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Los 338
Kohlezeichnung Louis Eysen1843 Manchester - 1899 München "Portrait Louise Schütz" 1895 u. re. sign. u. dat. Eysen 95 verso bez. von Otto Eysen: "Louise Schütz, Pflegerin von Emma Eysen" festes Papier/Japan, 47,5 x 31 cm, o. R. Provenienz: Familienbesitz Eysen; Kunsthandlung J. P. Schneider, Frankfurt; Privatsammlung Hessen Wkvz.: Vogel Nr. 223, Abb. S. 153 Lit.: AKL
Los 717
Tasse mit UT "Auguste Viktoria",KPM Berlin um 1916. Hohe, glockenförm. Tasse m. gewölbter Lippe u. dort endendem, hoch aufgeschwungenem Schlangenhenkel m. gespaltenem Ansatz. UT m. breit gewölbter Fahne. Tasse schauseitig m. Ovalmedaillon m. Biskuit-Profilportrait d. Kaiserin auf radiertem Goldgrund ("Vermicelli"-Dekor), beide Teile m. breitem Palmett-Goldrand u. dunkelroten Flächen. UT mittig m. feinem Gold- blatt-Motiv. Am Boden Zeptermarke, eisenroter Reichsapfel, Kriegsmarke (f. 1914-'18), Maler- zeichen, Presszeichen. Gold minimalst berieben. UT D 13,8 cmBiskuitporzellan, Eisernes Kreuz, Frau, Golddekor, Kaiserin, Kriegsmarke, Palmetten, Portrait, Profilportrait, Relief, rot, Vermicelli, Zeptermarke
Los 871
Ovale Dose, Frankreich wohl 18. Jh.Silber. Kl. Garantiemarke (1838-1919), weitere Marke unleserlich. Von ov. Grundriss gerade aufsteigender Korpus m. mehrfach geschweifter u. eingezogener Wandung, d. leicht gewölbte Deckel m. leicht erhöhter Mitte. Ausgestellte, fein profil. Kanten. Wandung u. Deckel umlaufend m. feiner Beschlagwerk-Gravur auf teils mattiertem Grund, d. Deckel mittig m. Ovalmedaillon m. Damen-Silhouette. Am Boden gr. Monogr.gravur "J. M.". Oberfläche leicht berieben, wenige leichte Unregelmäßigkeiten, Wandung m. Lötstelle. L 13,3 cm Lit.: Rosenberg, Bd. IV., S. 205.Beschlagwerk, Dame, Garantiemarke, Gravurdekor, JM, Monogramm, Oval, Portrait
Los 797
Porzellanplatte"Glaube", KPM Berlin um 1910. Hoch-ov. Platte, vollflächig m. Brustbild einer jungen Frau m. langen Haaren gefüllt, d. Blick nach oben gerichtet. Re. bez. u. sign. "nach Zickendraht von A. Scherf". Verso Press-Zepter- marke m. "KPM", Pressnr. u. Jahreszeichen, eisenroter Firmenstempel "Schutzmarke DEP" sowie handschriftl. Daten zu Scherf u. Gemäldevorlage "Glaube nach Zickendraht". In goldfarbenem Holzrahmen m. gekehlter Leiste u. relief. Kanten. Rahmen leicht berieben. H 27,6 cm, Ges.H 33,8 cmBernhard Zickendraht, Ernst Richard Funke, Frau, Historismus, Jugendstil, Portrait, Pressmarke, Zeptermarke
Los 518
Kl. Messingrahmen, Empire, um 1810.Hochrechteckiger Rahmen m. feiner Palmett- Leiste, d. ov. Passepartout m. fein guillochierter Fläche u. profil. u. gekehlter Kante, darin Sepia- Miniatur m. Profilportrait eines jungen Mannes, unsign. Rückseite komplett verschlossen (Messing-Platte), an Oberkante Oese m. bewegl. Ring. Oberfläche leicht berieben, Rückplatte leicht gewölbt, Glas-Abdeckung m. Krakelée, Miniatur stockfleckig. Ges.H 11 cmEngland, Frankreich, guillochiert, Mann, Miniatur, Portrait, Sepia
Los 714
Deckeltasse mit UT"Horace", Rauenstein Anf. 19. Jh. Zylindr. Tasse m. eckigem Henkel u. flachem Deckel m. Knauf in Form einer Blüte m. Schlange, d. UT m. hohem, steilem Rand. Tasse u. Deckel großflächig m. hellgrünem Fond (an UT außen), Tasse schauseitig m. Medaillon-Reserve m. Biskuitporzellan-Portrait eines jungen Mannes, seitl. bez. "Horace", Perlchen-gerahmt. Kanten m. feinem Goldblättchen-Band. Knauf u. Henkel gold staffiert. UT-Oberseite m. Streublüten in radiertem Gold u. Goldblättchen-Band. Am Boden Unterglas.-blaues "R". Gold leicht be- rieben, UT-Kante m. minim. Chips. UT D 13 cmantike Figuren, Biskuitporzellan, grün, hellgrün, Horaz, Klassizismus, Mann, Philosoph, Portrait, R, Relief, Schlange
Los 716
Tasse mit UT "Reliefportrait Königin Luise",KPM Berlin 1914-'18. Hohe Bechertasse m. leicht ausschwingender Lippe u. dort ansetzendem Schwanenhenkel m. gespaltenem Ende, auf kl. Rundfuß. UT m. breit gewölbter Fahne auf Standring. Tasse schau- seitig m. Ovalmedaillon m. Biskuit-Brustbild Luises auf feinem Goldgrund, Lorbeer-gerahmt. Restl. Wandung m. rosé Fond (ebenso an UT), Ränder m. feinem Palmett-Band in radiertem Gold. Henkel u. Fuß voll vergoldet, UT mittig m. Goldblatt-Motiv, Goldränder. Am Boden Zepter- marke, eisenroter Reichsapfel, Kriegsmarke (in Schwarz, an UT zusätzl. in Untergl.-blau), Press- u. Malerzeichen. Gold partiell minim. berieben. UT D 13,8 cmBiskuitporzellan, Goldrand, Kriegsmarke, Medaillon, Portrait, Preußen, Relief, rosa, Zeptermarke
Los 25
Full title: Peter Thijs (1624-1677): Christ carrying the cross, oil on canvasDescription: The description below is incomplete, the full description can be found on our website: www.coronariauctions.com Work: 157,5 x 120 cmFrame: 192,5 x 154 cmThe painting is accompanied by a certificate from Katlijne Van der Stighelen of December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link).According to her, it is a contemporary copy after the painting with the same name by Antony van Dijck in the Antwerp Saint Paul's Church (ninth painting in the Rosary cycle, which consists of 15 paintings). In the publication of Jacobus de Wit (De kerken van Antwerpen (schilderijen, beeldhouwwerken, geschilderde ramen, enz., in de XVIIIe eeuw beschreven door Jacobus de Wit, Uitgaven der Antwerpsche Bibliophilen, nr. 25, Antwerp-’s Gravenhage, 1910, p. 57) the author speaks already about a copy after Van Dijck's original: 'Den volgenden klynen autaer tegens den Choor, heeft eene Cruysdraeginge door: A. Van Dyck geschildert, die eertyds tegen over den Predick-stoel gestaen heeft, onder de 15 Misterien van den Roosen Crans, daar nu een Copye in desselfs plaatse staet. Aen den Andere kant van het ocksael. Deze Schilderye is nu wederom, sedert eenighen tydt, op syn oude plaetse gebraght, en de Copye in den Autaer gestelt.’According to a 19th-C. 'Beschrijvinghe van de Cloosters, Autaeren, Epitaphiën, Schilderijen en Beelden, ende andere Variteyten in de Stadt van Antwerpen', Van Dijck's original no longer hangs in the cycle, but is on the altar of the Holy Cross ('Stuck verbelt de cruysdraeginge, een copije naer het stuck in h. cruysautaer, geschildert door eenen broeder Preekheere Thijssens'). This information is undoubtedly based on now disappeared source material from the archives of the Saint Paul's Church (see also: M. Robbroeckx, The fifteen Rosary paintings of the Sint-Pauluskerk in Antwerp, unpublished. Lic. Verh, Ghent, 1971-1972, p.15 ). If one traces the name Thyssens for the period in question in the guild lists of the Antwerp Guild of Saint Luke, one can find the name of a father and a son August Tyssens. Neither appears to have ever been 'Predikheer'. In 1631 a certain 'Augustyn Tysen, handelaer' (merchant) is registered. In the year 1653 the name of 'Augustyn Tysens, painter. Wynmeester', appears again (as the son of the preceding one). In a footnote, however, it is noted that he died on June 18, 1675 and came from the Saint-Andrew parish. Moreover, in 1669 'de huysvrouw van den jongen Augustyn Tyssens, (schilder)' was buried. In 1674/75 the painter himself dies and the death debt of a second wife is paid. His collection of paintings is known thanks to the publication of J. Denucé (De Antwerpsche “konstkamers”. Inventarissen van kunstevrzamelingen te Antwerpen in de 16e en 17e eeuwen, Antwerpen, 1932, pp. 264-267, per 14 juni 1675).On the basis of the information cited, it is therefore obvious to conclude that with regard to the copies it can also be said that 'Predikheer Tyssens' must be a mystification for the Antwerp painter Peter Thys (as also appeared earlier with regard to the piece in the KMSK in Antwerp). It is therefore this prolific baroque painter who may be referred to as the maker of the copy. It is probably no coincidence that theAntwerp Predikheren ordered a copy of Van Dijck's original from one of the most 'Dijckian' painters of the time. This observation is also confirmed by a remarkable affinity between the style idiom of Peter Thys and the execution of the painting. Study of the copy convinced me of the great stylistic qualities of the maker. The copy was certainly executed after Van Dijck's death as Peter Thys did not become master until 1645. Thus the copy can be placed in the mature 1650s/60s.
Los 37
Full title: Dutch-Austrian school, monogrammed: Bibber in a window opening, oil on panel, dated 1796, 18th/19th C.Description:Work: 55,5 x 36 cm Frame: 71 x 51,5 cm The monogrammed (left bottom corner) work bears also the inscription 'Vivat Carolus Archidux Austriae Liberator Germaniae Vivat 1796', most probably referring to the success of archduke Charles Louis John Joseph Laurentius of Austria in the war against the French army, as at the end of the 18th C. he was considered as one of the best generals in Europe. Archduke Charles Louis John Joseph Laurentius of Austria, Duke of Teschen (5 September 1771– 30 April 1847) was anAustrianfield marshal, the third son ofEmperor Leopold IIand his wife,Maria Luisa of Spain. He was also the younger brother ofFrancis II, Holy Roman Emperor. Despite beingepileptic, Charles achieved respect both as a commander and as a reformer of the Austrian army. He was considered one ofNapoleon'smore formidable opponents and one of the greatest generals of theFrench Revolutionary Wars. He began his career fighting the revolutionary armies of France. Early in the wars of theFirst Coalition, he saw victory atNeerwindenin 1793, before being defeated atWattignies1793 andFleurus1794. In 1796, as chief of all Austrian forces on theRhine, Charles defeatedJean-Baptiste JourdanatAmberg,WürzburgandLimburg, and then won victories atWetzlar,EmmendingenandSchliengenthat forcedJean Victor Marie Moreauto withdraw across the Rhine. He also defeated opponents atZürich,Ostrach,Stockach, andMannheimin 1799. He reformed Austria's armies to adopt the nation-at-arms principle. In 1809, he entered theWar of the Fifth Coalitionand inflicted Napoleon's first major setback atAspern-Essling, before suffering a defeat at the bloodyBattle of Wagram. After Wagram, Charles saw no more significant action in the Napoleonic Wars. As a military strategist, Charles was able to successfully execute complex and risky maneuvers of troops. However, his contemporaryCarl von Clausewitzcriticized his rigidity and adherence to 'geographic' strategy.Austriansnevertheless remember Charles as a hero of the French Revolutionary and Napoleonic Wars. (link) The way in which the portrait is built up - a seated man in a window opening - is a clear nod to the oeuvre of Gerrit Dou (1613-1675).
Los 23
Full title: René Théodore Berthon (1776-1859): Madonna of the Rosary, oil on canvas, dated 1845Description:Work: 223 x 180 cmFrame: 246 x 205 cm The date rather difficult to read,although it is without any doubt in the 1840s.René Théodore Berthon (1776-1859) was a French painter, born in Tours in 1776 and died in Paris.He studied under the famous painter Jacques-Louis David (1748-1825). He paintedportraits and religious and historical subjects, which gained him a certain reputation in the days of the First Empire and the Restoration. Some of hispaintings are part of the Versailles collection. (link) He was the father of the portrait painter George Théodore Berthon, who emigrated to England and Canada, and the miniature painter Sidonie Berthon. (link)
Los 20
Full title: Hendrik van Balen (1575-1632): Achilles is recognized among the daughters of Lycomedes, oil on copperDescription:Work: 73 x 46 cmFrame: 92 x 64 cm The painting depicts the discovery of Achilles by Odysseus. Thetis, Achilles' mother, wanted to prevent her son's participation in the Trojan war, and so, dressed in women's clothes, hid him among the daughters of Lycomedes of Skyros. Odysseus, well aware that Achilles was needed to win the war against Troy, managed to discover his true identity through a ruse. Odysseus is depicted here as a merchant who comes to offer beautiful objects, including weapons. While the daughters choose jewels, Achilles opts for the sword. The painter has depicted life at the court of Lycomedes and focuses the attention on Achilles, dressed as a woman, who has just unsheathed the sword. The theme was popular from the Italian renaissance onwards and was occasionally adapted in the Netherlands since the late 16th C. Interpreted allegorically, the Achilles theme illustrates absolute heroic virtue. Despite his mother's precautions, Achilles follows his true calling and will go to battle.Examples from the 17th C. are unusually numerous (e.g. Francken I, Sebastiaan Vranckx, Theodoor van Thulden, etc.). The version of P.P. Rubens (now Madrid, Prado, inv. no. 1661, canvas, 267 x 246 cm), on which Anton van Dijck probably also contributed, undoubtedly exerted a strong influence in the Antwerp artistic milieu. The painting offered must be situated in the same Southern Netherlands tradition. The decorative style of the figures and the enamel-like finish of the whole clearly point in the direction of the Antwerp painter Hendrik van Balen (1575-1632). Van Balen was a renowned painter in the early 17th C. During the performance of the Rosary Cycle in St. Paul's Church in Antwerp (ca. 1617), he received a remarkably higher wage than P.P. Rubens, Jacob Jordaens and Anton Van Dyck. Although he was a skilled painter, by contemporary standards his compositions seem somewhat linear and overloaded. However, the horror vacui is not really disturbing because of the colourful upholstery of the whole. As a theme, the scene presented here fits perfectly in his style idiom. Rubens' example, which was created shortly before 1620, was Van Balen's starting point for the structure of his composition. He has paraphrased Rubens's onset in the right half of his painting (note the backward-facing man in the right foreground and the touch of the left arm by the man further back who may be identified with Odysseus) and extended it to the left with colourful spectacle elements that should evoke the rich court life. Compared to Rubens, the psychological tension in Van Balen's version is less developed. The difference in size between the two paintings also contributes to a different interpretation of the traditional theme.That Hendrik van Balen worked out the theme of Achilles between the daughters of Lycomedes is apparent from a statement in Gerard Hoets' Catalog of Naamlyst van schilderyen met derzelfver pryzen', The Hague, 1752, in which a painting with the theme 'Achilles onder de Maagden, door van Baalen, het landschap van den Fluweele Breugel , zo goet en eel als ooit gezien is' (Achilles among the Virgins by Van Balen, the landscape byJan Breughel, as good as has ever been seen' is mentioned. The work is attributed to Hendrik van Balen and Jan Breughel I (1568-1625). The explicit mention of the landscape may suggest that this is not the version, although 'the landscape'caneventuallyrefer to the lavish still life in the foreground.The painting is accompanied by a certificate fromKatlijne Van der Stighelenof December 1997 (prof. Dr. Katlijne Van der Stighelen (°1959) is a Belgian art historian. She is known for her research and publications on female artists in the Netherlands and portrait painting by the Flemish masters. Katlijne became a doctor in art history at KU Leuven in 1988, with a thesis on Anna Maria van Schurman. She was subsequently appointed associate professor in 1990, professor in 2001, and full professor in 2007 at the same university. In 2002, she held the Rubens Chair at Berkeley University for three months. Since 2003 she is a member of the Royal Flemish Academy of Belgium for Science and the Arts. In 2018 she was curator of 'Michaelina. The leading lady of the baroque', a retrospective that was part of Antwerp Baroque 2018 and was set up in collaboration with the Rubens House and Tourism Flanders, link): "Moreover, the connection should be made with a painting of the same title from the museum of Aix-en-Provence. The painting has been reproduced very little but was associated with Hendrik van Balen some time ago (in the catalogue 'Le siècle de Rubens dans les collections publiques françaises', Paris, Grand Palais, 1977, p. 281, reference is made to the painting at Aix: Achille chez les filles de Lycomède). As far as composition is concerned, the work in question fully corresponds to the painting on offer. There may be two versions of the same theme. The way of working undeniably seems to betray Van Balen's own contribution. The doll-like structure of the women's faces, the recurring dark piercing eyes, the soft and somewhat plump-looking anatomy, the small hands with short parallel fingers: these are all stereotypical characteristics of Hendrik van Balen's mature style. The balanced dosage of the red parts and the frieze-like position of the protagonists are equally characteristic. Taking into account the chronology that appears in the extensive contribution of Ingrid Jost concerning the oeuvre of Hendrik van Balen (Ingrid Jost, 'Hendrick van Balen D. Ä. Versuch einer Chronologie der Werke aus den ersten zwei Jahrzehnten des siebzehnten Jahrhunderts unter besonderer Berücksichtigung der Kabinettsbilder', in: Nederlands Kunsthistorisch Jaarboek, 14, 1963, pp. 83-128), the work can be situated between 1620 and 1630. This dating is also confirmed by the relationship with Rubens' composition, which was created shortly before 1620."
Los 12
Full title: Peter Thijs (1624-1677): Zephyr, oil on panelDescription:Work: 43,5 x 31,6 cm Zephyr (Zephyros or Zephyrus) is a Greek mythological figure. He was one of the four winds (Anemoi), and was the personification of the west wind, the gentlest of the winds. Zephyr is known as the fructifying wind, the messenger of spring.The Romans equated him with Favonius. (link) Peter Thijs (or Pieter Thys) became a master in Antwerp's Guild of St. Luke in 1644 and from around 1647 worked for Archduke Leopold William in Brussels and the House of Orange in The Hague. He executed allegorical and mythological compositions for both courts and was also active as a portrait painter. Later in his career Thijs concentrated mainly on religious compositions for the Antwerp religious community but also painted mythological scenes and portraits for individuals and the art trade in Antwerp. From the the beginning of his career, Thijs was greatly influenced by the later work of Van Dyck. This may be related to the fact that his early patrons were rulers whose taste was formed by Van Dyck's refined courtly style. Furthermore,Thijsalso was a student of Van Dyck. Inaddition, he also enjoyed his education in the workshops of Gonzales Coques and Artus Deurweerders. (link)
Los 1281
Formula 1, a pair of OMP Racing Gloves, with sponsorship badges for Marlboro and Vodaphone, signed by Michael Schumacher in black marker to each palm, mounted for display with a portrait photograph of Schumacher and one other of his car, within an oak glazed display cabinet, with Star Chamber Certificate of Authenticity vesro which states that the gloves were worn by Schumacher during the Italian Grand Prix at Monza on 15th September 2002 in which he finished second and were signed in the Ferrari Pit Garage at the end of the race, w.69, d.13, h.82cm.Only left hand glove has label.
Los 1177
A collection of mid-20th century promotional portrait photographs and postcards of various stage and screen stars, some hand signed to include Richard Attenborough, Finlay Currie and Stephen Murray, the majority being facsimlie/printed examples to include Judy Garland, Clark Gable, Mickey Rooney, Ronald Reagan, Spencer Tracy and Walter Pidgeon etc.
Los 1026
Bob Dylan, a collection of Bootleg Series CD box-sets to include Tell Tale Signs, Another Self Portrait, The Basement Tapes, The Cutting Edge, Trouble No More, More Blood More Tracks and Springtime In New York. (7)14 More Blood More Tracks 6 discs.13 Pressing on 8 discs.16 Springtime in NY five disc.12 Cutting Edge six disc.8 Tell Tale three disc.10 Self Portrait four disc.11 Basement Tapes six disc.
Los 1055
Bob Dylan, a collection of 12" vinyl to include Self Portrait, Another Side Of, S/T, Times They Are A-Changin', Nashville Skyline, Blonde On Blonde, Highway 61 Revisted, John Wesley Harding, Slow Train Coming, Shot Of Love, At Budokan, Pat Garrett & Billy The Kid, Desire, The Best Of, Greatest Hits, A Rare Batch Of Little White Wonder Vol.2 & Vol.3 and More Greatest Hits. (18)
Los 116
A Victorian circular and oval engraved link necklace with two circular snap open and closed rings, (L:20cm) with two extra links made into clip on earrings and two Victorian oval portrait pendants, one with stylised petal and beaded floral style border, with twin glazed panels internally, (7cm x 4cm), the other with central chased scrolling leaf panel with beaded lozenge borders, (7cm x 4cm) with twin oval glazed panels to inside
Los 30
A collection of costume jewellery including marcasite circular brooch and floral spray brooch, a ceramic brooch, a vulcanite Victorian portrait oval brooch, a pair of white metal sleeve links of circular chain form, a paste set floral brooch, a Japanese inlaid articulated bracelet and a Waterford Crystal seahorse brooch complete with box etc.
Los 50
T Lang (Early 19th century): Portrait of a Lady with a Lace Bonnet and Collar, signed and dated 1842, 72cm x 61cmCondition Report:Reasonably tight canvas with fine craquelure and stretcher marks, would benefit from a clean. Shows some over-paint in the facial area and other scattered marks of touching-in under UV light. Original figured mahogany veneered frame
Los 196
English School (Early/Mid 20th century): The Hunt in Upland Country, oil on board unsigned, self portrait of the artist in front of a Railway Viaduct verso 44cm x 55cmCondition Report:Very good condition, behind glass, shows no sign of over-paint under UV light. Well presented, minor blemishes to frame otherwise ready to hang
Los 61
Dame Laura Knight (Staithes Group 1877-1970): Study of Lydia Lopokova, red chalk and charcoal unsigned 36cm x 27cmNotes: for a comparison of style and materials see Knight's portrait of 2nd Lieut Francis Jack Chown, 1st Sqdn, RFC dated 1917. Lopokova was a model favoured by Knight on several occasions
Los 53
English School (Early 19th century): Portrait of 'Thomas Shepherd Noble' as a Young Boy, oil on canvas unsigned, inscribed verso 29cm x 23cm Notes: Noble, born in Northallerton on 3rd March 1826 to John and Hannah Noble, married Amelia Winifred Anderson 1850 in York. He is recorded as working as a Attorney of Law and Solicitor in Chancery, living in Gillygate, York in 1861 with wife Amelia & children, then later as a widower at Precentors Court, York in 1901. He died on 15th June 1910.
Los 57
Arnold Henry Mason RA (British 1885-1963): 'The Optimist' - Portrait of H A Thompson, oil on canvas signed 90cm x 70cmProvenance: exh. Royal Academy 1945, No.466. H A Thompson was Chairman of the London Civil Defence Welfare and a member of the London Toy Committee for Homeless Children. This was one of seven portraits Mason exhibited in the same 1945 exhibition Condition Report:Good overall condition, shows no signs of over-paint under UV light
Los 51
William Ewart Lockhart RSA (Scottish 1846-1900): Portrait of Mary Polson (1832-1911), oil on canvas signed and indistinctly dated 126cm x 101cm Notes: Mary was the wife of John Polson, of Paisley and Castle Levan, who discovered and patented a method for producing corn flour, transforming the fortunes of his father's muslin manufacturing plant in Paisley. William Ewart Lockhart was a family friend of the Polsons, and painted John Polson's portrait in 1893. In 1887, the couple's daughter, Mary Alice Polson, married Archibald Corbett, then the Liberal Unionist MP for Glasgow Tradeston. The pair purchased the Rowallan Estate in Ayrshire in 1901, donating their previous home at Rouken Glen as a public park to the citizens of Glasgow. Upon his retirement from the House of Commons in 1911, Corbett was granted the Barony of Rowallan, becoming 1st Baron Rowallan. Mary was made an Honorary Burgess of Paisley at the Clark Halls and was presented with a parchment and casket by a Mr MacKean on behalf of the Town Council. She also contributed funds for the erection of a nurses' home, Paisley Infirmary, and Thomas Shanks Memorial Park in Johnstone, named after her brother, Colonel Thomas Shanks.Lockhart studied at the Royal Scottish Academy from the age of thirteen in 1860, and by 1861 he was submitting work to its Annual Exhibition. He exhibited annually at the RSA for the remainder of his life, with the exception of 1864 when he went to Australia to improve his health, and 1889/90, when completing a royal commission celebrating the 1887 Jubilee. Lockhart is most renowned for his commissioned portraits, though he also painted scenes of Spanish life following several visits to the country.Condition Report:Overall good condition, indentation with paint loss to the canvas around the subject's elbow, patch of craquelure on the subject's lap. No signs of overpainting visible under UV light.
Los 126
ASSORTED GOLD COINS comprising 2014 HRH Prince George of Cambridge 1st birthday solid 1g gold coin, year of the Three Kings 1936 0.5g gold coin stamped '585', 40th anniversary 1st bullion 0.5g gold coin stamped '585', 1953 portrait gold 0.5g gold coin stamped '585', together with 2018 'Defending Britain's Skies for 100 years quarter sovereign (5)Provenance: private collection Cardiff, consigned via our Cardiff Office
Los 194
A cased silver Royal Wedding plate commemorating the wedding of Princess Anne and Captain Mark Phillips, November 14th 1973, inscribed and etched with a portrait of the couple, designed by Harry Ecclestone for John Pinches Medallists Ltd, from a limited edition of 1003, dia.25cm, 9.2oz with certificate of authenticity and with commemorative leaflet, housed in a velvet lined case bearing entwined initials to the cover and outer cardboard box
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283287 Los(e)/Seite