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Preisdatenbank abonnierenSwiss School, circa 1810 Portrait miniature of a lady in a white dresswatercolour on ivory5cm; together with French School, circa 1810Portrait of a lady watercolour on ivory, circular5.3cm (2)These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.RCFE3XYJ and 91P9ZAPX
*** Guichard, 1831 Portrait miniature of an officer in a dark blue uniform with a red collar and silver epaulettessigned and dated 'Guichard 1831' (centre left)watercolour on ivory9cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.FH4KNMD1
Circle of Gervase Spencer (1715-1763) Portrait miniature of a gentleman in grey coatwatercolour on ivory3.7cm; together with English School, circa 1760Elderly gentleman in brown coatwatercolour on ivory 4.1cm (2)These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.E4BUFT7J and YY79ZS9G
Thomas Hargreaves (1774-1846/7) Portrait miniatures of Reverend Robert Hankinson Roughsedge (1747-1829), Rector of Liverpool and his wifeeach inscribed with the identity of the sitters (to the reverse)watercolour on ivory9.5cm, a pairProvenance:According to Barry Lock's notes, the present lot was acquired at Bonhams in the 1980sThese items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.CJ5A11PF
Continental School, circa 1830 Portrait miniature of a lady in a blue dress and a shawl embroidered with flowers, in 2nd Empire style frame; and Lady in blue dress, her hair parted, elaborately upswept and curled in ringletswatercolour on ivory5.5cm; 7cm (2)These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.4MLVFU3A and SAF5TN2G
French School, 19th century Portrait miniature of an officer, said to be Captain Nicolas Guillaume (1778-1852) wearing the Légion d'honneur and the order of St. Louisinscribed with the sitter's proposed identity in French (to the reverse)watercolour on ivory6.5cm; together with two further portrait miniatures of French officers wearing medals, one enamel (3)These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.W8XP3A7Z and ZG6W4Y5G
James Jennings (fl. 1763-1783) Portrait miniature of a gentleman in a red coat and white jabotsigned with initials and dated 'J. J. / 1768' (lower right)watercolour on ivory, in a silver frame set with marcasite3.3cm; together with English School, circa 1770Portrait miniature of a gentleman in a burgundy coat and white jabotwatercolour on ivory, in a brooch frame set with marcasite 3.5cm (2)Provenance:The first - Schredds of London, from whom acquired in 2014 for £610These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned exemption certificates, Ref. No.D92QL9AE and P4JKQN1R
Follower of Richard Cosway Portrait miniature of a lady in white dress, frilled collar and pink bandeau in her hairwatercolour on ivory, with hair enclosed to the reverse6.5cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 5HH43KP9.
Attributed to Charles Hayter (1761-1835) Portrait miniature of a gentleman in a navy blue jacketwatercolour on ivory7.5cm; together with English School, circa 1800Portrait of a lady in black coat and hatwatercolour on ivory7.5cm (2)These items are offered for sale in accordance with the Ivory Act 2018 and have been assigned an exemption certificate, Ref. No.TAUZTA14 and TBLYGYA2Gentleman - Stuck down to card. Some light scuffs and wear around the edges. It appears to be slightly discoloured especially along the edges. The mount is a little loose in its frame. Examined out of frame. Lady - A scuff approximately 3/4 inch long in the sitter's left shoulder which is slightly concealed by the mount. There appears to be some discolouration in the background. Some wear to the paint layer in the feather of the lady's hat. Not examined out of frame.
James Scouler (1740-1812) Portrait miniature of a lady in blue dress with flower corsage signed and dated 'Scouler / 1765' (lower left)watercolour on ivory4cmProvenance:Elle Shushan, Philadelphia, from whom acquired in 2012 for £500This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.YSZZN34K
Modern silver 'Churchill Rule of Life' ruler, by Richard Jarvis of Pall Mall, engraved with the significant events and dates of Winston Churchill's life, from his birth in 1874 to his funeral in 1965, hallmarked Richard Jarvis, London 2007, L33.5cm, within wooden fitted case, with applied portrait to cover and silk and velvet lined interiorCondition Report:Approximate total weight 10.73 ozt (333.7 grams)In generally good condition.
BOHEMIAN OPAQUE GLASS VASE LATE 19TH/EARLY 20TH CENTURY decorated with a portrait of a lady, surrounded by a gilded border and other gilded decoration, all on a light blue ground32cm highQty: 1Some rubbing to gilding, particularly at rim and foot; marks and discolouration to portrait section; some light pitting, surface abrasions and general wear but no major issues to note
AFTER SALOMON-GUILLUAME COUNIS, PORTRAIT MINIATURE OF PAULINE BONAPARTE (LATER BORGHESE) MID-LATE 19TH CENTURY watercolour on ivoryunsigned, in gilt metal frame and behind glassThis lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference 8WJ7WYW9.6.5cm x 5.5cm
* Griggs (Frederick Landseer Maur, 1876–1938). Stoke Poges, 1918, etching, a very good impression of the cancelled plate (after the sixth and final state), on laid paper watermarked 1818, platemark 9 x 11.5 cm (3 1/2 x 4 1/2 cm), sheet 16.4 x 19.6 cm (6 3/8 x 7 3/4 ins), together with William Rothenstein (1872-1945), Portrait of Auguste Rodin, 1897, signed in pencil, dedicated in pencil and dated ‘To Mrs Caldinor (?) from her friend W. Rothenstein Oct 03’, Eric Gill, Book-Plate, 1926, engraving on wove paper, with large margins; Louis Auguste Lepère (1849-1918), A Canal Scene with a Windmill, wood engraving on thin Japan with wirelines, signed in pencil, numbered 3/35; together with William Mason*, two wood engravings on tissue-thin Japan, signed in pencil and dated ‘32’; plus M. Rothenstein, two wood engraving vignettes; and a defective copy of Campbell Dodgson, Contemporary English Woodcuts, with 13 original woodcuts, lacking plates 7-10, 12, 14, 16-19, 23-27, sheet size 38.5 x 28.8 cm (15 1/8 x 11 3/8 ins) and smaller (nine prints and a book containing 13 woodcuts)QTY: (9)
* Prinsep (Valentine Cameron, 1838-1904). Portrait of the Artist's Sister, circa 1860, oil on canvas, half-length portrait of a young girl, profile turned to the right, seated in a buttoned yellow chair and looking down with pensive gaze, wearing a flowing black gown with white collar, a beaded necklace, a jewelled ring, and a pink camellia in her auburn hair, holding a feather fan in her right hand, seated against the backdrop of a partly open door and potted lily on a window ledge beyond, re-lined, 41 x 37 cm (16 1/8 x 14 5/8 ins), gilt moulded frame (56 x 49 cm), with printed exhibition label on verso QTY: (1)NOTE:Provenance: Given to David Clayton-Stamm on his 12th birthday in 1923; thence by descent.Exhibited: Val Prinsep RA (1838-1904): A Jubilee Painter, South London Art Gallery, 21 October-10 November 1977, catalogue number 3.A strikingly beautiful portrait of the artist's only sister, Alice Marie Prinsep (1844-1919). The siblings and their two brothers were the offspring of colonial government official and politician Henry Thoby Prinsep and his wife, Sarah Monckton Pattle, one of the celebrated Pattle sisters, of which there were seven. Of this exuberant band, one was the pioneer photographer Julia Margaret Cameron, and another the grandmother of Virginia Woolf and her sister Vanessa Bell. Beautiful and bohemian, Sarah settled with her husband at Little Holland House in Kensington, where they were visited by many of the prominent artistic and literary figures of the day, including Burne-Jones, Leighton, Millais, Rossetti, Dickens, Tennyson, and Thackeray. Val, as he was known, was born in Calcutta, India, but brought up in London. He was taught to draw and paint by George Frederic Watts who was such a close friend of the family that he became a permanent house guest: as Sarah said of the painter, "he came to stay three days, he stayed thirty years". In 1857 Val Prinsep assisted in the painting of the doomed mural at the Oxford Union, with fellow-students Rossetti, William Morris, Arthur Hughes, and John Roddam Spencer Stanhope, amongst others. Afterwards he studied in Paris with Whistler, Edward John Poynter, and George du Maurier, going on to visit Italy with Burne-Jones, where he befriended Robert Browning in the years 1859-60. Prinsep first exhibited at the Royal Academy in 1862, and it is likely around this time that this portrait of Alice was executed. The artist became an Associate of the Royal Academy in 1878, and a full Royal Academician in 1894. He was Professor of Painting at the Royal Academy from 1901 until his death.Art collector and bibliophile Maxwell David Eugene Clayton-Stamm was an authority on the work of William de Morgan and Pre-Raphaelite ceramics. He also facilitated the facsimile publication of the 1819 Blake-Varley sketchbook.
* Hollar (Wenceslaus, 1607-1677). Portrait of Albrecht Dürer’s Father, after Albrecht Dürer, 1644, & Sir Thomas Wentworth, First Earl of Strafford, after Anthony van Dyck, 1640, etchings, very good impressions, Dürer’s Father the second (final) state, the details printing with crispness and clarity, on laid paper, with narrow to thread margins, platemark 22.3 x 16.3 cm, sheet size 23 x 17 cm, in very good condition, a couple of horizontal creases visible verso, Thomas Wentworth on fine laid paper with a Double Headed Eagle watermark (similar to Heawood 1300, dated 1644), trimmed on or within the platemark, retaining a blank border around the image and text, sheet size 32.1 x 21.6 cm (12 5/8 x 8 1/2 ins), mounted, framed and glazed, 52.5 x 37.5 cm and 56 x 43 cmQTY: (2)NOTE:Portrait of Dürer’s Father: Pennington 1389 ii/ii; New Hollstein (Hollar part III) 692 II/II; Portrait of Thomas Wentworth: Pennington 1508a, New Hollstein 289; the latter formerly with Craddock and Barnard according to label on verso.The Royalist Sir Thomas Wentworth (1593-1641), 'Knight Earle of Strafforde', was executed by Parliament in 1641. Hollar recorded the event in the etching of that year, ‘The true maner [manner] of the execution of Thomas Earle of Strafford’, an impression of which is held by the Metropolitan Museum of Art (Accession Number: 17.3.3280).
* Cosway (Richard, 1742-1821). Portrait of William Legge, 2nd Earl of Dartmouth (1731-1801), circa 1790-1800, pencil on pale cream paper, with watercolour to the face and left hand, fine brown ink framing line to outer edge, some marks and light toning, small stain to upper left, 258 x 166 mm (10 1/4 x 6 1/2 ins), laid down on modern backing paper, with modern window-mount, along with the original backing card (now separated from the work), bearing a contemporary inscription in brown ink to verso: 'Drawn by Rd. Cosway Esqr. R.A. / Mrs. Legg', a further inscription above erased, backing card 333 x 254 mm (13 1/8 x 10 ins)QTY: (1)NOTE:Provenance: William Drummond (1934-2018), art dealer specialising in British drawings and watercolours, who ran the Covent Garden Gallery in the 1970's-80's.
* Continental School. Portrait of a Young Man, thought to be the poet Friederich Schiller (1788-1805), 19th century, oil on canvas, depicting a young red-haired man, insect soiling to forehead, canvas size 77 x 63.5 cm (30 1/4 x 25 ins), 'H&M 1226' and Roberson & Miller stamp to verso, framed (100 x 83 cm)QTY: (1)
* Pencz (Georg, circa 1500-1550). Christ washing the feet of the Apostles, circa 1534, engraving, a good but later impression, trimmed on the platemark, 3.6 x 5.7 cm 1 7/16 x 2 1/4 ins),laid onto a support sheet, together with other various Old Master prints: Gérard de Lairesse, Apollo, on laid paper, with small margins; Hendrick Goltzius, The Last Supper from the Passion of Christ, 1598, engraving, trimmed to the subject, laid down, losses at the upper sheet; two engraved copies in reverse after Albrecht Dürer, The Virgin Suckling the Child, & The Resurrection (from the Engraved Passion), on wove paper, two etched copies of plates from Callot's Les Gueux, two copper engraved portraits of William Harvey, one by William Faithorne, 1653, and one by William Darton, circa 1820, in stipple, and a copper engraved portrait of Thomas Parr by Cornelis van Dalen, circa 1635, three framed and glazed, remainder unframed QTY: (10)NOTE:Pencz: Bartsch 45 (vol. 16, p. 98); Hollstein 58; Landau 55. For an impression of Cornelis van Dalen's 1635 engraving of Thomas Parr, see Royal Collection RCIN 659804.
* Robinson (E., 19th century). Arsenius the Humble, oil on canvas, head and shoulders portrait, half-profile to right, of a venerable bearded man wearing a black koukoulion and embroidered red mantle, with Greek inscription upper right, artist's name on verso of canvas in black ink in large letters, stretcher with taped provenance label and early manuscript label: 'Arsenius - the Humble - Metropolitan of Thebes', 76.2 x 63.7 cm (30 x 25 ins), framed (82.2 x 69.2 cm)QTY: (1)NOTE:Provenance: The Right Reverend David Loveday, Wardington House, Oxfordshire.
* After Luis de Morales (1509-1586). Christ as the Man of Sorrows, 18th century, oil on canvas, sometime re-lined with pieced canvas in 3 vertical strips and adhered to front of stretcher, head and shoulders portrait of Christ with pensive downward gaze, wearing a crown of thorns, a rope around his neck, and a red tunic knotted over his right shoulder, some surface flaking, mostly to edges, 50.9 x 38 cm (20 x 15 ins) QTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.Luis de Morales was celebrated for his devotional images. His original painting of this subject is held by the National Museum of Wales in Cardiff.
AR * Gaston (Roy, 1937- ). Portrait of the Irish writer Brendan Behan (1923-1964), circa 1955, oil on canvas, signed lower right, 61 x 40.5 cm (24 x 16 ins)QTY: (1)NOTE:A portrait of the Irish poet and playwright Brendan Behan (1923-1964), in a public house with pint of guinness and whisky chaser.
* Muller (Jan Harmensz., 1571–1628). Portrait of Archduke Albert of Austria, after Peter Paul Rubens, 1615, fine copper engraving on laid paper, the fourth and final state (with the privilege), laid down on modern backing card, plate size 42.5 x 30 cm, with narrow margins, sheet size 44 x 31.2 cm (17 1/4 x 12 1/4 ins), framed and glazed (67.5 x 54 cm)QTY: (1)NOTE:Bartsch 62; Hollstein 62 IV; Filedt Kok (New Hollstein) 62 IV.Jan Muller, son of an Amsterdam printer, printmaker and publisher, was one of the most sought-after Mannerist printmakers at the end of the sixteenth century, who developed a style modelled on that of Hendrick Goltzius, the leading draughtsman and printmaker in the northern Netherlands. At the beginning of the seventeenth century, he began to engrave portraits, mostly of important political figures, reproducing painted portraits by various artists. Among the largest and most complex are the portraits of Joannes Neyen, Prince Maurits, and the present work, Albert, Archduke of Austria.
* Flemish School. Eleven Portraits of the Apostles, probably late 17th century or early 18th century, oil on thin wood panels, each inscribed with Saint's name, 53.5 x 42 cm (21 x 16 1/2 ins), framed, together with a similar oil on wood panel portrait of Saint Gregory, late 17th or early 18th century, 53 x 42 cm (21 x 16 1/2 ins), framed with mid-twentieth century label of G. Bennet, Wimbledon Ltd., Framers, to versoQTY: (12)NOTE:Provenance: Lord Clifford, Ugbrooke Park, Dublin; Downside Abbey, Somerset, UK.The Saints depicted are: S. Bartholomaeus, S. Paulus, S. Symon, S. Iudas, S. Matthaeus, S. Thomas, S. Petrus, S. Philippus, S. Matthias, S. Ioannes, S. Andreas, and the oil on board of St. Gregoery.
* Ogilvie (Mark Grant, 1909 - 1969). Portrait of John Betjeman, circa 1927, brown ink, initialled 'M.O.G' to lower right, some previous adhesive marks to extreme edges, image size 24.5 x 19.5 cm (9 5/8 x 7 5/8 ins), a notecard adherred to verso with Mark Ogilvie Grant printed header reads 'John Betjeman having tea with the 'artist' in Quin & Axten's, Brixton, in the course of which he penned the first lines of "Will you have cold supper or a hot high tea which, Aunt Eva, which shall it be?" circa 1927', framed and glazed (38 x 31 cm)QTY: (1)NOTE:Provenance: Private Collection, Hampshire.Grant was a British diplomat, a botanist and one of the earliest members of the Bright Young Things. Despite his earliest frivolous past, he became a hero during the 1940–1941 Greek campaign.
AR * Attributed to Charles March Gere (1869-1957). Portrait of a Boy in Profile, circa 1925, oil on wood panel, of a boy with ginger hair seen in profile against a river landscape, unsigned, a few small abrasions to panel edges, 33 x 28 cm (13 x 11 ins), attractive art nouveau style gilded frame, glazedQTY: (1)
* English School. Portrait of Hugh Barton, of Barton & Guestier, wine exporter, circa 1830, oil on canvas (stamped to verso Charles Roberson 51 Long Acre London), with canvas manufacturer's stock stamp to verso C R 1958, depicting a gentleman seated by a table with books wearing a burgundy velvet jacket and black neck tie, some surface marks and scuffs, extensive vertical tear along upper edge of canvas, and further large horizontal and vertical closed tear to right of the sitter's head, several patch repairs to verso, canvas size 126 x 103 cm (49 1/2 x 40 1/2 ins), fine period moulded gilt frame, with beaded decoration to inner section, central section with interlocking foliate volutes, and outer edge with stylised laurel motif (156 x 133 cm) QTY: (1)NOTE:According to information supplied by the owner this portrait is believed to be of Mr Hugh Barton, of Barton & Guestier, wine exporters. The company was created by Thomas Barton who moved from Ireland to France in 1725, settling in Bordeaux where he started a wine business exporting to Ireland and Holland. His grandson Hugh Barton joined the family business and in 1802 created Barton and Guestier in partnership with Frenchman Daniel Guestier. Barton and Guestier continue to operate today and is Bordeaux's oldest winehouse still in activity.
* Attributed to Jacob Willemsz. Delff the Younger (Delft 1619 - 1661). Portrait of a Man, traditionally thought to be Hugo Grotius, circa 1642, oil on bevelled wood panel, 49.2 x 63.3 cm (19 3/8 x 25 7/8 ins), with an early to mid 20th century German label verso typewritten: ‘Maler: Willem Jacobszoon Delff / 1580-1638 Delft, Niederl./ Hugo de Groot, gen. Grotius/ 49,2 x 63,3 cm’ numbered in pen and ink ‘236’, a further red chalk number '36' verso, with a further 18th to 19th century label numbered in pen and ink '467', in a fine, early gilded foliate and beaded frame (75 x 61 cm)QTY: (1)NOTE:Provenance: Prince Frederick George William Christopher of Prussia (1911 – 1966), also known as Friedrich von Preussen, who married Brigid Guinness on 30 July 1945 at Little Hadham. He was the owner of Schloss Reinhartshausen at Erbach, Germany. In 1966, he drowned in the Rhine, aged 54. Following his death, parts of his estate were sold at auction; Colin Bather (1933-1996), who purchased the present work directly from the estate, circa 1972-73 at the invitation of Brigid Guiness; thence by descent.Although this very fine portrait, traditionally depicting the Dutch scholar Huigh Grotius, or Hugo Grotius (1583-1645) bears an attribution to Willem Jacobsz. Delff (1580-1638) on an old typewritten German label to verso, there are no comparable works to our portrait by this artist, who as far as is known was exclusively a reproductive portrait engraver. However, Dutch expert Jasper Hillegers (see biography below) has identified a compelling comparison in a portrait of A Young Man by Willem Jacobsz. Delff’s son, Jacob Willemsz. Delff II (1619-1661), in the Boijmans van Beuningen Museum, Rotterdam, dated 1642, in which the sitter wears a very similar collar and jacket to those of our sitter. Although 1642 is a little later than Hillegers would have estimated on the basis of the fashion, which he would have dated to circa 1635, he believes that this fashion was clearly also worn in the 1640s. Hilleger feels that the execution of the face of the Rotterdam sitter seems a little more bland than that of the present work, the striking overall affinities seem to make a case for Jacob Willemsz. Delff II. The overall pose, painterly treatment of the flesh, finesse of the painting of the fine soft hair, beard and moustache, and the transition in the background from dark to light, all seem to argue for Delff’s authorship here.We are indebted to Jasper Hillegers for this catalogue essay. Hillegers was former assistant curator at the Frans Hals Museum, Haarlem, who has (co)curated several exhibitions (including Gérard De Lairesse in Enschede); and has contributed to numerous catalogues (among others, Salomon Lilian, Frans Hals Museum, Rembrandthuis, Joods Historisch Museum, Paleis op de Dam, Szépm?vészeti Múzeum, Städel Museum/National Gallery of Canada, Fondation Custodia) and co author of The Art of Laughter: Humour in Dutch Paintings of the Golden Age, 2018.
* Walker (Ethel, 1861-1951). Beachscape, probably Robin Hood's Bay, oil on thin chamfered wood panel, depicting a lifeboat at the water's edge, with figures and a horse drawn wheeled launch going out to meet it, unsigned, 27.5 x 35.5 cm (10 3/4 x 14 ins), with old typewritten note attached to verso giving biographical details of the artist, small near-contemporary printed label to verso bearing the number X3588 and handwritten mark in large black letters B L 8, and a later black felt tip number 2991, framed (36 x 44 cm)QTY: (1)NOTE:Provenance: Private Collection, Hampshire.Dame Ethel Walker was a highly decorated artist, she was elected a Member of the Royal Society of British Artists in 1932. A year later she became a Member of the Royal Society of Portrait Painters. She was made a Companion of the British Empire in 1938 and elected an Associate of the Royal Academy in 1940. In 1943 she was made a Dame of the Order of the British Empire.
* Dodd (Sir Frances, 1874-1949). The Garden Door (Portrait of Isabel Dacre), 1909, drypoint etching on laid paper, signed and inscribed 'Own Proof', pale mount stain, plate size 353 x 201 mm (13 3/4 x 7 7/8 ins), sheet size 47.5 x 33 cm (18 3/4 x 13 ins), old frame, glazed, with framers label of Charles Chenil 7 Co., Ltd., 183a, King's Road, Chelsea to versoQTY: (1)NOTE:Schwabe 44.
* Kitaj (Ronald Brooks, 1932-2007). Self Portrait, Reading, 1983, etching on thick Richard de Bas pale cream handmade paper, with watermark, from the published edition of 30 impressions, signed, numbered 11/30, and inscribed 'for Leonard with love' in pencil, a few minor marks, plate size 49 x 36.5 cm (19 1/4 x 14 3/8 ins), sheet size 66 x 51 cm (26 x 20 ins)QTY: (1)NOTE:Provenance: Collection of the artist Leonard McComb (1930-2018).Kinsman 121B.
* Goodwin (Robin, 1909-1997). Girl with a Fringe, 1950, oil on canvas, half-length portrait of a seated young woman, with cropped fair hair, wearing a brown jacket over a pink blouse, signed and dated lower right, verso with 'Reeves' Canvas' stamp and Royal Society of Portrait Painters title label, stretcher with James Boulet printed label and annotated in black ink '"Angela Harris" model', 55.5 x 40.5 cm (21 3/4 x 16 ins), framed (68 x 53.5 cm)QTY: (1)
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