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283284 Los(e)/Seite
Los 11
λ λNathaniel Hone RA (Irish 1718-1784)Portrait miniature of a gentleman wearing a blue coat and brown waistcoatSigned with initials NH (centre right)Oval, in a gilt metal frame, the reverse with engraved crest44 x 34mmProvenance:The collection of the late John TaylorIvory Act registration number: ND3CP8AD
Los 15
λ λCircle of William EgleyPortrait miniature of a lady wearing a black dress and lace shawl; Portrait miniature of a young lady wearing a black dress and with ringlets in her hairA pair, both oval, framed together within a brown leather caseEach 83 x 67mm (2)Ivory Act registration number: JU4WCMLV
Los 16
λ λEnglish School Early 19th CenturyPortrait miniature of a gentleman wearing a black coat and a red and green waistcoatOval, in a gilt metal frame, the glazed reverse revealing a lock of hair81 x 64mmTogether with Manner of Richard Cosway; Portrait miniature of a lady wearing a blue and white dress and oriental headdress; Oval, in a gilt metal frame; 76 x 63mm; English School 19th Century; Portrait miniature of a lady wearing a pink hat; Enamel on porcelain, oval in a gilt metal frame with pierced scroll decoration; 36 x 29mm; and English School Late 19th Century; Portrait miniature of a lady in a maroon dress and pearl headdress; Over a photographic base, oval, in a gilt metal frame; 53 x 43mm (4)
Los 17
λ λEnglish School Mid 18th CenturyPortrait miniature of a young child wearing a blue dress and holding a hunk of breadOval, in a gilt metal frame, the glazed reverse revealing locks of hair, within a red leather case61 x 51cmProvenance:The collection of the late John TaylorIvory Act registration number: TH1URGEF
Los 18
French School c.1800Portrait miniature of a lady wearing a blue dress and broad brimmed hat decorated with flowersOn card, oval, in a gilt metal frame, the glazed reverse revealing a playing card55 x 46mmProvenance:Sotheby's, London, English and Continental Portrait Miniatures, 10 June 1974, lot 94;The collection of the late John Taylor
Los 19
λHannah Myers (act.1893-1913)Portrait miniature of a young girl, traditionally identified as a member of the Gore Booth family, wearing a white dress and broochSigned with initials and dated HM/1913 (centre right)Circular, in a gilt metal frame, within a red leather case45mm diameterProvenance:The collection of the late John TaylorIvory Act registration number: R81D768Z
Los 20
John Smart (1741-1811)Portrait miniature of Captain Marriott, with powdered hairPencil and watercolour heightened with white, oval, in a rectangular ebonised wooden frame59 x 48mmProvenance:The sitter's sister, Caroline Marriott, July 1828 (according to inscription to reverse);The collection of the late John TaylorA preliminary sketch for the miniature now in the Yale Centre of British Art, Connecticut (no.B1974.2.95).
Los 21
λAttributed to Sir Thomas Lawrence PRA, FRS (1769-1830)Portrait miniature of Anne, Lady Ellenborough (1769-1843), wearing a white dressRectangular, in a gilt metal repoussé frame114 x 87mmSir Thomas Lawrence painted a portrait of Lady Ellenborough in c.1811, but was dissatisfied with it and failed to complete it (see K. Garlick, Sir Thomas Lawrence - A Complete Catalogue of Oil Paintings, 1989, p.183, no.270b). Lady Ellenborough wrote several letters to Lawrence in 1811 regarding the unfinished portrait, saying she 'had rather have the present picture reduced to the smallest size, than relinquish the idea of having it completely finished before she leaves town' (see George Somes Layard (ed.), Sir Thomas Lawrence's Letter-Bag, 1906, pp.74-83).Portrait miniatures by Lawrence are extremely rare, with only a few known to exist in private collections.Ivory Act registration number: F87E4HXCIvory appears structurally sounds with no apparent bowing or splitting. Slight yellowing to the background made apparent by a contrasting strip of brighter painting along the upper edge in correspondence to the frame. A little dust under the glass. Occasional very light hairline scratches, mainly one to the background upper right above the figure and a few by the column centre-left. A thin strip of very mild staining to the lower edge in correspondence to the frame. The figure is in good condition with no significant fading. The frame also in overall good condition.
Los 214
Manner of Pieter CoddePortrait of a gentleman wearing a black doublet; Portrait of a lady wearing a ruff collar and capA pair, both oil on panelEach 10.6 x 8.1cm; 4¼ x 3¼in (2)Provenance:Sotheby's, London, English and Continental Portrait Miniatures, 25 June 1973, lot 14;The collection of the late John Taylor
Los 22
λ λAndrew Robertson (1777-1845)Portrait miniature of Sir David Wilkie RA (1785-1841), seated in an interior, holding an artist's palette and wearing a tam o' shanterRectangular, in a gilt-painted wooden frame165 x 128mmExhibited:Probably London, Royal Academy, 1810, no.650Ivory Act registration number: GAHXKVW4
Los 23
λ λAndrew Plimer (1763-1837)Portrait miniature of a lady wearing a white dress and a bandeau in her powdered hairOval, in a gilt metal frame, the reverse with a glazed aperture revealing a lock of hair and a blue glass border over guilloché68 x 55mmProvenance:The collection of the late John TaylorIvory Act registration number: FCMXNLZS
Los 247
Attributed to William Wissing (Dutch 1656-1687)Portrait of Charles II (1630-1685), three-quarter length, wearing armour and the Garter riband, with a battle in the distanceOil on canvas129 x 102cm; 50¾ x 40¼inProvenance:Property from an Irish country houseAnother version of this work by Wissing is in the Royal Collection (no.RCIN 405881).
Los 250
John Theodore Heins (German c.1697-1756)Portrait of Judith Bedingfield (1730-1794) half-length, wearing a blue dress in a painted ovalSigned and dated Heins Fec 1746 (lower left)Oil on canvas76.8 x 63.8cm; 30¼ x 25inJudith Bedingfield married Sir John Rous, 5th Bt (1727-1771) of Henham Hall Suffolk in 1749.
Los 261
Attributed to Sir Thomas Lawrence PRA, FRS (1769-1830)Portrait of the actress Sarah Siddons (1755-1831), wearing a white dress with a red jewel, and a yellow shawlOil on canvas91.5 x 71.2cm; 36 x 28inProvenance:Monty Bernard, Ryder Street, St. James's, London;Christie's, London, 13 June 1952, lot 84 (as Sir Thomas Lawrence, Portrait of Mrs Siddons in a white dress and yellow cloak);English Private CollectionLiterature:Probably Bells Weekly Messenger, 30 April 1797;Probably The Morning Chronicle, 2 May 1797;Probably Anthony Pasquin [John Williams], A Critical Guide to the Present Exhibition at the Royal Academy, for 1797... (H. D. Symonds, London, 1797)Exhibited:Probably London, Royal Academy, 1797, no.166In 1797 Sir Thomas Lawrence exhibited a portrait of the famous actress Sarah Siddons (1755-1831) at the Royal Academy. This work has long been believed to be the one recorded by Kenneth Garlick as being in a private collection (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of Oil Paintings, 1989, p.264, no.715b). However, there are several inconsistencies between contemporary accounts of the picture at the Royal Academy exhibition of 1797, and that listed by Garlick. In fact, the painting presented here appears more likely to be the 1797 R.A. version portrait of Siddons. Contemporary accounts of the 1797 painting described it as a full length work (for example Bell' Weekly Messenger, op. cit.). However, the painting listed by Garlick is a half-length, whereas the present work has clearly been cut down from a larger canvas. Another contemporary account said that the canvas was disfigured, and resembled the inside of a melon (quoted in William T. Whitley, Artists and their friends in England, 1700-1799 (London, Medici Society, 1928, vol.2, p.214). It is impossible to know exactly what this refers to, however, the background of the present work has an unusual 'veined' texture which could plausibly be compared to a melon. This texture becomes more prominent in the lower section of the work, and would explain why the canvas was cut down.When the portrait was exhibited in 1797, it divided the critics. Some thought it showed Siddons far younger than in reality. Anthony Pasquin (op. cit.) said that 'It is no more like her than Hebe is similar to Bellona. We have here youth, flexibility of feature, and an attempt at the formation of beauty, to denote a lady who is so proverbially stern in her countenance that it approaches savageness'. Although the True Briton praised the portrait, it thought the dress too showy and of a fabric too modern. Pasquin also mentions the unusually red cheeks, that 'are so betinted with carmine'. All these contemporary comments seem to be more relevant to the present work, than that listed by Garlick, a work in which Siddons looks older and sterner, in a more traditional costume.Sarah Siddons was probably the best known actress of her generation. Her performances on the stage gave her a celebrity status, and she was a cultural icon. Lawrence had been an admirer of Siddons since his youth, and they became close friends, to the extent that there were rumours they planned to elope. He was also believed to have had affairs with Siddons' two daughters, Sally and Maria.
Los 264
Studio of Sir Joshua ReynoldsPortrait of Master Watkin Williams Wynn (1772-1840), later 5th Bt., as the infant St John the BaptistOil on canvas39.5 x 46.5cm; 15½ x 18¼in, in a period carved Carlo Maratta style frameFor the larger prime version of this work see David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p.485, no.1946.
Los 30A
Thomas Herbert Maguire (1821-1895)Portrait of John Gould (1804-1881); Portrait of Sir William Jardine (1800-1874); Portrait of Edwin Sidney (1798-1872); Portrait of John Lee (1783-1866); Portrait of James Scott Bowerbank (1797-1877); Portrait of William Thompson (1805-1852); Portrait of Prideaux John Selby (1788-1867); Portrait of Thomas Bell (1792-1880); Portrait of Robert Patterson (1802-1872)Nine, each lithograph, octagonal, with facsimile signature of the sitter to backing card, from 'Portraits of the Honorary Members of the Ipswich Museum' seriesLargest 29.6 x 24cm; 11¾ x 9½in; Smallest 28.8 x 24.1cm; 11¼ x 9½in (image)Unframed (9)
Los 59
John Downman ARA (Welsh 1750-1824)Group portrait of the three daughters of the 7th Earl of Cavan, Lady Honora Elizabeth Hester Lambart (1784-1856), Lady Sophia Augusta Lambart (1787-1798), Lady Alicia Margaretta Hockmore Lambart (1785-1818), and their dogSigned J Downman (centre right, to chair)Coloured chalks, pencil and stump, oval46 x 37.5cm; 18 x 14¾inProvenance:By descent in the family of the sitters;De Muizon, Chantilly, 1 October 2001, lot 21;with Judy and Brian Harden Portrait MiniaturesExhibited:London, Philip Mould & Company, Downman In Vogue, 2020In this ambitious and large work Downman depicts the three daughters of General Richard Lambart, 7th Earl of Cavan (1763-1837) and his first wife Honora Margaretta Lambart, née Gould (d. 1813). The sitters are from left: Lady Honora Elizabeth Hester Lambart (1784-1856), Lady Sophia Augusta Lambart (1787-1798) and Lady Alicia Margaretta Hockmore Lambart (1785-1818). The portrait dates from 1788. They also had four sons.Honora married firstly Captain Noodgate of the Royal Navy and secondly Captain Harvey. Alicia married Philip Paunceforte-Duncombe (1784-1849) in 1813 at Fawley, Hampshire and they had three children. He was High Sheriff of Buckinghamshire.Preliminary sketches for the eldest two children are recorded in the Maitland collection (see G.C. Williamson; John Downman, his life and works, 1907, ill. p.36).
Los 379
A 19th century hand-coloured engraving, "Her Majesty distributing the Crimea medals 1856", an early 19th century aquatint, "Battle of Albuera May 16, 1811", an 18th century hand-coloured engraving, "The 7th Regiment of Foot...", in ebonised frame, and a 19th century watercolour portrait of a guard's officer, in oak frame
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283284 Los(e)/Seite