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Preisdatenbank abonnierenA standing portrait of a ruler, possibly Thakur Bakhtawar Singh of Auwa, Jodhpur, Marwar, Rajasthan, 18th century, opaque pigments heightened with gold on paper, shown haloed and wearing an orange robe, with green jama, a tulwar in his right hand and holding a sarpech in the other, on an ochre ground, with single line of text (smudged) to reverse, 23 x 14cm. Provenance: Private London collection
A portrait of Jagat Singh II of Mewar (1734-1751) watching a Nautch, Mewar, Rajasthan, India, circa 1760, gouache heightened with gold and silver on paper, the haloed ruler shown beneath a parasol and smoking, his vivid red robes echoed in those of the dancer before him, the drum held be one of his performers and the dress of one of his courtesans, inscribed verso and recto, 30.2 x 20.7cm. Provenance: Private Collection of J.P. Losty (1945-2021), formerly curator of Indian Visual Materials at the British Library; acquired from the Pan Asia Collection, Sotheby's, October, 1990 Inscriptions: Recto in gold: 'Portrait of Maharana Sri Jagat Singji. Dance of Women' Verso: 'Portrait of Maharaana Sri Jagat Singhji enjoying a dance of his women. This page entered into the [Royal Mewar] collection on Asadha badi 12 samvat 1818 [August 1761].'Condition Report: With some losses to paint
An album compiled by Helen Marion Hyde Lay, daughter of Arther Hyde Lay, British Consulate General in Corea (sic), containing portrait photographs, photographs of Edward VIII as The Prince of Wales including him with Hirohito, later Emperor of Japan, invitations to various balls attended by The Prince of Wales, one including directions and the invitation in Japanese, dance cards for the balls and one marking a dance with The Prince of Wales as well as Lord Mountbatten and Captain Metcalf, paper cuttings and other items.
A collection of early 20th Century Magic Lantern Slides mostly relating to mountaineering in Switzerland, to include: scenes at the summit, portrait, views of the valleys, a picture of snow shoes, climbing equipment, scenes from above the cloudline, and more; Val de Bangnes; Alpe de Louvie, mostly black and white, a few colour tinted, approximately 110 in total.
A Victorian scrapbook, circa 1880, the cover showing early depictions of Father Christmas in red, containing Lincrusta, Valentines, Calling Cards and other items, 29 x 35cms.Note: The tradition of Father Christmas wearing red began in the 1870s with the American cartoonist Thomas Nast, who introduced the red suit and cap, white fur lining and buckled black belt. Nast produced numerous drawings of Santa for Harper’s Weekly over a period of more than 20 years and, having first portrayed him in the Stars and Stripes (Nast was a passionate supporter of the Union side in the American civil war) and in green, eventually achieved a representation of the Santa we know that owed much in spirit to “The Night Before Christmas”. His 1881 image of Santa quickly became something akin to an official portrait.
The Royal Mint United Kingdom 2019 Proof coin set, with certificate of authenticity, limited edition 10000 (un-numbered), booklet, cased in folio; The Royal Mint Fourth and Fifth Circulated Coin Portrait Collection First Edition, with brilliant uncirculated Shield of Arms set; and 2012 Proof coin set, with booklet, cased and boxed. (3)
A gold mounted oval shell cameo brooch, carved as a portrait of a lady within a ribbon twist surround, detailed '9ct', width 3.5cm, and another similar gold mounted oval shell cameo brooch, detailed '9ct', total weight 16g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of 9ct gold and oval shell cameo pendant earrings, each carved as a portrait of a lady, with post fittings, length 2.3cm, a 9ct gold, seed pearl and red gem set bar brooch (damaged), total weight 3.7g, a single row necklace of graduated tiger's eye beads, a gilt metal mounted banded agate oval brooch and a group of silver and costume jewellery, including various pendant earrings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A 9ct gold mounted oval shell cameo brooch, carved as a portrait of a lady within a ropetwist surround, weight 14.4g, width 3.6cm, and a smaller gold mounted oval shell cameo pendant brooch, carved as a portrait of a lady, indistinct mark, weight 4.4g, width 2.7cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A PAIR OF SHELL CAMEO DROP EARRINGS, the heart shaped panels carved with a lady's head portrait, in a plain mount stamped 750, pendant from a bow and shepherd's crook hook, together with a similar oval pendant carved with a lion rampant (Pr. & 1) (Est. plus 24% premium inc. VAT)Unmarked, Fair. Pendant 2cm long including bale, excluding loop. Earrings 2.5g total gross
TWO AUSTRIAN PORCELAIN OVAL PLAQUES, late 19th century, each painted in sombre colours with the head and shoulders self-portrait of Mme. Vigee de Brun wearing a white head scarf and ruffle necked dress, one 3 1/2" x 2 3/4", unsigned, the other, apparently unsigned, 3" x 3 1/2" (Est. plus 24% premium inc. VAT)First (in oval loose frame) has two flakes to back at 1 and 6. Framed example unable to take out of frame without possibility of damage but appears to be good
AN AUSTRIAN PORCELAIN ROUNDEL, late 19th century, painted with the bust portrait of Mme. Recamier wearing a purple band in her curled hair and a diaphanous white dress, indistinctly signed (Brutin?), titled on reverse, 4" diameter, framed (Est. plus 24% premium inc. VAT)Good, no chips, cracks or restoration
OF ROYAL INTEREST - a Goodwin, Bridgwood & Harris pottery bag jug printed in brown with a portrait of William IV and Queen Adelaide, 6 3/4" high, together with a porcelain sugar basin and milk jug mourning the death of Princess Charlotte (3) (Part Illustrated) (Est. plus 24% premium inc. VAT)William jug generally good, Charlotte bowl and jug tired with damages
E. THOMPSON (19/20th century) Portrait of The Hon. Theodora Maitland, in Black Lace Dress and Ermine Cape, three quarter length, oil on canvas, signed and dated 1910, inscribed to reverse with remnant of label, 29 1/4" x 23 1/4", gilt frame (Est. plus 24% premium inc. VAT)Cleaned and reframed some time ago with minor touching up. Series of small spot paint chips to top left corner. Canvas good and reasonably tight.
ATTRIBUTED TO THOMAS HUDSON (1701-1779) Portrait of Lady Bletchey in a Plumed Hat, half length, oil on canvas, unsigned, inscribed label to reverse, 27 1/2" x 23", gilt frame (Illustrated) (Est. plus 24% premium inc. VAT)Relined, very mild crazing throughout and mild stretcher marks. Some minor spot repairs and touching up.
A 19th century half length portrait miniature depicting an officer of the 2nd Dragoon Guards (The Queen’s Bays), circa 1850, glazed, within gilt frame, painted on ivory, laid down on card,, dimensions 13 x 10.8cm. £300-£400 --- The officer wears the typical Dragoon Guard uniform of the period before the Crimean War. Please refer to jewellery Department for Ivory Licence No. Condition Report The miniature is glue to the cardboard mount, with traces of numbers ‘..135’ written in ink to the base of the mount.
A 19th century oval portrait miniature of a gentleman by Thomas Hargreaves, bust length, wearing a navy coat, cream waistcoat and stock, signed with initials ‘T H’, mounted verso with curled locks of hair arranged round a seed pearl-bordered oval blue enamel panel bearing the initials ‘W H’, watercolour on ivory, in a gilt metal plain frame, portrait dimensions 72 x 58 mm. £300-£500 --- Provenance: By family descent. Thomas Hargreaves (1775 - 1846), of Liverpool; apprenticed to Sir Thomas Lawrence; exhib. R A 1798, 1808 & 1809; a member of the Liverpool Academy. His three sons, Francis, George and (James?) all became painters of miniatures. Please refer to Jewellery Department for Ivory Licence No.
A late 19th century Renaissance Revival enamel brooch, attributed to Alfred Garnier, the rectangular frame inset with a enamel portrait, probably depicting Charles V of France (1338 – 1380), the panel inscribed ‘KARLE QVINT’ (sic), between opalescent pink enamel fleur-de-lys terminals, glazed compartment verso, mounted in gold, panel with conjoined monogram ‘AG’ for Alfred Garnier, length 47mm. £300-£500 --- Alfred Jean Garnier (1848-1908) began his career in the studio of George Bissinger, before studying and collaborating with the enamelist Paul Grandhomme. Together they won the gold medal at the 1889 Exposition Universelle, and went on to create the last enamels for Gustave Moreau. Alfred Garnier also created pieces for Bapst and Falize, amongst others. See: Katherine Purcell, Falize, A Dynasty of Jewellers, pub. London 1999, p. 177. Condition Report General surface wear commensurate with age and use, some small sections of enamel loss.
Of Royal interest: An oval portrait miniature set brooch, depicting Princess Charlotte of Wales, early 19th century, facing right, her upswept hair fashioned with curls framing her face and flowers to her hair, wearing lace-edged bodice, the brooch gold mounted, the second portrait miniature depicting a young lady, facing half left, her brown curling hair on her shoulders, in a plain gilt metal frame with brooch pin, the mount inset with a narrow band of plaited hair, both on ivory, dimensions: first 20 x 24mm, second 62 x 54mm. (2) £100-£150 --- Provenance: By family descent. The portrait of Princess Charlotte of Wales is after the painting, oil on card, by George Dawe, 1816/1817, a copy of which is held at the Esher Library, donated by Rev. H. Gordon French, circa 1974. Princess Charlotte Augusta of Wales (1796-1817) was the only child of George Prince of Wales (later King George IV), and his wife, Caroline of Brunswick. She was expected to ascend the British throne after the deaths of her grandfather George III, and her father, but died in childbirth at the age of 21, predeceasing them both. Please refer to Jewellery Department for Ivory Licence No.
A collection of four 19th century portrait miniatures, the first, early 19th century, of a young lady, by Frederick Buck, wearing white Empire line dress, her dark hair loosely curled and upswept, in gilt metal frame; the second, of a young lady, attributed to Thomas Hazlehurst, in white lace-edged gown, with dark loose curls, in gilt metal frame, with suspensory loop, glazed verso and mounted with border of plaited hair, together with two mid 18th century portrait miniatures of ladies, all on ivory, dimensions 8.4cm, 10cm (including suspensory loop), 4.7cm and 3.7cm respectively. (4) £300-£500 --- Provenance: By family descent. Frederick Buck (1771 - c.1840) Irish, worked in Cork for many years and produced large number of portraits of army officers embarking from that city during the Napoleonic Wars. Thomas Hazlehurst (c.1740 - c.1821) was a pupil of Joshua Reynolds, and worked and exhibited in Liverpool. Please refer to Jewellery Department for Ivory Licence No.
A 19th century diamond set portrait frame, of garland style, set throughout with rose-cut diamonds, gold and silver mounted, with later pendant and brooch fittings, the pin with spurious marks, frame length 50mm. £150-£200 --- Condition Report General surface wear and tarnish commensurate with age and use. Viewing advised. Weight 11.7gm.
A portrait miniature of a young lady, Anne Withington, attributed to Thomas Hargreaves, circa 1831, half length, her hair plaited and coiled into a bun, with ringlets, wearing an ermine-trimmed mantle and a long gold chain necklace, seated against a red curtain, together with a companion portrait of a young lady, perhaps by Francis or George Hargreaves, within gilt slip mounts and morocco leather frames, watercolour on ivory, backed with card, dimensions both 9.5 x 8cm (excluding frames). (2) £400-£600 --- Provenance: By family descent. The former inscribed verso ‘Messrs (?) Hargreaves 1830’ in a contemporary hand, with second contemporary inscription “considered by Withington invaluable - perfectly correct; it is a good likeness of A W”, the gilt slip frame stamped ‘I Price’; the second portrait inscribed verso ‘F Hargreaves pinxt’. Please refer to Jewellery Department for Ivory Licence No.
An Indian portrait miniature, circa 1860, depicting Mumtaz Mahal, later mounted by Marcus & Co., the glazed oval portrait, watercolour on ivory, depicting the Empress in half profile, adorned in fine clothes and elaborate jewels, set against a red draped curtain, the portrait later gold mounted and within a frame of scrolling decoration highlighted in white enamel, with half pearl detail, the reverse stamped ‘MARCUS & CO.’, on hinged pendant fitting, length (excluding pendant fitting) 6cm. £1,200-£1,500 Please refer to Jewellery Department for Ivory Licence No. --- MumtÄz Mahal 1593-1631) was born Arjumand Banu Begum, in Agra, Northern India, the daughter of a noble Persian family, her father Abu’l-Hasan Asaf Kahan held high office in the Mughal Empire, and her aunt Empress Nur JahÄn, was the chief wife of Emperor Jahangir. MumtÄz was betrothed at the age of 15 to Shah JahÄn, the young Prince Khurram, becoming his second wife five years later in 1612. They had a loving marriage, with Mumtaz being the beloved favourite of his three wives. She was his constant companion and confidant. She was reputed to be talented and cultured, well versed in Arabic and Persian languages, and of a modest disposition. Contemporary poets extolled her beauty, grace and compassion. Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief Empress with the title of Padshah Begum '(First Lady or Queen of the Great)’, also bestowing upon her the exceptional right to the imperial seal Muhr Uzaz. In their 19 years of marriage, they had 14 children together. MumtÄz tragically died during the birth of her 14th child in 1631. After her death the Emperor was reportedly inconsolable, going into secluded mourning for a year. Chroniclers recorded that he did not wear bright clothing, jewellery or perfume for more than two years. Very slowly he returned to public life, his hair now white, his back bent from grief. In the same year as MumtÄz’s death, he commissioned the building of the great Taj Mahal, as a magnificent mausoleum to his wife, a mission of love that would take 17 years to build and most of the Emperor’s wealth. The English poet Sir Edwin Arnold described the Taj Mahal as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones”. * * * As with other Mughal royal ladies, no contemporary likenesses are known but imagined portraits were created from the 19th century onwards. See: Miniature painting, watercolour on ivory, titled Portrait of a lady, Delhi, Ca 1860. Bibliographic Reference: Mildred Archer: Company Paintings Indian Paintings of the British period, Victoria and Albert Museum, Indian Series, Maplin Publishing 1992, p 221. * * * The New York jewellers Marcus & Co. were founded in 1892, famous for their enamel work, skills originating from their founder Hermann Marcus from Dresden, who had worked with Court Jewellers Ellemeyers prior to emigrating to New York in the 1850s. Today Marcus & Co. are considered one of the outstanding early 20th century American jewellers. Condition Report Some areas of wear and spotting to the white enamel border. Scratched retailer’s stock number to the reverse, below pin hinge. Overall very good condition. Gross weight 31.1gm.
George Baxter (1804-1867) - A 19th century Victorian miniature lithograph portrait print with hand coloured details to depict The Late Duke of Wellington. Lettering to the body to read 'Published on 1854 - G. Baxter - Proprietor and Patentee'. Held within an ebonised frame. Measures 22cm length.
A group of decorative oil paintings,comprising:a bust of Julius Caesar, 19th century,a portrait of a Roman, anda portrait of Cybele wearing a turreted crown,largest 98.5 x 49cm (3)Condition ReportFrame sizes - Cybele 107 x 57cm; Caesar 56 x 43cm; Roman 76 x 53cm. Caesar portrait unframed, with several holes to canvas and loss of paintwork, edges of canvas worn, in aesthetically distressed condition. Roman - Loss and wear to paint surface, particularly top right, some holes to canvas, blistering/water damage to the neck area, losses to the frame's gesso. Athena in good cosmetic condition with minor traces of wear and age, small loss to frame.
A group of museum studies,late 19th/early 20th century, comprising a portrait bust of a boy by Mabel Lumley, c.1912, and four other oil on canvas studies depicting classical sculptures,largest 46 x 35.5cm (5)Condition ReportAll unframed apart from one. None glazed. Small areas of loss of paint throughout. Wear and degradation to edges. In moderate but attractively distressed condition.
G.B. - Royal Mint brilliant uncirculated mixed flatpack issues to include year sets 2002, 2003, 2004, 2007, 'Emblems of Britain' 2008, 'Royal Shield of Arms' 2008, 2010 (N.B. 12 coin set), 2012 (N.B. 10 coin set), 'Fourth Portrait' 2015, Fifty Pence 'Kew Gardens' 2009 (N.B. Single coin), other flatpacks & Lindner type coin trays x 5 containing regular coinage etc. (Qty)
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