throughout her reign, within wreath surrounds and gilt with oak branches, the socle with the Colonial Dominions of Australia and Canada, printed factory marks and the inscription 'This vase is one of 50 produced to commemorate the Queen's Diamond Jubilee 1897, Manufacturered by the Coalport China Co Limited Exclusively for US No4' to cover and base, 53cm high (cover restored)Provenance: Ivor Southorn Collection.Condition:Cover - there is restoration, it looks like the knop has been broken off and so has the top of the crown. This is good quality restoration and has been done relative sympathetically. There are also some hairlines to the underside of the cover and this area has been over painted to cover these. One hairline is still slightly visible. The top of the cover has patches and spots of brown discolouration.Vase - the interior of the vase is heavily discoloured. Possible water damage? In the same area to the exterior, there is also a slight discolouration. The exterior section of the vase above the base has some stained crazing lines. Generally, the whole of the body has closely packed crazing throughout. Some of this crazing on the foot is also stained and discoloured. Again, the underside is very stained. No signs of other damages or repairs. There is some slight wear to the gilding on the edges of the handles.Please see images
Los 148
An English porcelain 'Success to Trade' jug, painted with a portrait of a black Moorish gentleman in a yellow headdress inscribed 'T. WEBSTER 1821', with coat of arms and motto 'Upon my Honour, Quid Rides' (Why do you Laugh?) and 'The Hand that reveals & the Heart the conceals', opposed by a further coat of arms for a butcher or similar merchant trade, the portrait panel probably representing to the owner's shop or business name - e.g. 'Blackamoor's-Head', unmarked, 21cm highProvenance: The Ivor Southorn Collection. With lot label for Sotheby's, 23rd November 1993, lot 155 and a paper note 'Given to our grandparents the Rev'd James & Mrs Hitchings by Josiah Wedgwood for a wedding present. James Hitchings was at Oxford with Josiah Wedgwood'. The details on this note appear to be erroneous.Reverend James Hitchins was the second son of Sir Edward Hitchings (1749–1825) Mayor of Oxford. On the 24th October, 1806 James was matriculated at the University of Oxford by Christ Church at the age of 16. He received his BA in 1810, served as an Ensign with the Oxfordshire Local Militia in 1812, was Curate of Stratton Audley in 1813 and Vicar of Wargrave, Berkshire, from 1826 until his death on 7th May 1850.
Los 759
A fine mid-19th century shell cottage diorama, possibly a Royal residence, an elaborate single storey L-shaped house, the main building with single room, with vaulted ceiling and dormer widows, the interior decorated with gold star patterned wallpaper, some pieces of furniture, a seated ‘alien head’ composition-headed elegant lady with elaborate floral headdress and jointed wood body, a similar whiskered gentleman in British military dress uniform presenting her a bouquet and three Grodnerthal children playing nearby; at the front door with steps down is a shell gentleman in frocked coat and top hat, leaving carrying a book; the other room contains two beds, one with a Grodnerthal child asleep, to one side is a backdoor with porch, three pairs of chimneys covered with marquesite dust, the house sitting on top of a landscaped garden, the back terrace with a feather parrot on star and a elderly shell lady leaving by the back steps, the surrounding garden includes a composite cat stalking a shell mouse, a mirrored pond with glass fountain, a shell rowing boat and feather swan, a feather peacock perching on a feather tree and various shell chickens, displayed on a weighted ebonised base with glass dome, base 19in. x 21in. (49cm. x 54cm.), 17in. (44cm.) height of dome - this house was purchased by the original vendor’s Uncle Bill in 1925 when he was aged 5, in the Aldershot area. It is probable that the lady in the house is supposed to represent Queen Victoria and the uniformed man, Prince Albert. In 1849 Queen Victoria visited the Shell Cottage in the grounds of Carton House, Kildare, Ireland, which looks virtually the same as this house, but the shells are on the interior. She had her 4th child in 1844; in the same year she had her portrait painted in a headdress that matches the one she is wearing here. Queen Victoria was known as The Famine Queen, after personally donating £2,000 to the famine relief, so had strong links with Ireland - this house was purchased by the current vendor at SAS in June 2014
Los 363
Three: Second Lieutenant J. Elliott, Labour Corps, late Private, 1st Battalion, Liverpool Regiment 1914-15 Star (12633 Pte. J. Elliott. L’Pool R.); British War and Victory Medals (2. Lieut. J. Elliott.) suspension claw to BWM a little loose, nearly extremely fine (3) £60-£80 --- John Elliott was born in 1899, and resided in Builth Wells, Wales; he was a quarry manager in civil life. Elliott served during the Great War with the 1st Battalion, Liverpool Regiment on the Western Front from 28 November 1914. He was commissioned Second Lieutenant in the Labour Corps in August 1917, and served with the 64th Labour Company. Sold with the following related items: The Royal Life Saving Society Medal, bronze, reverse engraved ‘J. Elliott. April 1910’; Labour Corps cap badge, and Collar titles; Commission appointing recipient as Second Lieutenant, dated 18 September 1918; portrait of photograph of recipient in uniform, annotated in pencil ‘John Elliott, Aug 1917’; with other ephemera including a copy of M.E.T.M. No. 7, Lessons From Operations, Oct. and Nov. 1942 - cover annotated in ink, ‘Secret O2E. Capt. Elliott. O/C 10 W.G.C. C/O S.O. El Elamein.’
Los 346
Five: Sergeant R. D. Cooper, Royal Horse Artillery, late Royal Field Artillery and Punjab Police 1914 Star (11584 Cpl. R. D. Cooper. R.F.A.); British War and Victory Medals (11584 Sjt. R. D. Cooper. R.A.); Delhi Durbar 1911, silver (Sergt. R. D. Cooper. Punjab Police); Army L.S. & G.C., G.V.R., 1st issue (11584 Sjt. R. D. Cooper. R.H.A.) traces of lacquer to Delhi Durbar and LSGC medals, light contact marks, generally very fine (5) £240-£280 --- Richard Dunne Cooper was born in Bangalore, India, on 5 July 1887, the son of Pioneer Sergeant Thomas Cooper of the Oxfordshire Light Infantry. He attested at Aldershot for the Royal Regiment of Artillery on 14 July 1900, serving in South Africa from 1903 to 1908, and with No.3 Ammunition Column, Royal Field Artillery, at Ambala, India, from 1908 until 1912. Recorded in 1911 as Bombardier, he was awarded the Delhi Durbar medal for service with the Punjab Police whilst afforded the local rank of Police Sergeant. Returned briefly to Aldershot in 1912, Cooper mobilised with 83rd Battery, 11th Brigade, Royal Field Artillery, on 31 August 1914. Arriving in Marseilles on 7 November 1914 with the Lahore Division of the Indian Corps, he moved up to Orleans, Abbeville, and then Busnes in freezing cold conditions. The War Diary entries at around this time show that conditions were little short of appalling in the southern Ypres sector. Promoted Sergeant, Cooper moved with his Battery to billets at Riel du Vinage from 1 to 5 March 1915, before marching to a position near Croix Barbee on 6 March 1915. Just a few days later he received a shell wound to the left arm, likely retaliation for the pounding of German machine gunners on the edge of Bois du Biez. He was evacuated soon thereafter, alongside six other men wounded in the same incident. Suitably recovered in England, Cooper spent the remainder of the war at Weedon Depot in Northamptonshire which housed a Troop of Artillery and the horses required to pull the guns. Designated an Army Equestrian School in 1922, Cooper took the opportunity to qualify rough rider before discharge on 13 January 1925. Building upon his short time with the Punjab Police, he is recorded in 1939 as living at Thurrock, Essex, and serving as a Sergeant in the War Office Constabulary. Sold with an attractive painted portrait photograph of the recipient astride his mount, circa 1913, in full dress R.F.A. uniform wearing his Delhi Durbar medal on his tunic, with the insignia of a gun layer above his Corporal’s stripes; and copied research.
Los 1002
Various Royal Mint and other Royal commemorative coin sets to include a '1947-2007 Diamond Wedding Coin Collection', a Queen Elizabeth I commemorative crown, 'His Royal Highness The Prince of Wales 16th Birthday', 'His Royal Highness Prince Philip Duke of Edinburgh 90th Birthday', 'King George VI 1937-1952 Coronation Stamp Armed Forces £1 and Circulated Coin Set', 'Her Majesty the Queen Equestrian Crown Collection', 'Golden Jubilee', 'The Royal Portrait Collection', '2007 Diamond Wedding', 'God Save the Queen', 'Prince Philip Duke of Edinburgh: Celebrating a Life of Service and Dedication', etc (22).
Los 1009
WESTMINSTER; four silver commemorative coin covers, comprising 'Ian Rank-Broadley Fourth Portrait Silver Coin Cover' with one ounce silver Britannia, no.101/495, 'Article 50 Commemorative Silver Coin Cover One Ounce Fine Silver Britannia', no.521/995, 'The Welcome to London 2012' silver (925) coin first day cover, no.18/950, 'First World War Centenary Silver Coin Cover £20 Fine Silver Coin', no.84/195 and a 'First Grand Slam Commemorative Stamp Cover', no.538/950 (5).
Los 192
Attributed Victorian Officers Full Dress uniform to Colonel Reginald Brittan DSO, Derbyshire Regiment, the tunic is in scarlet cloth with cloth collar and cuffs in the regimental facing colour of white, the collar is ornamented with gold lace at the top and Russia braid at the bottom with Queen Victoria Crown Derbyshire Regiment collar badges in silver/enamel, the cuffs are also decorated with gold lace and Russia braid forming an Austrian knot, gilt regimental pattern buttons with Queen Victoria Crown throughout, twisted round gold shoulder cords bearing the rank badges for a Lieutenant Colonel in bullion embroidery, red cotton loops for a medal bar to the left breast, blue cloth dress trousers with scarlet stripe to the seams, Wellington Boots with swan neck spurs complete with boot trees, Officers buff leather sword belt and slings with Waist Belt Clasp to the Derbyshire Regiment in silver/gilt, buff leather sword knot, transit tin containing gold lace and red Morroco leather sword belt, officers sash, and under tunic sword belt, the uniform can be seen being worn in the family portrait of Colonel Brittan (not part of this lot), (Reginald Brittan was born at Clifton, Gloucestershire on 26th January 1865,educated at Clifton and Marlborough Colleges, after attending the Royal Military college joined the 1st Battalion Derbyshire Regiment (The sherwood foresters) with the rank of Lieutenant in August 1885, and promoted Captain in July 1892, he was married to Alice Gisborne on 22nd November 1893 at Derby, he was appointed Adjutant 4th Battalion Sherwood Foresters on 1st March 1895 and served in the South African War in that role from January 1900 to May 1901, he was Mentioned in Despatches, London Gazette, September 1901, created Companion of the Distinguished Service Order , London Gazette 27th September 1901, 'Reginald Brittan, Captain, Derbyshire regiment. In recognition of services during operations in South Africa', gazetted Lieutenant Colonel July 1908 and command 4th Battalion Sherwood Foresters, at outbreak of war in 1914 given command in UK of 14th Battalion Sherwood Foresters which was later renamed 13th Battalion, Training Reserve, and then 53rd Battalion Sherwood Foresters, demobilised in April 1919 he was awarded the O.B.E. 'In recognition of services in connection with the war', there are no campaign medals for WW1 as all his service was in the UK, he passed away on 22nd September 1949 and is buried at St Bartholomews Church, Failand, Somerset, Colonel Brittans daughter Olive was married to Colonel John Clervaux Chaytor whose items are also in this auction, their daughter Pamela was married to Captain H.R.H. Fooks, the uniform comes direct from family)
Los 3
Boer War DSO group to Colonel Reginald Brittan, Sherwood Foresters, Distinguished Service Order, V.R.I., silver gilt and enamel, Order of the British Empire, G.R.I.(Military, silver gilt, H.M. London 1919), Queens South Africa Medal with clasps, 'Cape Colony', 'Transvaal', 'Wittebergen', 'South Africa 1901' (CAPT. R. BRITTAN DERBY: REGT.), court mounted as worn, together with a miniature medal group of the same medals, and original case for the OBE, the medals can be seen being worn in the family portrait of Colonel Brittan (not part of this lot), Reginald Brittan was born at Clifton, Gloucestershire on 26th January 1865,educated at Clifton and Marlborough Colleges, after attending the Royal Military college joined the 1st Battalion Derbyshire Regiment (The sherwood foresters) with the rank of Lieutenant in August 1885, and promoted Captain in July 1892, he was married to Alice Gisborne on 22nd November 1893 at Derby, he was appointed Adjutant 4th Battalion Sherwood Foresters on 1st March 1895 and served in the South African War in that role from January 1900 to May 1901, he was Mentioned in Despatches, London Gazette, September 1901, created Companion of the Distinguished Service Order , London Gazette 27th September 1901, 'Reginald Brittan, Captain, Derbyshire regiment. In recognition of services during operations in South Africa', gazetted Lieutenant Colonel July 1908 and command 4th Battalion Sherwood Foresters, at outbreak of war in 1914 given command in UK of 14th Battalion Sherwood Foresters which was later renamed 13th Battalion, Training Reserve, and then 53rd Battalion Sherwood Foresters, demobilised in April 1919 he was awarded the O.B.E. 'In recognition of services in connection with the war', there are no campaign medals for WW1 as all his service was in the UK, he passed away on 22nd September 1949 and is buried at St Bartholomews Church, Failand, Somerset, Colonel Britons daughter Olive was married to Colonel John Clervaux Chaytor whose items are also in this auction, their daughter Pamela was married to Captain H.R.H. Fooks,the group comes direct from family
Los 290
Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of Norah Mary Madeleine Lindsay (née Bourke, 1873-1948) in profilesigned with monogram and dated 1894 lower right, inscribed with the sitter's identity to the reversepencil30.5 x 23.5cmProvenance:Private collection, Launceston Place, London, W8Exhibited:Brussels International Exhibition, 1897, British Fine Art Section, no. 24, loaned by Dicksee & CoBorn into an Anglo-Irish military family at Ootacamund, India, the sitter married Sir Harry Lindsay, the present artist’s brother. She honed her gardening skills at her wedding gift, Sutton Courtenay Manor, Oxfordshire, creating a celebrated garden that influenced her lifelong friend, Vita-Sackville West. In 1924, after the collapse of her marriage, she embarked on a professional career as a garden designer. Her connections amongst the social elite led to many significant commissions and she influenced, advised and worked on a number of notable gardens including those at Blickling Hall, Cliveden and Hidcote Manor.Examined out of frame. Not laid down. Prominent burns from the mount to the outer edges. Light spotting to the chin and a mark beneath the sitter's eye. Framed 49 x 42.5cm
Los 224
Attributed to John Michael Wright (1617-1694) Portraits of Lord Henry Howard, later 6th Duke of Norfolk (1628-1684) and his first wife Lady Anne Somerset (1631-1662) both half-length, Lord Henry in armour with a white lace cravat, Lady Anne wearing a blue dress and pearls oil on canvas 66.5 x 57cm, a pair Provenance: Acquired by the vendor's Great Uncle in the decade 1930-40, Thence by descent Although previously thought to represent the 3rd Lord and Lady Arundell of Wardour (as inscribed to the reverse) the present portraits can now be securely identified as of Henry Howard, 6th Duke of Norfolk and his first wife Lady Anne Somerset, eldest daughter of the 2nd Marquess of Worcester. The likeness of the Duke corresponds closely with Wright’s three-quarter-length portrait, of which at least four versions are known (see Exhibition catalogue John Michael Wright, Edinburgh, 1982, p. 70, under no. 15) which depict him at a parapet holding a plumed helmet in a landscape with a page and horse beyond; all were formerly described as various other sitters, but the Duke’s identity in these portraits has since the 1982 Edinburgh exhibition (op. cit.) been verified by a 1660 work by Adriaen Hanneman at Arundel Castle. The former Wardour Castle three-quarter length of the Duke exhibited in 1982 (ibid) proposes a date based on the style of the sword to circa 1660. Therefore, at the time of these portraits, Lord Henry was not yet Duke as he only succeeded his insane elder brother in 1677 and Lady Anne dies in 1662 so they must predate that year. From Lord Henry's apparent age in this portrait, he is therefore still only Lord Henry Howard and certainly not even yet Baron Howard of Castle Rising or Earl of Norwich which he was created in 1669 and 1672 respectively. In 1672, he would also be created Earl Marshal and thus become the most senior citizen in the Kingdom. In 1669, he was appointed Ambassador to Morocco where the city of Tangiers, which was a Portuguese enclave, had already been ceded to England as part of the dowry of Charles II's consort Catherine of Braganza in 1662. Lady Anne's distinctive appearance likewise corresponds with Wright’s three-quarter-length portrayal of her at Powis Castle (NT 1180957). Two other half-length compositions, similar to her present portrait, are also recorded but appear of inferior quality. It is therefore possible that the present work is Wright’s prototype for the half-length composition of Lady Anne, to which a companion portrait of the Duke was added based on the artist’s three-quarter-length version. As a matched pair, the present works are therefore significant in corroborating the iconography of both sitters. Both paintings are executed in oil on canvas supports attached to wooden stretchers. At some stage in the paintings history they have been cut down to ovals. It is possible that they were conceived as oval portraits, however, Wright painted fictive ovals which were fashionable in portraiture of the time. On the portrait of the Duke, faint diagonal lines are visible in the top corners which possibly suggest the painting was at one time attached to a rectangular wooden stretcher with diagonal cross braces, further research would be required to verify this. The portraits have been made into rectangular formats with canvas additions at all four corners prior to being lined. The direction of the canvas weave is slightly skewed at some of the corners suggesting they were never part of the original picture. Cracks have formed in the paint layers following the seam. The canvas tension is good and the pictures are in plane. The paint layers are in a good, stable condition overall. There are a few small, localised losses. The portrait of the Duke has some areas of slightly raised craquelure, but this is secure. The overpaint at the corners is well executed and the original paint layers are blended well to the additions when seen from a normal viewing distance. The portraits have been partially cleaned at some stage in their history with thicker layers of varnish present in the background and dress compared to the faces. This may have been done to preserve the overpaint at the corners. There is some overpaint present in the blue of the dress which now has a slight green hue when compared to the original. Both pictures have areas of wear and abrasion mainly located in the dress and armour, where the paint passages have been thinly applied. Both sitter’s hairstyles have been reinforced, under ultraviolet light dark touches to emphasis the outline and form are present, this is more extensive on the Duke. It is unclear if an earlier campaign of restoration lies beneath the old varnish layers. The sitter’s features are well preserved, an age crack pattern has developed in the flesh paint and there appears to be little overpaint apart from a few small touches. The paint on either sides of the join on both pictures has a slightly uneven texture which is probably related to too much heat being used during the lining process in these areas. The varnish layers are clear, semi-matte and even. There is a light layer of surface dirt present. The portraits are framed in wooden frames with carved decorative elements at the corners. The frames have been prepared with a warm red bole before gilding. A toning layer has created a craquelure pattern across the surface which is uniform across the surface of both frame. There are a few chips, losses and surface scuffs to the frames but overall they are in a good condition. Poorly held in place with bent nails. Protrude at reverse. Framed 82 x 72.5cm
Los 285
Circle of Ramsay Richard Reinagle RA (1775-1862) Portrait of William Heath Jary (1794-1842) before a landscapeoil on canvas75 x 62cmProvenance:By descent from the sitterThe sitter was the son of William Jary and Mary Heath. In 1822, he married Sarah Postle (see subsequent lot) and they lived at Blofield Lodge, Norfolk.Framed 96 x 83cm
Los 216
English School, 17th century Portrait of King James I of England and VI of Scotland (1566-1625)oil on panel, oval, in a carved wood frame59 x 52cmProvenance: Heydon Grange, NorfolkThe present portrait derives from the full length portrait of the King by Daniel Mytens, now in the National Portrait Gallery.The painting is executed in oil on a wooden panel support. The original construction of the panel appears to be three boards with a central wide board which has subsequently split following the vertical grain of the wood. The two panel joins and central split have been reinforced with wooden buttons. The panel is attached directly onto the back of the frame. The panel has been repaired and placed back in position with slot head screws at a later date. The paint layers are in a stable condition overall, there is a raised texture following the woodgrain which has resulted in a few scattered losses, mainly in the lower half of the picture. There are losses following the splits and joins in the panel. The varnish is uneven with yellowed tide lines visible in the ruff. At the right hand side, the varnish has become opaque and broken up. Areas of overpaint have darkened overtime and are visible. Overpaint along the joins is very dark and matte in appearance.Framed 79 x 60cm
Los 223
Attributed to Robert Peake (c.1551-1619) Portrait of a boy, said to be John Curzon of Kedleston (1598-1686) when a child, standing full length, in red, holding a black hat oil on canvas 121 x 89.5cm Provenance: Christie's, London, 14 July 1989, lot 82, as by 'Robert Peake' With Ben Elwes Fine Art, London, July 2007, by whom sold as of 'John Curzon of Kedleston', Private collection, Kensington, London The presumed sitter who was the elder son of John Curzon of Kedleston by Millicent, daughter of Sir Ralph Sacheverell of Stanton, became MP for Brackley in 1628-9 and for the county of Derby from 1640-1648, for which he had also been High Sheriff from 1637-38. He was created a Baronet of Scotland in 1636 and of England in 1641 and married Patience Crewe of Steane, sister of the 1st Baron Crewe. They had one surviving son and two surviving daughters. Sir John died at the enormous age of 88, having lived through the reigns of the last Tudor and four Stuart monarchs, as well as through Cromwell's republican Commonwealth. The present portrait was understood by Ben Elwes Fine Art (see Provenance) in 2007 to have descended from the presumed sitter to Assheton Curzon, younger son of Sir Nathaniel, 4th Bt., who was created Baron Curzon of Penn, Viscount Curzon of Penn, grandfather of Richard, 1st Earl Howe and was passed down in that family until sold in the 1940s. This painting closely resembles a 'Portrait of an Unknown Boy' by Robert Peake, sold at Christie's, The Rufford Abbey Sale, on 18th November 1938, lot 46 (see Sir Roy Strong, The English Icon, 1969, p. 241, no. 212). Oil on canvas which has been lined. There are undulations in the canvas at the upper right corner. The paint layer is stable. There are areas of wear and abrasion which would be expected of a painting of this date – notably in the sitter’s hair. There are areas of overpaint across the surface, applied fairly liberally, but the appearance is acceptable from a normal viewing distance. The varnish is glossy and even but brittle with scuffs across the surface. There is mould forming along cracks in localised areas. The frame is in a good condition.
Los 226
Follower of Sir Anthony van Dyck Portrait of Tomasso Francesco of Savoy, 1st Prince of Carignano (1596-1656) half-length, in armour, wearing the cross of the Savoyan Order of the Most Sacred Annunciation and holding a batonoil on canvas, enlarged97 x 76cmThe present portrait might derive from van Dyck's 1634 full length equestrian portrait of the Prince Carignano, now in the Galleria Sabauda, Turin. It may have also been inspired by a period engraved portrait of the sitter which shows him half-length, holding a baton and resting his arm on a helmet, which was executed by Paulus Pontius after a similar composition by van Dyck and published circa 1635.The painting is executed in oil on canvas support. The original dimensions have been enlarged and the joins are visible to the naked eye. The smaller format is probably close to the original dimensions as cusping is evident in the canvas texture around the edges. The paint layers are in a stable condition overall. Brushy overpaint is present in the background. The joins in the canvas have been covered with a smooth fill and the overpaint in these areas has darkened. Small scattered areas of overpaint are evident in the sitter’s face, covering areas of wear and reinforcing the outlines of the composition. The varnish layers are very matte and dull, no longer adequately saturating the paint layers below. There are dark spots in the varnish and a layer of surface dirt present.118 x 97cm framed
Los 207
Circle of Edward Harding (1755-1840) Portrait of John Poulett, 1st Baron Poulett (1755-1840)signed with initials 'SWG' lower right inscribed to label verso with biographical details of the sitterwatercolour16.5 x 13.5cmProvenance: Heydon Grange, NorfolkThe present image appears in engraved form in a print of 1799 by George Perfect Harding's uncle, Edward Harding (see British Museum number 1870,1008.1063).
Los 273
English School, circa 1744 Family group of portrait miniatures of Mary Orlebar (1730-1821), Richard Orlebar (1736-1803) aged 8 and Constantia Orlebar (1739-1808) aged 5 inscribed with the sitters' identities and ages to the reverse, one inscribed with date 1744 plumbago on vellum 8.5 x 6cm, together with another miniature said to be of Mary Orlebar's friend, Miss Hacks (4) Provenance: By descent from the sitters to the present owner The sitters in the present miniatures were born at Hinwick House, three of the five children of John Orlebar (1697-1765) of Hinwick, Bedforshire, and his wife Mary. At the death of their father, the unmarried sisters Mary (1730-1821) and Constantia (1739-1808), along with Elizabeth (1732-1810) who is not depicted here, moved to Ecton, Northamptonshire. The sisters had an active interest in literary matters and left behind many private writings, including Mary’s travel diaries and poems, and perhaps most notably Constantia’s Weather Book, an important chronicle in which she recorded daily weather from 1786 until her death (see Gordon Manley, ‘Constantia Orlebar's Weather Book, 1786-1808’, in Quarterly Journal of the Royal Meteorological Society, v. 81, 1955, 622-5). An attribution to James Ferguson (1710-1776) might be considered. Light surface dirt and fly spots under glass. Slight undulations to the vellum observed in Mary's portrait, commensurate with age. Constantia's portrait - there appear to be very minor foxing spots in her sleeve and face and slight abrasion to her neck. Not examined out of frames. The frames are as per images with slight separation. Miss Hacks' portrait - There is some staining and toning along the edges. The frame is broken.
Los 221
Follower of Gerard ter Borch Portrait of a gentleman standing full length, in black, holding a kerchief oil on canvas 53 x 36cm Provenance: Heydon Grange, Norfolk The painting is executed in oil on a canvas support which has been lined. The canvas is in plane with good tension. The paint layers have developed a network of age cracks, some of which are slightly raised with sharp edges. There are a few scattered losses, mainly along the lower edge. The painting is compromised by a very degraded varnish which has broken up with age, becoming yellowed and opaque. The appearance of the picture would be transformed through cleaning alone and most of the original paint below this appears to be in a good condition. The condition of the varnish makes it difficult to judge the extent of any wear, abrasion of overpaint lying below it. But overpaint appears to be located in small areas of loss. At the lower edge there are deep scratches in the varnish and paint layers. Framed 64 x 45cm
Los 276
Penelope Carwardine (1730-1801) Portrait miniature of a gentleman, head and shoulders, in red coat with green facingssigned with initials 'PC'watercolour on ivory5cmProvenance:Private collection, Launceston Place, London, W8This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. F2VFLCRA.Visible surface dirt around the edges. Under raking light, a translucent mark visible in the sitter's right shoulder (bottom left edge). There appears to be slight fading to the jacket. Not examined out of frame.
Los 211
Circle of Lavinia Fontana (1552-1614) Portrait miniature of a young gentlemanoil on copper, circular7cm diam.Provenance: Heydon Grange, NorfolkSome small paint losses. Minor scattered retouchings throughout, some of which have discoloured - notably right of the sitter's collar. The paint layer is stable but has developed a network of age cracks which are prominent in certain areas. There are few areas in the sitter's nose, cheek and neck which do not fluoresce under UV, however in raking light appear to stand out. Loose in its frame.
Los 214
English School, 17th century Portrait miniature of John of Gaunt, Duke of Lancaster (1340-1399)identified to the reverse with further label to the frame inscribed 'John of Gaunt, Duke of Lancaster from General Gascoyne's 71 South Audley St.'oil on copper10 x 8.5cm;together with a further portrait miniature of an elderly gentleman in a ruff by a later hand (2)Provenance: Heydon Grange, Norfolk71 South Audley Street was the residence of General Isaac Gascoyne MP (1763-1841).
Los 208
Attributed to William Hilton RA (1786-1839) Portrait of Edward Seymour, 1st Duke of Somerset (1500-1552)titled to label verso and inscribed 'From the original by Holbein in the collection of the Marquis of Bath. Drawn by Wm Hilton A.R.A. 1817'watercolour17.5 x 14cmProvenance: Heydon Grange, NorfolkHilton was elected as an associate of the Royal Academy in 1813 and as a full Academician in 1820. His identification as A.R.A. and date of the present work indicate that the label is likely the artist's own. The present study is most probably the original by Hilton reproduced in print by Henry Meyer as an illustration to the folio edition of Lodge's 'Portraits' in 1819 (see British Museum number Nn,d.99.4).
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John Hoppner RA (1758-1810) Portrait of Sir John Morris, 2nd Bt. (1775-1855), when a young man, half length, in light brown coat with white stock oil on panel 76 x 63cm Provenance: By descent from the sitter to his younger son, George Byng Morris (1816-1899) Thence to his wife, Emily Matilda Smith (d. 1913) of Porthcawl by whom bequeathed in her will to her son, Charles Smith Morris (1854-1933) (see Literature, Supplement), Sold by Order of the Trustees of the late Sir Robert Morris, 4th Bt (1848-1927), Christie’s, London, 29 April 1938, lot 40, for £1102, when acquired by a descendant of the sitter, Thence by descent to the present owner, Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1797, No. 305 (see Literature) Literature: William McKay and W. Roberts, John Hoppner, R.A., 1909, p. 175, where described as "a most excellent and much admired portrait"; William McKay and W. Roberts, Supplement and Index to John Hoppner, R.A., 1914, for p. 175 The sitter in the present portrait had been formerly identified as the Swansea copper and coal magnate Sir John Morris, 1st Bt. (1745-1819) (see Literature, Supplement) who became known for founding the industrial township of Morriston and was later created a baronet of Clasemont in 1806 for raising volunteer forces during the French wars. From the age of the sitter and the portrait’s exhibition date in 1797, when it appeared at the Royal Academy as of ‘Mr. Morris’, the sitter is however much more likely to be Sir John’s eldest son, also John, 2nd Bt. (1775-1855). The very same year, John Hoppner also exhibited a portrait of ‘Miss Morris of Swansea’, presumably one of the sitter’s three sisters. The family had a keen interest in the arts, John’s aunts, Margaret (1737-1814) aged 20 and Mary (1735-1812) had both been painted by Sir Joshua Reynolds, the latter's portrait having been sold in the same 1938 Christie's sale as the present painting. The younger aunt, Margaret, later married the art collector Noel Desenfens with whom she became one of the co-founders of the Dulwich Picture Gallery. Like his father, John continued the family copper smelting business and held the positions of Sheriff of Glamorgan and Portreeve (Mayor) of Swansea. In 1809, he married the Hon. Lucy Juliana Byng (d. 1881) daughter of John Byng, 5th Viscount Torrington. In the early 1820s, he had built Sketty Park House, the birthplace of his great-grandson, the artist Sir Cedric Lockwood Morris, 9th Bt. (1889-1982). John Morris succeeded his father as the 2nd baronet in 1819. When this portrait was last sold at Christie’s in 1938 amongst a number of Morris family portraits, three of which were by Hoppner, it was designated as the property of the late Sir Robert Armine Morris, 4th Bt. (1848-1927). In the will of Mrs Matilda Morris of Porthcawl published in The Times of 8th October 1913 (see Literature, Supplement) the present portrait had however been formerly bequeathed to her son, Charles Smith Morris (1854-1933), grandson of the sitter and cousin of Sir Robert, 4th Bt. This portrait must have therefore been gifted back to Sir Robert, the title holder of the main line, in his lifetime. The painting is executed in oil on a wooden panel support. The panel appears to be made from a single, thick board with the woodgrain running horizontally. The panel is in a good condition with no warping or splits. The paint layers are also in a good stable, condition overall. Drying cracks are evident in the surface texture which would have occurred as the paint layers dried and are associated with the artist’s technique. The larger drying cracks have been retouched to tone them down. Other small areas of damage have been retouched. The overpaint is well matched to the original. The varnish is clear, even and semi-glossy.
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Frederick Buck (1771-1840) Portrait miniature of Captain Valentine Lawford of the Devon and Cornwall Fencibles, c. 1798inscribed 'Captain Valentine Lawford / Drawn 1795 [sic]' (to the reverse)watercolour on ivory6.5 x 5cmThe Devon & Cornwall Fencibles served in Ireland in 1798.This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. P8BSD2RG.The ivory support is warped along the sides, commensurate with age. It no longer sits flat against the glass in its frame. Some surface dirt especially along the edges. Surface scuffs especially in the sitter's uniform and arm, only visible when examined in strong light at an angle. The frame is likely to be later and no longer holds the miniature in place. 7 x 5.5cm (framed)
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John Linnell (1792-1882) Portrait of Stewart Marjoribanks, M.P. (1774-1863) standing three quarter-length with a top hat under his arm signed and dated 1842 lower right oil on panel 53 x 44.5cm Provenance: Private collection, Launceston Place, London, W8 Exhibited: London, Royal Academy, 1843, no. 105 Literature: Alfred T Story, Life of John Linnell, 1892, vol. II, p. 252 Stewart Marjoribanks (1774-1863) was a Whig politician and wine merchant. Born in Berwickshire, Scotland, he was also involved in the East India Company, the New Zealand Company and was a founder of the Pacific Pearl Fishery Company. He was first MP for Hythe from 1820-1837, when he voted in favour of parliamentary reform and expressed support for the abolition of slavery in the colonies and Catholic and Jewish emancipation. He was again elected Hythe MP in 1841, shortly before the execution of the present portrait, when he also married his second wife, Lucy, daughter of Edward Roger Pratt of Ryston Hall, Norfolk. In 1846, Linnell painted a further full length, life size portrait of Marjoribanks for the members of the Watford Masonic Lodge. The painting is executed in oil on a panel formed from a single board of thick wood. The support and paint layers are in a very good condition overall. The paint layer has developed a slightly wrinkled texture, notable in the face. The varnish is clear, even and slightly glossy. There are a few, localised areas of overpaint covering abrasion at the edges of the picture and small areas of wear in the figure. Framed 72 x 63cm
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William Edwards Miller (fl. 1873-1903) Portrait of a girl, believed to be Miss Bourke, holding rosesinscribed with the artist's name on remnants of an exhibition label to the reverse oil on canvas, in a Watts style frame90 x 70cmProvenance:Private collection, Launceston Place, London, W8Framed 112 x 92cm
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Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of a lady in a hat, thought to be Mrs E Bourkesigned in monogram and dated 1891 lower left and inscribed indistinctly with the sitter's identity to the reversepencil31.5 x 23.5cmProvenance:Private collection, Launceston Place, London, W8Slight undulations to the paper. Little surface dirt under glass. Not examined out of frame. Framed 49 x 40cm
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English School, 19th century Portrait miniature of an officer, wearing the uniform of the grenadier company of an infantry regiment, c. 1810watercolour on ivory6.5 x 5.5cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. SQ2QAFTG.12 x 9.5cm (FRAMED)
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Circle of Francis Alleyne (1750-1815) Portrait of an officer of Volunteers, circa 1795, in uniform and a plumed bearskinoil on metal, oval22 x 18cmProvenance:Private collection, Launceston Place, London, W8We are grateful to Christopher Bryant for his assistance with this catalogue entry.The painting is executed in oil on an oval copper panel. There are a few minor undulations, but overall the panel is in plane. At the top edge are two small circular nail heads or similar. The paint layers are in a good, stable condition overall. Small areas of damage in the background have been overpainted, they are visible due to the texture. In other areas, including the sitter’s face, small touches of overpaint are present which are well matched to the original. The varnish has slightly yellowed with age but is even and semi-glossy overall. There is some abrasion to the varnish at the lower left corner causing a white haze, this has been caused by the painting being poorly framed up against the glass.
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Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of a lady playing the piano; Portrait of a girlthe first signed in monogram and dated 1883; the second signed in monogram and inscribed 'Anne / Felixstowe / Aug 187(0?)' pencil14.5 x 11cm; 17 x 11.5cmProvenance:Private collection, Launceston Place, London, W8Framed 29 x 25cm; 31.5 x 26cm
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Marion Margaret Violet Manners, Duchess of Rutland (1856-1937) Portrait of Mary L'Estrange, Countess of Erroll (1849-1934); and Portrait of her sister, Constance, Lady Muncaster (1839-1917) the first dated 'Oct. 2 1873', the second dated 'Sept. 19 1872'; each inscribed with the sitter's identity pencil 25.5 x 17cm; 24 x 22cm (2) Provenance: Private collection, Launceston Place, London, W8 Mary - Signs of mount burns to the edges. Minor surface dirt. Small pin hole mark lower centre.Constance - Signs of discolouration in top corners. Light spotting throughout predominantly to the outer edges.Not examined out of frames. Framed 47 x 38cm; 45 x 41.5cm
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