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283284 Los(e)/Seite
Los 571
FELIX MENDELSSOHN INTEREST; a yellow metal ruby and diamond brooch centred with a portrait of a woman wearing a hat, beneath a lute and horn pierced border, unmarked, diameter 2.8cm, approx. 8.3g, accompanying the brooch is a letter dated 1939 beginning 'Dear Miss Moses, I am glad that the brooch I sent you gave you pleasure. Dr Moses no doubt told you of its connection with the Mendelssohn family, it belonged to a daughter of Felix before it came to me and I felt that a musician would therefore doubtly appreciate it.....'
Los 276
A RARE FAMILLE ROSE 'LIBERTY' PUNCH BOWLQianlongEnamelled on each side with a cartouche portrait of John Wilkes below the inscription ARMS OF LIBERTY, beside a portrait of Lord Mansfield, each portrait flanked by supporting figures and mottos.26cm (10 1/4in) diam.Footnotes:For an identical bowl see D. S. Howard, Chinese Armorial Porcelain, 1974, p. 955 where the author points out that these bowls, together with the similar, more commonly-found bowls inscribed 'Wilkes and Liberty', are more political than heraldic. John Wilkes (1725-1797) was a popular campaigner for liberty and was elected to Parliament on several occasions, as well as elected Mayor of London in 1774. Lord Mansfield, representing 'The Establishment', was Lord Chief Justice from 1756-1788.For further information on this lot please visit Bonhams.com
Los 328
ATTRIBUTED TO PETER MIDGLEY (1921-1991) 'THE ORANGE BLOUSE', a seated portrait of a female figure wearing an orange blouse and black hat, no visible signature, attribution to Young Contemporaries label verso, oil on canvas, approximate size 49cm x 39cm, Condition Report: some areas of the paint have gone dull, frame damaged (artist resale rights apply) (provenance: The Arnold Fellows Collection)
Los 529
JOHN SERGEANT (1937-2010) 'LILY II' PORTRAIT STUDY, a half-length portrait study of a female figure, signed bottom right, Mall Galleries Exhibition label verso dated 1983, pastel on paper, approximate size 46cm x 38cm, Condition Report: some foxing visible to the unfinished areas (artist resale rights apply)
Los 1637
Robert Strange after Van Dyke, engraving, 'Carolo I Magnae Britanniae Regi', printed by Robbe, visible sheet 63 x 48cm Engraving with etching of Charles I as king. Whole length with long hair, beard, brimmed hat, lace collar, doublet, and breeches, with a sash over right shoulder. Depicted standing with left hand on hip and right resting on a cane, accompanied by a squire and the Marquis of Hamilton, who attends to the King's horse. With a large tree to the right of the figures and a view of a landscape in the background.A print after the famous painting Charles I at the Hunt, or Le Roi à la chasse, by Sir Anthony van Dyck. The original portrait, painted in 1635, depicts Charles I in an informal manner pausing on a hunt dressed in civilian attire. The original portrait can be found in the Louvre, Paris
Los 1634
Gerard Valk after Sir Godfrey Kneller, copper engraving, 'Gulielmus III', visible sheet 56 x 41cm, label from Sanders of Oxford verso A half-length portrait of William III. The date of publication is unknown, though the death date on the plate of William indicates that it at least was produced posthumously.
Los 1611
James McArdell after Sir Joshua Reynolds, mezzotint, 'Portrait of John Earl of Rothes, Lord Leslie and Bambreigh..', 1763, sheet overall 50.5 x 36cm General John Leslie, 10th Earl of Rothes KT (1698 – 10 December 1767) was a senior British Army officer who became Commander-in-Chief of the Royal Irish Army between 1758 and 1767.The earls of Rothes were a major landowning family in central Fife who had risen to prominence in the Restoration period and traditionally held the hereditary sheriffdom of the county. The 10th Earl had a successful military career, seeing his first service alongside his father fighting for the Hanoverians during the Jacobite Rising of 1715. He succeeded his father in 1722, assuming his post as governor of Stirling Castle and the following year was elected as a Representative Peer for the first time.In 1732, Rothes was appointed commander of the 25th Regiment of Foot and was promoted to Brigadier-General in 1739, Major-General in 1743, and Lieutenant-General in 1747. He fought at Dettingen and lead the first cavalry charge at Rocoux in October 1745 as colonel of the 2nd Troup of Horse Grenadier Guards. From 1751, the remainder of Rothes’ military career was chiefly in Ireland where he was made governor of Duncannon Fort in 1754, an Irish Privy Councillor in 1756, and Commander of the Forces in 1758.The earl was re-elected as a Representative Peer in 1727, 1747, 1754 and 1761, and appointed a Knight of the Thistle in March 1753. He rebuilt the family seat at Leslie House, Fife, after substantial damage by fire, and died there in 1767.
Los 1625
Jacobus Houbraken after Sir Godfrey Kneller, line engraving, 'Queen Anne', published 1744 in Portraits of Illustrious Persons, visible sheet 36 x 22.5cm, fine giltwood frame Jacob Houbraken's most important set of original portrait engravings, the Heads of Illustrious Persons of Great Britain required almost twenty years to complete. The set contains one hundred and eight portraits of British luminaries dating from the 14th to early 18th centuries including Kings, Queens, noblemen, politicians, writers, scientists and philosophers.
Los 1622
Giuseppe Longhi after Antoine-Jean Gros, engraving, 'Bonaparte at the Battle of Arcole', published 1798, visible sheet 48 x 32.5cm The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right – on its blade is the inscription Bonaparte, Armée d'Italie. He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them he wears a white shirt and a black neckscarf. He also wears a gold-fringed tricolor cummerbund and a square-buckled belt bearing his empty scabbard. The background suggests the smoke of battle, with a few houses in the distance on the left. The land bordering the river is painted in dark tones, with a smoking cannonball still visible.The painting was commissioned by Joséphine, who was accompanying Napoleon in his Italian Campaign. Painted in Naples in 1796. Napoleon could reportedly not sit still for extended periods of time as a model for the portrait, Joséphine solved this by allowing Napoleon to sit in her lap and embracing him for the duration required by Gros. The painting passed through the collections of Napoleon himself and of Napoleon III before being sequestered after the fall of the Second French Empire in 1870. It was then reacquired by Napoleon III's wife Eugénie de Montijo in 1871, who eight years later gave it to the Louvre. It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938.
Los 1619
James Ward after John Hoppner, mezzotint, 'Portrait of Admiral of the Fleet Adam Duncan, 1st Viscount Duncan (1731-1804)', visible sheet 67.5 x 47cm State before letters. A full-length portrait of Adam Duncan (1731–1804) in admiral’s full-dress uniform, 1795–1812, with a flag officer’s gold medal for the Battle of Camperdown and the sash and star of the Russian Imperial Order of Saint Alexander Nevsky. Duncan leans on a telescope with his right hand and stands on a rocky beach. Behind him there is a distant view of a naval engagement.Following the death of his older brother on 31 August 1796, Duncan had succeeded to his family’s estate at Lundie in Forfarshire and was therefore a local landowner. The Corporation voted unanimously on 13 November 1797 to present him with a gift of plate and to commission his portrait for Forfar Town and County Hall in order to mark ‘the pride and satisfaction they feel that a native of this county has distinguished himself so gloriously and rendered such essential service to his King and country’. Duncan was given the freedom to choose his own artist and selected Hoppner, a leading London-based portrait painter and Royal Academician. Hoppner exhibited the finished painting at the Royal Academy in 1798.Adam Duncan entered the navy in 1746 under the care of his maternal uncle, Captain Robert Haldane. He then served under the Honourable Augustus Keppel until promoted to the rank of commander on 21 September 1759, being present at the expedition to Basque Roads in 1757, the reduction of Gorée in 1758 and the blockade of Brest in 1759. While in command of the 'Valiant', he played an important part in the reduction of Belle Isle in June 1761 and Havana in August 1762. After 1763 he was on half pay for fifteen years until 1778. After his return to employment he sat on the court-martials of Keppel and Palliser. In the 'Monarch', he was part of the squadron sent to relieve Gibraltar and took part in the action off St Vincent on 16 January 1780. In the 'Blenheim' he again relieved Gibraltar in 1782 and took part in the action off Cape Spartel. He was promoted to flag rank on 24 September 1787. In February 1795, he was appointed commander-in-chief in the North Sea and charged with blockading the Dutch in the Texel. His fleet was joined by an allied Russian squadron in spring 1797, leading Emperor Paul I to appoint Duncan to the Russian Imperial Order of Saint Alexander Nevsky, the ribbon and sash of which he wears in Hoppner’s portrait. In October 1797, Duncan’s fleet achieved a crushing over the Dutch at the Battle of Camperdown, after which the admiral came ashore for several months and sat for a number of portraits. He continued in command of the North Sea fleet until 1800, which marked the end of his active career. He died suddenly in August 1804.
Los 1624
James Holmes (1777-1860), engraving, 'His Most Gracious Majesty King George IV', published by Holmes 1829, visible sheet 51 x 36cm James Holmes was at an early age apprenticed to the well-known engraver Robert Mitchell Meadows and in 1800 engraved in stipple a portrait of Rickman after Hazlitt. Holmes was also talented in music, specifically as a flute player; Novello recommended that he pursue a career in music. He began attending the Royal Academy schools in 1796 and first exhibited at the Royal Academy in 1798. From 1798 to 1849 Holmes exhibited 21 paintings at the Royal Academy, including two miniatures in 1819 and one miniature in 1848.[4] He became a water colourist and in 1813 became a member of the Society of Painters in Water Colours, exhibiting there two of his paintings, Hot Porridge and The Married Man. He continued exhibiting there until 1820. In 1822 he resigned from the Society of Painters in Water Colours, and became in 1824 a founding member of the Society of British Artists, and a frequent exhibitor, chiefly in miniatures, until 1850; he was the president of the Society in 1829. He had a successful practice as a portrait painter in miniature. Two of his miniature portraits of Lord Byron were engraved. Holmes’s portraiture of George IV lead to a personal friendship in which they played music together. Published engravings were done for some of Holmes’s paintings, including The Amulet and The Literary Souvenir. He retired to Shropshire.
Los 1633
Pierre Drevet after Hyacinthe Rigaud (1659-1743), engraving, 'Louis XIV, King of France (1638-1715)', visible sheet, 60 x 48.5cm The oil portrait was commissioned as a gift for Louis XIV’s grandson, Philip V of Spain but was such a success at court that it was never sent to him and a copy was dispatched instead. Drevet’s print after the painting was published in 1712. The steady demand for engraved portraits of prominent men in public life during this period grew in importance under royal patronage, and this became the staple output of Pierre Drevet. He excelled at portrait engravings, his skill leading to his appointment in 1696 to the title of Graveur du Roi (Engraver to the King).
Los 1615
Robert Graves after Lemuel Francis Abbott, engraving, proof impression before letters, 'Portrait of Lord Nelson', published by Henry Graves 1847, visible sheet 44 x 33.5cm This is one of the many portraits Abbott painted of Nelson and it is perhaps the most widely recognised of the whole Nelson iconography. It depicts him in rear-admiral's uniform wearing the Star and Ribbon of the Bath and the Naval Gold Medal, awarded for his victory at the Battle of St Vincent (1797). The original portrait was painted for Captain Locker of the Greenwich Hospital. This version, commissioned for Lady Nelson, was also taken from life. Although Nelson only sat to him twice, Abbott subsequently copied the picture over forty times. The copies gradually declined in quality as the artist became mentally ill but this was no bar to their popularity. Many were purchased by Nelson's naval colleagues, his family and friends.In July 1798, Nelson's wife wrote to him: 'My dearest Husband - I am now writing opposite to your portrait, the likeness is great. I am well-satisfied with Abbott… it is my companion, my sincere friend in your absence…'.
Los 1618
William Finden after Sir Thomas Lawrence, engraving, 'King George IV', published by Moon, Boyes and Graves, 1829, visible sheet 66 x 41.5cm The original oil now resides in the Wallace Collection. George IV (1762–1830) was an important figure in the history of the Wallace Collection. An avid art collector, before he became king in 1820 he was an intimate friend of the 2nd Marchioness of Hertford and on good terms with her son, the future 3rd Marquess, who advised him on his purchases and on occasions acted as his saleroom agent. Lawrence, the foremost portraitist of his time and President of the Royal Academy (1820–30), painted several portraits of the King, though he regarded this as his most successful. A remarkably informal image, it epitomises the elegance and refinement for which George was renowned. It was given by the King to his mistress Lady Conyngham. The portrait was engraved five times by 1841, and was mentioned by Thackeray in 'Vanity Fair' and by Dickens in 'Bleak House'. Its purchase by Sir Richard Wallace was characteristic of his sensitivity to the history of the Collection.
Los 1635
Charles Turner after Charles Lock Eastlake, mezzotint, 'Napoleon on the Bellerophone', published c.1816, visible sheet 64 x 47cm, period maple frame In this full-length portrait of Napoleon, Charles Lock Eastlake represents the deposed Emperor, dressed in the green uniform of a colonel of the “chasseurs à cheval de la Garde”, on the bridge of Bellerophon which he had boarded on 15 July 1815, ultimately putting his fate in the hands of the British Prince Regent, after a failed attempt to reach the United States.
Los 1605
Francesco Bartolozzi after John Russell R.A., stipple engraving, The Royal Toxophilite, 'To the Royal Kentish Bowmen, This Plate of His Royal Highness the Prince of Wales..', later George IV, published by Jeffryes 1795, visible sheet 54 x 34cm Portrait of George IV when Prince of Wales, full-length, slightly turned to the right, holding his bow and leaning on a pedestal, dressed in a dark double-breasted coat buttoned at the chest and breeches with short boots, the Garter star pinned to his chest and the riband across his chest with the garter about his leg, his hair powdered, his plumed bicorne on the pedestal to the right with his quiver and arrows, a rural landscape beyond with gentlemen firing bows and arrows at a target, a statue of Diana on the pedestal
Los 1644
Thomas Hodgetts after Sir Thomas Lawrence P.R.A., mezzotint, 'The Prince Regent, later George IV', published by Colnaghi 1829, visible sheet 64.5 x 45cm This is a version of Lawrence's most replicated portrait of the Prince Regent, painted in 1818 wearing Garter robes and presented by the sitter to the Mansion House in Dublin (now in the Hugh Lane Gallery). This is one of four versions currently in the Royal Collection, all painted after the Coronation in 1820 at which point a crown replaces the plumed hat of the Garter on the table. The King rests one hand on a paper lying under the Imperial Crown upon the 'Table des Grands Capitaines'; he wears Garter robes with the collars of the Golden Fleece, Guelphic Order, Bath and Garter.
![° ° Walpole (Horace) [Sale Catalogue]. A Catalogue of the classic contents of Strawberry Hill collected by Horace Walpole (th](https://cdn.globalauctionplatform.com/9fcd7238-b1b4-48ba-85ad-aff900a9a575/727df0f1-d089-4c6a-a1e9-aff900bcc4fd/468x382.jpg)
Los 1521
° ° Walpole (Horace) [Sale Catalogue]. A Catalogue of the classic contents of Strawberry Hill collected by Horace Walpole (the pictorial engraved title) with lithographed portrait frontis. (and) Strawberry Hill, the renowned seat of Horace Walpole. Mr George Robins is honoured ... to sell by public competition, the valuable contents ... (on) Monday, the 25th day of April 1842 .. (the printed title). engraved text illus; old half leather and marbled boards (distressed), 4to. 1842; sold with some Old Strawberry Hill prints (approx. 12, interior and exterior views). later 18th / early 19th cents.
Los 2267
Tom Wesselmann (Cincinnati/Ohio 1931 – 2004 New York). „Smoker“, aus der Mappe „An American Portrait 1776-1976“. 1976Farbserigrafie auf Karton. 41,5 × 41,5 cm (66 × 49,3 cm) (16 ⅜ × 16 ⅜ in. (26 × 19 ⅜ in.)). Signiert.Im Online-Werkverzeichnis des Tom Wesselmann Estate/Wildenstein Plattner Institute unter der Nummer P761 registriert.–Einer von 175 nummerierten Abzügen, aus einer Gesamtauflage von 300. New York, Transworld Art, 1976 (mit dem Prägestempel des Herausgebers). [3859] Gerahmt.Zustandsbericht: Ex. 159/175In gutem Zustand. Die Farben geblichen. Die Blattkanten ohne Einrisse oder Fehlstellen, das Papier an den Blattkanten stellenweise mit minimalen Unregelmäßigkeiten. Das Papier im Randbereich etwas unregelmäßig gebräunt. Die Oberfläche mit hellen Stockfleckchen. Am rechten Rand eine hauchfeine dunkle Spur (vermutlich von ehemaliger Rahmung). Rückseitig in den oberen Ecken Rückstände ehemaliger Montierung. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.
Los 2204
Anton Henning (Berlin 1964 – lebt in Manker und Berlin). „Portrait of A Girl In A Green Dress“. 1990Öl auf Leinwand. 140,5 × 125 cm (55 ⅜ × 49 ¼ in.). Unten rechts mit Kreide in Violett monogrammiert und datiert: AH 90. Rückseitig mit Kreide in Blau mit Richtungspfeil bezeichnet, monogrammiert und datiert: A.H 90.[3806]Provenienz: Privatsammlung, PolenZustandsbericht: In gutem Zustand. Die Leinwand ist nicht doubliert und befindet sich auf dem originalen Keilrahmen (originale Aufspannung). An wenigen Stellen mittig im Grün mit hauchfeinem Craquelé. An zwei kleinen Stellen im rechten Bildrand ein leichter Verlust der obersten Farbschicht. Unter UV-Licht sind keine Retuschen oder Restaurierungen erkennbar. Schöner harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 32% Aufgeld.
Los 275
Ecole VENITIENNE de la fin du XVIIème siècle d'après l'antique Portrait d'un romain inconnu dit Pseudo Vitellius, d'après le buste antique de la collection Grimani à VeniseBuste en marbre blanc H. 74 cm - L. 64 cm sur un piedouche en marbre Quelques petits éclats, possible restauration de la partie inférieure gauche de l'armureOEuvres en rapport :-Rome, début du IIIème siècle après JC, Romain inconnu, dit Vitellius, marbre grec, H.48 cm, au revers, inscription apocryphe : Felix Vibas, Venise, Museo Archeologico Nazionale, inv. N°20 ;- École italienne vers 1530-1550, Pseudo Vitellius, buste en marbre, H.40 cm, Madrid, Museo del Prado, n°inv. E000361.Littérature en rapport :-J-R Gaborit, « Le Vitellius de Venise » ou comment un Romain anonyme fut proclamé empereur », Ss Dir JP Cuzin, J-R Gaborit, A. Pasquier, D'après l'antique, cat.Exp 16 octobre 2000- 15 janvier 2001, RMN Paris, pp.298-311 ;-A.N Zadoks-Josephus Jitta, 'A creative misunderstanting',in Nederlands Kunsthistorisch Jaarboek, vol ;23, 1972, pp.3-12 ;-K. Lankheit, 'Eine Serie Antiken-Nachbildungen aus der Werkstatt des MassimilianoSoldani', in Römische Mitteilungen 65 (1958) 186-197 ?Ce buste en marbre de très belle qualité, improprement identifié comme étant l'empereur Vitellius, s'inspire d'un portrait d'homme romain découvert en 1505 lors de fouilles dirigées par le cardinal vénitien Domenico Grimani (1461-1523) sur le Quirinal. Dès la mort du cardinal, cette oeuvre est envoyée à Venise et exposée au Palazzo Ducale jusqu'en 1593. Considérée dès cette époque comme le portrait de l'empereur Vitellius, elle est largement copiée, notamment pour représenter cet empereur dans une série de bustes illustrant la Vie des douze Césars de Suétone. Le succès précoce de ce buste est attesté non seulement par le nombre de dessins, mais aussi par l'existence d'une fonte en bronze du XVIème siècle (musée archéologique de Venise) et de copies anciennes en plâtre (un exemplaire dans la Maison de Rubens à Anvers) et par une fameuse copie exécutée ensuite par le sculpteur Massimiliano Soldani Benzi (1656-1740) (Liechtenstein, collections princières n°563 entre 1695 et 1711-1712). Dans la seconde moitié du XVIIe siècle et au début du XVIIIe, un regain d'intérêt pour le portrait impérial romain (pouvant servir de miroir moral pour les princes) a contribué à la diffusion de ce portrait, prenant place dans les galeries princières. Comme dans beaucoup de copies, la nudité originelle du buste a été dissimulée par une cuirasse et un manteau agrafé sur l'épaule renforçant cette identification à l'empereur.
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283284 Los(e)/Seite