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283284 Los(e)/Seite
Los 11
English School (19th century) Two portrait miniatures Depicting John Yeoman of Ruebury, Osmotherley and John Austwick, both unsigned, titled on verso, watercolour and cut paper silhouette (2).14.5cm x 11.5cm (5.75in x 4.5in) and 10cm x 8cm (4in x 3.25in)Qty: 2The miniatures are both in very good, original condition. The silhouette backing paper has browned universally and there is some light time staining and browning around the edges of the paper near the mount board of the watercolour. There are some minor spots of foxing across both the sheets. The miniatures are both ornately framed and glazed. The frame have some scuffs and knocks.
Los 234
Collection of Mauchline ware sewing accessories Collection of Mauchline ware sewing accessories to include two floral patterned cotton balls, one labelled Clark & Co's Anchor Sewing Cottons, a pin cushion in the form of an urn and an Ashworth's spool box with a child portrait to the lid and a fortune telling game to the perimeter with a spinning wheel.tallest 8cm high
Los 3
Continental School (19th century) Portrait of a lady Monogrammed, oil on panel.18.5cm x 12.5cm (7.25in x 5in)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Los 32
English School (19th century) Portrait of a lady wearing a green dress and lace bonnet Unsigned, oil on canvas.50cm x 44.5cm (19.75in x 17.5in)The painting is in fair, restored condition. The painting has been re-lined. There is a small repair patch visible on the reverse of the canvas with corresponding inpainting. The varnish has yellowed universally and the surface appears to be grubby with one or two minor surface marks and scuffs. There is extensive craquelure across the surface of the painting and some minor creases around the edges of the canvas. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Los 40
J. McIntyre (British 19th century) Male portrait Unsigned, with artist's label on verso, oil on board.60cm x 45.5cm (23.5in x 18in)The painting is in good, restored condition. Under UV light there is evidence of cleaning and overpainting. There is minor craquelure and cracking across the surface of the painting with some resultant flecks of paint loss. The painting is ornately framed but not glazed. The frame has some knocks and losses.
Los 41
English School (19th century) Portrait of a standing chestnut horse and a girl Unsigned, oil on canvas.44.5cm x 59.5cm (17.5in x 23.5in)The painting is in good, restored condition. The painting has been re-lined. Under UV light there is evidence of cleaning and overpainting. The varnish has yellowed in areas and there is craquelure across the surface of the painting. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
Los 45
English School (19th century) Portrait of Major E.S. Kearsley, aged 46 Unsigned, dated 1866 with residences at 'The Height, Bolton' and 'Hunting Box, Hartford, Cheshire' on labels verso, oval, watercolour and pencil.25cm x 20cm (9.75in x 8in)The painting is in good, original condition with strong colours. There is a central oval of browning behind the figure and some spots of foxing. The painting is ornately framed but not glazed then set within a glazed box frame. The outer frame has some minor scuffs and knocks commensurate with age.
Los 59
English School (early 18th century) Portrait of Charles Bertie II of Uffington (1674-1730), bust length, in a red coat Unsigned, titled and with sitter's coat-of-arms upper right, oil on canvas.75cm x 61.5cm (29.5in x 24.25in)The painting is in good, restored condition. The painting has been re-lined and there is evidence of cleaning and restoration. The varnish has yellowed universally across the painting and there is extensive craquelure and cracking across the surface with one or two flecks of paint loss. There is extensive bitumen deformation and blooming varnish around the edges of the canvas. The surface is grubby and there are some drips across the painting. The painting is ornately framed but not glazed. The frame has some knocks and losses.
Los 61
English School (17th century style) Portrait of Montagu Bertie, 2nd Earl of Lindsey (1608-1666), half-length, in armour Unsigned, titled and with sitter's coat-of-arms upper right, oil on canvas.44.5cm x 35.5cm (17.5in x 14in)The painting is in good, original condition. There is extensive craquelure and bitumen deformation across the surface of the painting. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Los 66
Circle of William Dobson (British 1611-1646) Portrait of Montagu Bertie, 2nd Earl of Lindsey (1608-1666), bust-length, in armour, with a blue sash Unsigned, titled in the upper left-hand corner, oil on canvas.73.5cm x 60.5cm (29in x 23.75in)Montagu Bertie, 2nd Earl of Lindsey, was an English soldier, courtier, and politician who sat in the House of Commons between 1624 and 1626. He was created Baron Willoughby de Eresby by writ of acceleration in 1640 and inherited the peerage of Earl of Lindsey in 1642. He fought in the Royalist army in the English Civil War. Bertie was born in Grimsthorpe Castle, Grimsthorpe, the eldest son of Robert Bertie, 1st Earl of Lindsey, and his wife Elizabeth Montagu, daughter of Edward Montagu, 1st Baron Montagu of Boughton. After a brief term at Sidney Sussex College, Cambridge, in 1623, Bertie then served as Member of Parliament for Lincolnshire in 1624 and Stamford from 1625 to 1626, when, upon his father's elevation to an earldom, he assumed the style of Lord Willoughby de Eresby. Both Lord Willoughby and his father supported the King and raised a regiment of cavalry in Lincolnshire on his behalf. Lord Willoughby commanded the Life Guards at Edgehill, where his father was mortally wounded. Willoughby surrendered to the Parliamentarians in order to attend his father, whom he now succeeded as Earl of Lindsey and Lord Great Chamberlain. He was imprisoned in Warwick Castle, where he wrote a defiant declaration and justification of his loyalty to the King. He was not released until a prisoner exchange in July 1643, whereupon he re-joined the King at Oxford and was appointed a Privy Counsellor in December. As Colonel of the King's Life Guards of Foot and subsequently Lieutenant-General of the Life Guards "and all the foot", he fought at the First Battle of Newbury, Cropredy Bridge, Lostwithiel, Second Battle of Newbury, and was wounded at Naseby.Lindsey was present at the surrender of Oxford in June 1646, attended the King in 1647, and finally served as a commissioner for the Treaty of Newport in 1648. He continued to attend the King during his trial and accompanied the King's body to its burial at Windsor. After the Restoration, Lindsey was re-appointed to the Privy Council, admitted as Lord Great Chamberlain, and appointed Lord Lieutenant of Lincolnshire. He was made a Knight of the Garter on 1 April 1661 and officiated as Lord Great Chamberlain at the coronation of Charles II on 23 April 1661. In 1662, the office of Earl Marshal was placed in commission and he was named one of the commissioners. Lindsey died in 1666. Bertie had married, firstly, Martha Ramsay (nee Cockayne), Dowager Countess of Holderness, and secondly Bridget Wray, Baroness Norris. These two marriages produced a total of 12 offspring.The painting is in good, restored condition. The painting has been re-lined and there is evidence of cleaning and restoration. The varnish which is not applied consistently across the painting has yellowed in areas and there is some blooming varnish around the edges of the canvas. The surface of the painting is grubby and there is extensive craquelure. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Los 9
English School (19th/20th century) Portrait of a dog in a moorland landscape Unsigned, oil on canvas.22cm x 29cm (8.75in x 11.5in)The painting is in good, restored condition. There are some small areas of paint loss across the lower half of the painting, some of which have been inpainted. The painting is framed but not glazed. The frame has some knocks and losses.
Los 1203
An Indian Mughal style miniature painting on paper, 18th/19th century, depicting ten portrait panels of emperors and princes, accompanied by attendants in and out of doors, 40cm x 31cm, unframed.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.
Los 1241
A group of four Indian oil paintings on canvas, 20th century, each depicting a portrait of a lady, dimensions ranging from 106cm x 64cm to 122cm x 90cm, unframed, together with a Thai oil painting on canvas depicting two dancing figures, 88cm x 60.5cm, unframed.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.
Los 1272
Two Indian Mughal School miniature watercolour paintings, 19th century, each depicting a full-length portrait of a maharaja, both signed, 33cm x 20.5cm and 28.5cm x 16.6cm, together with another painting of a Mughal prince holding a hawk, 26.2cm x 16.2cm, all unframed.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.
Los 1154
A group of ten Chinese Canton export watercolours on rice paper paintings, late 19th century, each painted with a portrait, approx 21cm x 13cm, unframed (damaged), together with four painted lace place mats.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.
Los 1266
An Indian reverse painting on glass, late 19th/early 20th century, depicting a half-length portrait of a princess feeding a peacock, 49cm x 34cm, framed.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.
Los 85
EMPEROR CONSTANTINE X (1059 - 1067) GOLD DUCAS RARE AND HISTORICAL struck during the reign of Emperor Constantine X, this coin is of a distinctive concave design, the reverse depicting Emperor Constantine X stood, facing forward with a labarum in his right hand and the globus cruciger in his left. the obverse depicting portrait of Christ raising his hand in benediction and holding the book of the Gospels, he is surrounded by a nimbus, or halo, with seriffed cross arms to symbolise his divinity, 4.4g, in magnetic capsule, in box, with certificate of authenticity
Los 304
*AUGUSTUS JOHN (1878-1961) A portrait of Ida Nettleship 1899, the artist's first wife depicted three-quarter length seated in a chair reading, red and cream chalks on grey paper, 41cm x 29cm Provenance: From the Collection of William Crampton Gore (1871-1946)William Crampton Gore was an Irish artist, who befriended Augustus John whilst studying at the Slade from 1900-1904. The two artists shared a studio. Private Collection, IrelandPrivate Collection, Dorset
Los 305
*AUGUSTUS JOHN (1878-1961) A portrait of Ursula Tyrwhitt three-quarter length, red chalk on paper, 28cm x 19cm Provenance: From the Collection of William Crampton Gore (1871-1946)William Crampton Gore was an Irish artist, who befriended Augustus John whilst studying at the Slade from 1900-1904. The two artists shared a studio. Private Collection, IrelandPrivate Collection, Dorset
Los 307
*AUGUSTUS JOHN (1878-1961) 'Woman wearing a smock' a full-length portrait of Mrs Chadbourne, signed lower right, pencil on paper, 52cm x 34cm Provenance: With Arthur Tooth & Sons Ltd., Bruton Street, Mayfair, London W1. Emily Rockwell Crane Chadbourne (1871–1964) was the daughter of Richard Teller Crane and Mary Prentice Crane. Emily, well-known for art collection and philanthropy, sat on the board of governors for the Art Institute of Chicago, was a fellow in perpetuity of the Metropolitan Museum of Art in New York City, and former president of the Senate House Museum in Kingston, NY. She also had a house in London’s Mayfair and was a major lender to Roger Fry’s exhibition Manet and the Post-Impressionists at the Grafton Galleries in 1910–11.
Los 514
*OSCAR NEMON (1906-1985) Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) A bronze 'maquette' for the statue now in situ in the Members' Lobby of the Palace of Westminster signed 'Nemon' but un-numbered, indicating that this is the preliminary version and a one-off cast by the Morris Singer Foundry59cm highProvenance: Acquired directly from Oscar Nemon by Sir John Langford-Holt (1916-1993) a British Conservative Member of Parliament for Shrewsbury from 1945 to 1983. Sir John Langford-Holt was a prominent member of the committee that commissioned Oscar Nemon’s enduring tribute to Churchill. During Winston Churchill’s later years, he was entrusted by the Tory Whips to look after the grand old man himself. Acquired directly from John-Langford-Holt by Sir Edward du Cann (1924-2017) a Tory party grandee and the only person to have served as both Chairman of the Conservative Party and as Chairman of the influential 1922 Committee. Following the defeat of Edward Heath’s Conservative Party in the October 1974 general election, du Cann was briefly touted as a successor as Party leader. Although flattered, he decided not to stand, instead throwing his weight behind the little-known former Education Minister, Margaret Thatcher. His natural bonhomie, as much as the influence he wielded through the 1922 Committee, was decisive and Thatcher was elected as leader of the party in February 1975, paving the way to become the first female Prime Minister in British history. Thence by descent in the family of Sir Edward du CannOscar Nemon had first met Churchill on a trip to Marrakesh, where he had travelled to visit a friend. In an unpublished memoir, Nemon recalls how he first encountered Churchill at the dining room of the hotel in which he was staying. Afraid of approaching him, Nemon studied the hero of the Second World War from across the room, making mental notes so that he could work on a small bust in his room. When Clementine Churchill, Winston’s wife, was alerted to this, she had the artist send the bust over to their party; she found the result so impressive that she wrote to the artist asking to keep it. It should not, she requested, be altered as she had “seen so many portraits and busts spoilt by attempting to get an exact likeness. Your bust represents to me my husband as I see him and as I think of him, and I would like to have it just as it is”.This was to be the first of many sittings that Churchill made to Nemon. Beginning informally in Marrakesh, with studies made by Nemon as Churchill painted, these were then picked up again more formally in Britain from 1952, serving as the basis for a number of public commissions. Churchill was not an easy subject. He could be, in Nemon’s words, ‘bellicose, challenging, and deliberately provocative’, which meant that Nemon would often approach sittings with great trepidation. But, as a fellow artist, Nemon and Churchill had a rapport that went beyond the conventional relationship between sitter and artist, with Nemon teaching Churchill how to sculpt, which he practised by making a portrait bust of the artist at his house in Chartwell, Kent, the only known example of a sculpture by Churchill. After Churchill’s death in 1965 there were calls for a parliamentary memorial to the former Prime Minister to stand alongside Uli Nimptsch’s study of David Lloyd George at the entrance of the House of Commons. Nemon was commissioned to produce a large bronze statue for Parliament. Nemon’s sculpture shows Churchill with his hands on his hips, striding through rubble which evokes the devastation across Britain in the wake of the Second World War.It is understood that the bronze offered here was the version shown to the Committee established to oversee the commissioning and installation of the statue of Churchill. A scale model was discussed in the House of Commons on Monday 20th June 1966, with the then Minister of Public Building and Works Reg Prentice stating that “A scale model of the statue has been seen by most members of the Memorial Committee and by Lady Spencer Churchill. All were favourably impressed. I have seen and approved the model which will now be used by the sculptor, Mr. Oscar Nemon, as the basis for the development of a full scale model.”
Los 577
A UNIQUE ONE-OFF BLUE OVER WHITE ENGRAVED GLASS CENTREPIECE BY STEVE BRADLEY inspired by the photographs of E.O. Hoppe (1878-1972), with a portrait of a sleeping maiden, signed to the rim by S.J. Bradley and to the underside by Richard and Michael Hoppe, 38cm diameterProvenance: The Richard Hoppé Collection
Los 145
Portrait photographique du Maharaja Sir Shrimant Tukojirao Puar III, Maharajah du Dewas Senior, Inde centrale (reg. 1899-1937) circa 1920 A large photographic portrait of Maharaja Sir Shrimant Tukojirao Puar III, Maharajah of Dewas Senior, Central India (reg. 1899-1937), India, circa 1920gelatin silver print 48.5 x 35.5 cm.For further information on this lot please visit Bonhams.com
Los 360
ARTHUR SPOONER (British, 1873-1961)Half length portrait a gentlemanSigned and dated 1943 lower rightOil on canvas90cm x 70cm Condition Report : generally good for age, good period frame Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 331
AN OVAL PORTRAIT MINATURE OF A REGENCY GENTLEMAN in reproduction papier mache type frame with acorn finial Condition Report : minature on paper not ivory, looks to have some age, but frame new Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 358
*H PALMER Portrait of a dog Oil on board Signed lower right 33cm x 27cm Condition Report : Only H PALM visible signature, we are assuming a full name of H Palmer one worm hole to silver slip, otherwise good. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Los 694
Henri de Toulouse-Lautrec (French 1864-1901), 'Portrait d’un Homme #1', drypoint etching, 1898, the plate 17x10.5cmProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford
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283284 Los(e)/Seite