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Los 18
Edward Hodges Bailey (British, 1788-1867)Nelson receiving the Spanish surrender after the Battle of St Vincent circa 1826 A white marble relief frieze panel in two sections 146cm high x 376cm overall length the larger section 46cm at maximum depth, the smaller 35cm Edward Hodges Baily RA FRS was a prolific English sculptor responsible for numerous public monuments, portrait busts, statues and exhibition pieces as well as works in silver. He carved friezes for both the Marble Arch and Buckingham Palace in London. His numerous statues of public figures include that of Horatio Nelson on top of Nelson's Column and Charles Grey, 2nd Earl Grey on Grey's Monument in Newcastle upon Tyne. Throughout his career Baily was responsible for creating a number of monuments and memorials for British churches and cathedrals, including several in St Paul's Cathedral.The scene depicts the Spanish Admiral Don Francisco Xavier Winthuysen, who lies dying on a gun carriage of the deck of the San Josef. He weakly hands his sword to Nelson while supported by Ovo sailors, watched by other sailors and British officers.The Battle of Saint Vincent took place on 14 February 1797 and established Nelson as a hero, both for his independence of command and his personal bravery. It was also a turning point for the British Navy who had previously been driven out of the Mediterranean following French successes in Italy.The English fleet under Admiral Sir John Jervis, with only fifteen ships, drove a line through the larger and superior Spanish navy which was lying off Cape St.Vincent, Portugal. Before Jervis could turn to attack the larger group, Nelson broke line in the Captain, anticipating his commander's signal, and accompanied by other British frigates, took four Spanish 'prizes' from the rear, himself personally boarding the San Nicolas and San Josef. The British victory demonstrated the ineptitude of the Spanish navy, and Nelson was made a Knight of the Bath for his exploits, while Jervis was created Earl St Vincent.A similar scene was recorded in a more dramatic and romantic manner in a painting of 1806 by Richard Westall but on the San Nicolas (National Maritime Museum, Greenwich). Interestingly, in the Nash/Flaxman model in the Victoria and Albert Museum (south side, not shown) Flaxman's composition is the other way round with Nelson standing on the left to receive the sword with his right hand. It must be assumed that because his right arm was amputated later in 1797 (at the battle of Santa Cruz de Tenerife) Baily reversed the action, to disguise the missing limb. Thus the hero receives the sword with his left hand which disjoints the action of the full scheme of the frieze. (Westall had to find a similar solution in his painting).Baily's composition makes interesting comparison with Westmacott's melée in the Napoleon frieze. Here we have classical purity, the figures starkly arranged in a Grecian style frieze and in noble profile. Then to focus attention on the action of surrender, Baily breaks up the powerful verticals of sailors and officers by tilting up the gun carriage, on which the dying Spanish commander lies, and using the device of a coil of rope to support one kneeling sailor. The action is thus cleverly foreshortened and succeeds in instilling a certain pathos into the scene of a row of almost emotionless faces. This is accentuated by the austerity of composition and refreshing use of empty space in the background.This historic frieze in two sections is already professionally packed in two bespoke wooden crates ready for shipping. Provenance: Private collection, The Manor of Littleton, Shepperton, MiddlesexSothebys 12th May 1995, Lot 181Removed from an office redevelopment in Central London in 2022 Sculpture
Los 7
Joseph Edgar Boehm: A carved marble bust of Lieut Col Hon Augustus Frederick Ellissigned AVC Fred.Ellis Etat24 J.E.Boehm 1876 After Chantry 1824 64cm highLieutenant-Colonel Hon. Augustus Frederick Ellis 17 September 1800 – 16 August 1841 was a British Army officer and Tory politician.Ellis was the son of Charles Ellis, 1st Baron Seaford and Elizabeth Catherine Caroline Hervey.He was educated at Eton College between 1811 and 1814 and commissioned into the 9th Regiment of Light Dragoons in 1817. On 4 October 1821 Ellis purchased a captaincy in the 76th Regiment of Foot.He stood for the Seaford constituency, a seat controlled by his father, in the 1826 general election. He was returned as the Member of Parliament alongside fellow Tory John Fitzgerald. Ellis vacated the seat to allow George Canning to hold the seat for four months in 1827, before resuming it. He rarely attended the House of Commons and focused on his military career, being promoted to lieutenant-colonel in the 60th Royal Rifles in December 1828. Ellis voted for Catholic emancipation in March 1829.Sir Joseph Edgar Boehm, 1st Baronet, RA 1834 –1890 was an Austrian-born British medallist and sculptor, best known for the "Jubilee head" of Queen Victoria on coinage, and the statue of the Duke of Wellington at Hyde Park Corner. During his career Boehm maintained a large studio in London and produced a significant volume of public works and private commissions. A speciality of Boehm's was the portrait bust, as in this example; there are many examples of these in the National Portrait Gallery. He was often commissioned by the Royal Family and members of the aristocracy to make sculptures for their parks and gardens. His works were many, and he exhibited 123 of them at the Royal Academy from 1862 to his death in 1890.It is likely that Boehm would have made a copy of Sir Francis Leggatt Chantrey’s original executed in 1824 at a cost of £105.00, probably for another family member. Garden ornamentGarden statue Sculpture
Los 50
ENGLISH SCHOOL, LATE 18TH/EARLY 19TH CENTURY (5)Portrait miniature of a gentleman wearing a dark coaton ivory (ref. 92F35A8X)8.3cm hightogether with four other portrait miniatures; A lady wearing a pince-nez, on ivory (ref. N7Z5NJD3), 6.5cm high; A woman in a blue dress, on ivory (ref. 8KTLZ9R6), 8cm high; A lady wearing 16th century dress, on ivory (ref. WY5AA1Y6), 6.2cm high; and A lady with long hair wearing a white scarf in her hair, on ivory (ref. VU4MZ4ME), 5cm high, (unframed)(5)
Los 179
PHILIP WILSON STEER (BRITISH, 1860-1942)Portrait of Sybil, Lady Eden (1867-1945), nee Greyoil on canvas51.5 x 47cmProvenanceWith Philip Wilson Steer at his death;Acquired privately from the Steer executors by the sitter's son, R. Anthony Eden, Lord AvonExhibitedBirmingham Museum and Art Gallery, Paintings and Drawings from the Collection of Lord Avon, 11th January - 20th March 1966, no. 20LiteratutreLaughton, 182
Los 29
GEORGE ENGLEHEART (BRITISH, 1750-1829)Portrait miniature of Edmund Smith in a pale mauve coaton ivory (ref. TLAHZRKJ)3.5cm highin a gilt metal bracelet clasp frame, engraved ‘Edmund Smith Born 15th Feby 1707/8 Died 20th May 1779' (to the reverse)ProvenanceSotheby’s, London, 28 July 1975, lot 82;Private collection, UKCondition reportA small very slightly darker patch to upper left edge.Otherwise appears generally good.Under glass and not examined out of frame.
Los 25
THOMAS HAZLEHURST (BRITISH, 1740-1821)Portrait miniature of a lady in a white dresssigned with initials 'T H' (lower right)on ivory (ref. K324B15N)7.5cm highin an ebonised wood frameProvenanceSotheby’s, London, 28 April 1975, lot 78;Private collection, UKCondition reportAppears generally good.Under glass and not examined out of frame.
Los 20
ANDREW PLIMER (BRITISH, 1763-1837)Portrait miniature of a gentleman in a blue coaton ivory (ref. 2XPKYRX9)5.5cm highin a gilt metal frameProvenanceSotheby’s, London, 28 July 1975, lot 77;Private collection, UKCondition reportSurface dirt.Appears generally good.Under glass and not examined out of frame.
Los 18
ANDREW PLIMER (BRITISH, 1763-1837)Portrait miniature of Mrs Knight, the artist's mother in law, in a black dress and white capon ivory (ref. QLURBRWH)9.5cm highin a gilt metal frameProvenanceSotheby’s, London, 22 April 1968, lot 127;Private collection, UKFootnoteMrs Knight was the mother of the artist Mary Ann Knight, andJoanna Louisa Knight who married Andrew Plimer in 1801.Condition reportSmall marks in places.Surface dirt.Possibly a little retouching, including to upper right corner in background.Under glass and not examined out of frame.
Los 3
NATHANIEL HONE (IRISH, 1718-1784)Portrait miniature of a gentleman, in a mauve coat and red waistcoatsigned with initials and dated 'NH 1763' (centre right)on ivory (ref. GQBNS41W)3.7cm highin a gilt metal frame with pierced plaited surround set with garnetsProvenanceSotheby’s, London, 13 February 1978, lot 86;Private collection, UKCondition reportPotential crack, scratch or mark upper left near edge, difficult to make out exactly what this is.Possibly a little discolouration to lower left edge.A few very small dark spots lower left area.otherwise generally looks good.Vertical scratch to glass in centre.Possibly some replacement stones to frame.Under glass and unexamined out of frame.
Los 10
GERVASE SPENCER (BRITISH, C. 1715-1763)Portrait miniature of an officer in military uniform with an armoured breastplate and red sashsigned with initials and dated 'G S 1747' (centre left)on ivory (ref. Z2NQGFTK)3.8cm highin a gilt metal frame later transformed into a broochProvenanceSotheby’s, London, 26 July 1976, lot 48;Private collection, UKCondition reportA little possible retouching to lower right on arm, paint surface looks a little rough.Possibly also a little retouching to dark blue patches on cloak but difficult to tell.Some surface dirt.Otherwise appears generally good.Under glass and not examined out of frame.
Los 23
OZIAS HUMPHRY (BRITISH, 1742-1810)Portrait miniature of a gentleman in a green coat, previously called the Rt. Hon. Edmund Burke M.P.on ivory (ref. HYVR1D8E)5.6cm highin a white metal frame, engraved ‘Ed. Burke by Sir J. Reynolds’ (on the reverse)ProvenanceSotheby’s, London, 7 July 1975, lot 104;Private collection, UKCondition reportSome surface dirt and minor surface abrasions.Appears in generally good condition.Under glass and not examined out of frame.
Los 53
HENRY PIERCE BONE (BRITISH, 1779-1855) (2)Portrait miniature of the artist's son, George Bone (b. 1814); Portrait miniature of his wife, Rebecca (nee Davies), a pairthe first inscribed ‘George, / youngest Son of Henry Pierce / Bone and Ann Maria Long / his wife; born Feby. 17th 1814. / Jany. 1850. Painted from Life / by HP. Bone, Enamel Painter to / Her Majesty, HR.H. Prince / Albert &cv&c’, the second inscribed ‘Rebecca, / youngest daughter of James / Davies & Sarah Ann Knaggs, his / Wife. Born Novr. 28 1820. / Jany 1850. Painted from Life / by Henry Pierce Bone, Enamel Painter to Her Majesty, HR.H. / Prince Albert &c &c’ (on the counter-enamels)enamel on copperoctagonal, 11.5 x 9cmin rectangular gilt-metal mounts within velvet-lined box frames(2)ProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteGeorge Bone was one of seven children of Henry Pierce Bone and his wife Anna Maria. He married, circa 1842, Rebecca Davies, daughter of James Davies and his wife, Sarah Ann, née Knaggs. They had two daughters; Georgina Davies Bone (also known as Gina) and Alice Bone. Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s. Condition reportGeorge Bone:Some surface dirt.A few very small minor marks to his forehand but these look like they were caused in production and are original to the work.Some pale mottled grey spots in places, these could just be variation to the varnish.Appears to be in generally good original condition.Frame in need of repair.Rebecca Bone:Enamel surface uneven but this is original to the work and would have been caused in firing.Some surface dirt and very small dots/marks in places.Some other small spots, mostly upper right and upper left background but these look like they would have been caused in production.Appears to be in generally good original condition.Frame in need off repair.
Los 13
WILLIAM SINGLETON (BRITISH, D. 1793)Portrait miniature of a lady in a red dresson ivory (ref. F9GAGAFF)4.2cm highin a gilt metal frameProvenanceSotheby’s, London, 7 July 1975, lot 112;Private collection, UKCondition reportIvory looks like it could be a little warped.Small brown spot lower left.Otherwise appears overall generally good.Under glass and unexamined out of frame.
Los 32
HENRY EDRIDGE (BRITISH, 1768-1821)Portrait miniature of a gentleman in a blue coatsigned with initials and dated 'HE 1790' (centre left)on ivory (ref. VRVZVY74)5cm highin a gilt metal frame with brooch settingProvenanceSotheby’s, London, 25 October 1976, lot 50;Private collection, UKCondition reportSome variation in colour to the blue to lower left on arm at edge and to right shoulder.Very small mark upper left on hair.Otherwise appears in generally good condition.
Los 123
AFTER JACQUES-LOUIS DAVIDPortrait of Napoleon I oil on canvas 70.5 x 50.5cmCondition reportThe canvas has been relined. Some scattered lines of craquelure, otherwise paint surface is generally clean and sound. Ultraviolet reveals retouching to background above sitter's head, sitter's hair and above left shoulder (this has discoloured and is visible to the naked eye). We would estimate this work be late 19th century.
Los 8
JOHN TURMEAU (BRITISH, 1777-1846)Portrait miniature of Samuel Whitbread MPon card8.2cm highin rectangular papier-mâché frameProvenanceSotheby’s, London, 28 February 1977, lot 144 (part lot,together with a portrait of Charles James Fox by Nathaniel Hone);Private collection, UKCondition reportThe frame is loose and needs securing
Los 51
HENRY PIERCE BONE (BRITISH, 1779-1855) (2)Portrait miniature of Henry Pierce Bone (self portrait); Portrait miniature of his wife Anna Maria (nee Long), a pairthe first inscribed ‘Henry Pierce Bone / Feby. 1855, Painted by H.P.B. / after a drawing by his Son / C.R Bone.’ the second inscribed ‘Ann Maria / Wife of Henry Pierce Bone. / Decr 1848. Painted from Life / by H.P.B. Enamel Painter / to Her Majesy H.R.H. Prince Albert, HM the Queen Dow / -ager, & HR.H the Duchess / of Kent’ (on the counter-enamels)enamel on copperoctagonal, 12 x 9cmin rectangular gilt-metal mounts within velvet-lined box frames(2)ProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteA similar pair of miniatures painted for Henry Pierce Bone’s daughter Elizabeth in July 1847 and May 1849 was sold Christie’s, London, 9 November 1965, lot 72. They are mentioned in D. Foskett, Dictionary of British Artists, London, 1972, I, p. 172, II, pl. 22, nos. 70 and 71. Another pair painted for his daughter Maria was sold Christie’s, London, 31 March 1981, lot 72. Another was sold Christie’s, London, 20 November 2013, lot 197 from the collection of the late Valerie Eliot.Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s.Condition reportHenry Pierce Bone:Uneven surface, with an indentation centre right, including right side of face.Uneven varnish or possible bloom or surface dirt, resulting in some pale grey spots visible in places.Firing cracks to the reverse.A faint horizontal line across jacket, only visible in certain light at a certain angle, possibly as a result of the firing.Generally appears in good original condition.His wife:A little surface dirt.Some firing cracks to the reverse.Appears in generally good original condition.The present works will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 14
SAMUEL SHELLEY (BRITISH, 1750/56-1808)Portrait miniature of a gentleman in a dark coaton ivory (ref. 8BVLHSA7)7.2cm highin a gilt metal frame, with monogram 'JHT' (to the reverse)ProvenanceSotheby’s, London, 2 June 1975, lot 57;Private collection, UKCondition reportPossibly a little discoloured.Possibly a little retouching to lower left background.A pale/discoloured line or mark visible upper left background.Otherwise appears generally good.Under glass and unexamined out of frame.
Los 27
GUSTAVUS HAMILTON (IRISH, C. 1739-1775)Portrait miniature of a lady in an ermine bordered blue dress and a jewelled necklacesigned and dated 'G Hamt 1764' (centre right)on ivory (ref. GNNC2V5E)3.5cm highin a metal mountProvenanceSotheby’s, London, 25 October 1976, lot 34;Private collection, UKCondition reportSome surface dirt and very small minor spots in places.Otherwise appears generally good.Under glass and not examined out of frame.
Los 42
ROBERT FFRENCH (BRITISH, 18TH CENTURY)Portrait miniature of Nichola Ffrench, nee Ackson, in a white dress and a blue stolesigned, dated and inscribed ‘Nichola ffrench / daughter of Sir / Arthur Ackson / by Rob’ ffrench / AD 1749’ (on the backing card)on vellum laid down on a playing cardoval, 46 mm highin a silver-gilt frameProvenanceChristie’s, London, 21 April 1998, lot 58;Private collection, UKCondition reportMinor frame abrasions off LH border and discolouration to robe, lower right; otherwise sound. No sign of fluorescence under ultraviolet; unexamined out of frame.
Los 22
ATTRIBUTED TO PETER LILY (BRITISH, FL. C. 1770-1800)Portrait miniature of a gentleman in a maroon coatsigned with monogram and dated '92' (lower right)on ivory (ref. JUEG44SK)5.5cm highin a gilt-metal frameProvenanceSotheby’s, London, 20 January 1975, lot 26;Private collection, UKFootnoteA miniaturist by this name was advertising in 1800 as from50 New Bond Street, London (see D. Foskett, p. 383)Condition reportSurface dirt.Surface possibly a little uneven but difficult to tell under glass.Appears generally good.Under glass and not examined out of frame.
Los 116
CIRCLE OF JOHN DOWNMANPortrait of a gentleman, head and shoulders, wearing a grey coat oil on copper oval, 17 x 14cmCondition reportVarious small marks and scratches to surface.Inspection under uv light reveals small areas of retouching, including to forehead, hair and background.An opaque varnish prevents further reading.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 31
EDWARD DAYES (BRITISH, FL. C. 1786-1804)Portrait miniature of a boy with long curling hair in a blue coatsigned with initials and dated 'E D 1786 27' (lower right)on ivory (ref. R272MH1Y)4.5cm highin a gilt metal frameProvenanceSotheby’s, London, 29 November 1976, lot 72;Private collection, UKCondition reportSome surface dirt.Some abrasions or light scratches upper right.Otherwise appears to be generally good.Under glass and not examined out of frame.
Los 257
MARIA TUKE (BRITISH, 1861-1947) (4)Henry Scott Tuke. R.A., R.W.S. A Memoir. London: Martin Secker, 1933. 8vo (218 x 140mm). Half title, coloured frontispiece portrait, plates (some staining to title). original blue buckram gilt. FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "C. J. E. S. from M. T., Christmas, 1933."With 3 other books of related interest, namely J. S. De Calvados's Levanna and Our Ladies of Sorrow (London, 1888, plates by Maria Tuke, contemporary limp vellum lettered in red and black), Hillel Samson's The Island Set Apart (Kensington, "The Cayme Press", 1924, errata slip, original marbled paper boards, ONE OF 750 COPIES) and Emmanuel Cooper's The Life & Work of Henry Scott Tuke ... A Monograph (London, 1987, illustrations, original cloth, dust-jacket)(4)
Los 124
ENGLISH SCHOOL, 19TH CENTURYPortrait of Charles Brown in the uniform of The Oxford Volunteers oval, oil on canvas 27.5 x 21cm Provenance Joseph Leete; Michael Appleby of St. James'sFootnoteInscribed on an old label attached to the reverse ' The Great Grandfather (mother's side of my children)/ The portrait of Mr Charles Brown in the dress of an Oxford volunteer at the time of Napoleon 1st/ Mr Charles Brown - who lived all his life at Oxford was a well-to-do wine merchant/ His Daughter Harriet Ann Brown, married Henry Sullivan Whitaker, the father of my beloved wife Harriet/ Joseph Leete 3rd May 1892'Joseph Leete (1831-1898) was a successful merchant specialising in the export of goods from England to France following the Cobden-Chevalier treaty of 1860 which promoted free-trade between the recently hostile countries; he was awarded the Legion d'Honneur in 1881.Condition reportOriginal canvas. Minor traces of dirt to the paint surface, otherwise sound. Ultraviolet reveals no sign of retouching. Held in the original frame with some losses to moulding and scuffing to gilt slip.
Los 122
JAMES PARDON (BRITISH, CIRCA 1792-1862)Portrait of Joseph Taylor Phillips Esq signed and dated 'J Pardon 1854' (lower centre, on chair) and with brass presentation plaque engraved 'Presented by the supporters of Pains Lane Races to Joseph Taylor Phillips Esq. 1854' oil on canvas 142.5 x 112cmCondition reportThe canvas has been relined. There is a protrusion to the canvas, right of the sitter's head. Retouching visible to the naked eye, upper right and left. Traces of repaired tears, upper right and off the right hand border to the red curtain. Ultraviolet light suggest retouching to aforementioned tears but the varnish prevents a conclusive reading. held in the original plaster gilt frame with a few losses to mouldings but sound overall.
Los 4
NATHANIEL HONE (IRISH, 1718-1784)Portrait miniature of Charles James Fox in a blue coaton ivory (ref. AX38PHL6)7.5cm highin a rectangular papier-mâché frameProvenanceSotheby’s, London, 28 February 1977, lot 144 (part lot,together with a portrait of Samuel Whitbread, MP by Turmeau);Private collection, UKCondition reportSome small surface abrasions, including to upper right background. Surface dirt.Otherwise appears generally good.Under glass and unexamined out of frame.Inspection under uv light reveals a little fluorescing on the jacket, to collar and edges/seams.The frame is loose, has various knocks and scratches.
Los 11
JOHN SMART (BRITISH, 1741-1811)Portrait miniature of Admiral Sir Charles Saunders (1715-1775), wearing the sash and breast star of the Order of the Bathsigned with initials and dated ‘JS 1778’ (centre left)on ivory (ref. ZN31B8RM)5cm highin a gilt metal frameProvenanceSotheby’s, London, 16 December 1974, lot 155;Private collection, UKLiteratureD. Fosket, JohnSmart, The Man and his miniatures, London1964, p. 73.FootnoteAnother version of this portrait by John Smart was painted in1773.An apparent copy of the present portrait in oil on copper was soldSotheby’s, London, 23 September 2021, lot 224 (from the collection of the lateTimothy Clowes).The sitter was a Royal Navy officer and served during The SevenYears’ War. He was awarded the Order of the Bath in 1761 and he was buried atWestminster Abbey.Condition reportRetouching, lower right background.After the Sotheby’s sale, the miniature underwentsome restoration by Limner Antiques.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
Los 54
HENRY PIERCE BONE (BRITISH, 1779-1855)Portrait miniature of the artist's son, George Bone (b. 1814)inscribed ‘George Bone / [Lon]don. Ju[…] / [Paint]ed From Nature / [by Henry Pierce Bone Enamel Painter / [to] Her Majesty, and their Royal / Highnesses the Duchess of Kent / and Princess Vict[oria]’ (the inscription partially obscured by tape, on counter-enamel)enamel on copperoval, 9.5 x 7.5cmin a rectangular gilt metal mount within giltwood frame with foliate scrollsProvenanceThe artist Henry Pierce Bone;By descent to his son George Bone;By descent to his daughters Georgina, aka Gina and Alice Bone;Gifted to Richard Henry Egerton Russell by his Aunt and Godmother Phyllis Rosalind Leigh Hunt;Thence by family descentFootnoteGeorge Bone was one of seven children of Henry Pierce Bone and his wife Anna Maria. He married, circa 1842, Rebecca Davies, daughter of James Davies and his wife, Sarah Ann, née Knaggs. They had two daughters; Georgina Davies Bone (also known as Gina) and Alice Bone. Henry Pierce Bone was the eldest son and pupil of the enamel painter Henry Bone, R.A. (1755-1834) and his wife Eliabeth, née Van der Meulen (d. c. 1830). After some initial training in the art of painting in oil and enamels by his father, he entered the Royal Academy School at the age of sixteen. After his father’s death in 1834, he concentrated on oil painting and the production of enamels and he began to produce copies of works by Old Masters and of portraits of the Spencer family, some of which were painted ad vivum. He followed in his father’s footsteps as enamel painter to Queen Adelaide, to Victoria, Duchess of Kent, and to Queen Victoria and Prince Albert, however he was never admitted to the Royal Academy. On 14 October 1805 he married Anna Maria Long, the daughter of a Clerkenwell watchmaker. They had four sons and three daughters. Henry Pierce Bone died on 21 October 1855 and the following year 172 of his enamels were sold at Christie’s.Condition reportUneven surface but this is original to work and would have been caused in production.Two small marks catching the light at certain angles to right background but again these look like they are original to the work and would have been caused in production, they could just be part of the uneven surface.Some pale mottled grey areas to edges/background, these could be variation to varnish.Some surface dirt.Appears in generally good original condition.Frame in need of repair.
Los 67
AFTER GEORGE STUBBSPortrait of The Royal Tiger oil on canvas 78 x 117cm Provenance Purchased circa 1900 by the vendor's great great grandfather; Thence by family descentFootnoteLord Clive, Governor of Bengal, also known as Clive of India, gifted a female Indian or Bengal Tiger to George Spencer, 4th Duke of Marlborough for his menagerie at Blenheim palace in 1762/63. Blenheim Palace records show that the tiger was in the menagerie by 1763 and that the Duke was conscious of supplying it with an ample supply of food, with bills indicating that 24lbs of meat was delivered every two or three days for the tiger's consumption, at three shillings a time, as well as the odd head (presumably a cow's) for an additional fourpence. Indeed, the tiger had its own account, headed 'Meat for the Tiger'.George Stubbs painted three versions of a Portrait of the Royal Tiger, all in the same pose but on different scales. Presumably the first was the one commissioned by the 4th Duke of Marlborough, thought to be around 1763-68, measuring approximately 100 x 124cm, which still hangs in the private apartments at Blenheim.Another is known as the Portman version, named after the pictures' former owner, Viscount Portman, acquired at Stubbs' Studio Sale in 1807, it was sold by the The Trustees of the Portman family at Christie's, London, 8th June 1995, lot 64. This is the largest of the three versions measuring an impressive 139.7 x 215.9cm.Finally, there is the Mellon version, named so as it forms part of the Paul Mellon Collection. Measuring 61.4 x 72.9cm, it is now at the Virgina Museum of Fine Arts (Object No. 99.95). The picture on offer for sale here is an excellent copy, thought to date from the 19th century, after one of the original works by Stubbs. Similarities of the tiger's features and the composition of the foliage and background suggest it may be a copy after the Blenheim version, although it is quite normal for copyists to add or omit small details, therefore it is difficult to be certain.Condition reportThe picture was sent by the vendor's father to Arthur Ackermann & Peter Johnson Ltd. in the 1990s, who arranged for reframing, cleaning and restoration. Their label appears on the back of the stretcher from this time. It was sent for these purposes only and not to be put up for sale.The canvas is lined.Traces of craquelure visible throughout.Inspection under uv light reveals various areas of retouching to the craquelure; also restoration to surface abrasions, including lower right and to the Tiger's neck.An opaque varnish prevents further reading.The work appears very presentable and is in 'ready to hang' condition.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
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283287 Los(e)/Seite