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283287 Los(e)/Seite
Los 433
Workshop of Robert Mouseman Thompson (Kilburn): An English Oak Portrait Mirror, plate glass, moulded frame, each corner with a carved rose, with carved mouse trademark, 76cm wide, 208.5cm highWaddington's Shop, Worksop, Notts, 1958.Generally good condition throughout. No issues to speak of, if anything would benefit from a polish.
Los 39
Sir William Rothenstein (1872-1945)"Portrait of E M Forster"Initialled, inscribed "1st Sketch", conté crayon, 19cm by 12.5cmProvenance: Ex collection of Sir John Rothenstein CBE, by reputeWith Christie's stencil verso, FH619 Glazed. Executed on buff/coloured paper. Slight yellowing to sheet which is most notable to the edges. Debris and surface dirt trapped under glass. A brown mark or possibly debris to sitter's right cheek and very minor faint mark under the lip. Small foxing spot/brown mark to upper right corner. Two/three further tiny specks/spots in the sitters hair towards the upper right. Now examined out of the frame. The paper is hinged by three pieces of tape to the top edge and the oxidisation is more noticeable to the areas of the drawing which have been exposed. Two loose pieces of paper attached to the outer edges of the margin (see images).Provenance: Ex collection of Sir John Rothenstein CBE, by reputeWith Christie's stencil verso, FH619
Los 48
A Slade, Hampton & Sons, collection of Birmingham silver enamelled miniature portrait panels in Renaissance and later styles, complete with original presentation box (each panel: 4cm x 3cm), an American Bicentenial First Day cover containing a sterling silver proof of the Official Bicentenary Day commemorative medal, combined with the Official United States Postal Service Bicentenial commemorative stamp, issued on the 4th July 1976, in original presentation pack, a Michelangelo First Day cover containing a sterling silver commemorative coin and three commemorative stamps issued by the Italian Post Office and a limited edition sterling silver proof of the medal in Commemoration of the Apollo-Soyuz space mission with commemorative stamps (a lot)
Los 651
POSTCARDS - WELLINGTON, SOMERSET Approximately fifty-three cards, comprising real photographic views of Fore Street, Wellington; Rockwell Green; Westford Court, Rockwell Green; and a charabanc group portrait (by Fred End, Wellington); with printed views of Fore Street (four different); the Wellington Monument, with the compliments of Egerton Burnett Ltd, Royal Serge Warehouse, Wellington; Wellington School; High Path; Wellesley Park; Blackdown School 'The Grange'; High Street & Town Hall; The Almshouses; South Street; Tonedale Works; The Old Canal Bridge, Nynehead Park; and others, (album and loose).
Los 658
POSTCARDS - STOCKPORT, CHESHIRE Twelve cards, comprising real photographic views of The Royal Visit, The Royal Carriage; Royal Visit, Mayor's Carriage; The Royal Carriage Arrival at the New Town Hall; H.R.H. Prince of Wales Inspecting the Troops, Royal Visit; H.R.H. Prince and Princess of Wales Opening New Town Hall; Station Road, Cheadle Hulme; Hulme Hall Road, Cheadle Hulme; and Cheadle Road, Cheadle Hulme; also plain back views of J. Hibbert's Switchback ride and carousel; with printed views of Great Moor, Stockport ('County Series', Stockport); and Stockport Road, Cheadle Heath (publ. by Horn, Cheadle Heath); together with two royalty portrait cards, (14; loose).
Los 668
POSTCARDS - SHEPTON MALLET, SOMERSET Eighty-five cards, comprising real photographic views of a group portrait of nurses (by Foxall, Shepton Mallet); a group portrait of nurses and Great War patients (by Foxall); Concert Party, Shepton Mallet Military Hospital (by Phillips, Wells); Swimming Bath; and Market Cross (several); with printed views of the Market Cross (several); High Street (several); Covent; Hospital; Council Buildings; a shopfront, H.J. Goodenough, Confectioner & Baker; Cattle Market; Waterloo Road and Hospital; Paul Street; Commercial Road; Town Street; Prison; Kilver Viaducts; Church Lane; and others, (album leaves).
Los 669
POSTCARDS - SHEPTON MALLET, SOMERSET Approximately 127 cards, comprising real photographic views of the Market Cross (by Chapman, Dawlish); Opening of Collett Park, 1906; Town Street and Waterloo Road (by Chapman); Park Road (Rayon Photo. Co.); Shepton Mallet Hospital; The Brewery (by Chapman); further street scenes by Chapman; Jardine's Factory (two different, by Chapman); a tennis group portrait (by Foxall, Shepton Mallet); the Prince of Wales at Shepton Mallet, 1909 (by Bell, Shepton Mallet); Grammar School (by Chapman); Market Square (two different, by Chapman); and a Fire Brigade (possibly Brewery, two different, by Foxall); with printed views of the Womens Almshouses; High Street (several); Police Station and Commercial Road; Grammar School; Market Place; Compton Road; and others, (album).
Los 693
PHOTOGRAPHS - ASSORTED FAMILY Approximately 300 carte de visite portrait and other photographs, most captioned, the subjects including Queen Victoria (5); Prince Albert; the Prince & Princess of Wales; the Princess of Wales and family; the Prince & Princess Louise of Hesse; Duke of Argyle; Princess Louise, Duchess of Argyle; Shah of Persia; Empress of Austria; Garibaldi; Field-Marshal Sir J.L.A. Simmons; Adelina Patti; the dog 'Greyfriars Bobby'; and 'Mrs Reed, old servant of the Towgoods'; together with twenty-five cabinet portrait photographs, the subjects including the Marquis J. Canby Cyprian de Biddle-Cope, (four albums).
Los 861
POP MEMORABILIA - CHARLIE WATTS (1941-2021), THE ROLLING STONES A magazine, Fabulous, 11th July 1964, one interior portrait page signed in black ink ' 'thank you' / Charlie Watts'. Standard advisory note: Given the evolution of personal writing styles and variations in the nature of signatures over time based upon the context of writing, Greenslade Taylor Hunt offers no guarantee or warranty in respect of the authenticity of this signature. Condition Report : Covers torn, without loss. 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 551
Late Victorian embossed leather photograph album containing carte de visite photographs and cabinet card photographs including Queen Victoria with facsimile signature 1837 - 1897, cabinet card photograph depicting Queen Victoria and one of her daughters, fashion portrait photographs, baby in pram, young boy and rabbit, young boy in Royal Navy outfit, carte de visite of children, some on rocking horses, etc
Los 664
Dr Neville Bain signed FDC. The Definitive Portrait Double postmarked 10th March 98 Benham Official FDC. All autographed items come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 1
JAMES SHAW (BRITISH FL. 1769-1784)SELF PORTRAIT WITH A PALETTEOil on canvas59 x 43cm (23 x 16¾ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined and has a later erroneous inscription `Portrait of W Delse/Painted by H. Barron/Aug 30th 1768' (on the relined reverse). There is some fine surface cracking but the paint layer seems to be stable. Under UV light some broad areas of retouching are visible in background areas, particularly in the upper right corner, to the left of the sitters chin and along the left edge. There are also fine spots of retouching on his face. Old varnish is visible in places. Condition Report Disclaimer
Los 109
HERBERT ARNOULD OLIVIER (BRITISH 1861-1952)A PORTRAIT OF LADY NICHOLSON, BUST-LENGTH, WEARING A BLACK CLOAKOil on canvas72.5 x 60cm (28½ x 23½ in.)Exhibited:Possibly Grafton Galleries, April 1908, cat. no. 115 'Lady Nicholson'Provenance:The artist and by descent through his family Lady Nicholson was the very first owner of Airlie gardens, London
Los 146
JOSE MARIA ALARCON Y CACERES (SPANISH 1848-1904) A PORTRAIT OF A LADY, HALF-LENGTH, WEARING A YELLOW SHAWLOil on canvasSigned and dated '96 (lower left)66 x 90cm (25 x 35¼ in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: Canvas has been relined, but the paint surface is stable and very well preserved. Some minor spots of paint loss and surface abrasions, but most of these are in background areas. Some spots of retouching, including on the sitter's chest and underneath her eye. Slightly uneven and discoloured varnish. Some losses to the frame.Condition Report Disclaimer
Los 147
ALEJANDRO CHRISTOPHERSEN (ARGENTINIAN 1866-1945)PORTRAIT OF A LADY HOLDING A PINK ROSEOil on canvasSigned (lower right)60 x 79cm (23½ x 31 in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas is unlined. A tear of approximately 3 cm in width in the blue flower right above the woman's right shoulder and another hole tear of approximately 1 cm in the black of the woman's gown about 20 cm from the lower edge below the woman's right bracelet. Two patches on the reverse covering restorations which are well executed and visible under UV light, one above the woman's right shoulder and another in one of the lowest roses on the left side of the canvas. UV reveals other scattered retouching. Abrasions mainly concentrated around the edges as well as some surface scratches mainly concentrated in the lower left quadrant in the blacks of the gown. Some surface dirt, would benefit from a light clean. Condition Report Disclaimer
Los 148
ALEJANDRO CHRISTOPHERSEN (ARGENTINIAN 1866-1945)PORTRAIT OF A LADY IN A GREEN HAT HOLDING A FOLIOOil on canvasSigned (lower left)60 x 80cm (23½ x 31¼ in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas has been relined, but the surface impasto appears well preserved. Some light surface dirt and discolouration of the varnish, would benefit from a clean. UV light reveals a restoration of approximately 3 cm above the brown of the dress at the height of the seam as well as a restoration of approx. 10 cm in the woman's right shoulder, where there also is a visible area of light craquelure. Otherwise UV reveals minor scattered retouching. Condition Report Disclaimer
Los 149
ORIENTALIST SCHOOL (CIRCA 1900)PORTRAIT OF A NUBIAN BOYOil on canvas54 x 41.5cm (21¼ x 16¼ in.)Provenance: From the Estate of the late Jean-Claude Ciancimino Condition Report: The canvas has been relined and is on a later stretcher which is providing good support. Under UV light there are some scattered spots of retouching in background areas and several vertical lines on the red wrap. There may also be some retouching on his chin, although this is obscured by old varnish and may just be pentimenti. It has been cleaned and re-varnished. Condition Report Disclaimer
Los 19
CIRCLE OF JEAN-BAPTISTE VANMOUR (FLEMISH 1671-1737)PORTRAIT OF A LADY IN OTTOMAN DRESSOil on canvas104 x 85cm (40¾ x 33¼ in.)Provenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined and is lifting in the lower right corner. There is an extensive and very fine pattern of surface cracking across the whole image. There are minor losses and abrasions but the paint layer appears to be quite stable. It has a thick layer of discoloured varnish making it quite difficult to read under UV light, but there appears to be scattered areas of retouching across the picture. It has a thick layer of surface dirt. Condition Report Disclaimer
Los 20
CIRCLE OF THOMAS HUDSON (BRITISH 1701-1779)PORTRAIT OF HENRY GREY 4TH EARL OF STAMFORD, WEARING PEERS ROBES, IN A PAINTED OVALOil on canvas74 x 61cm (29 x 24 in.)Provenance:The Wodehouse, Wombourne, StaffordshireAnother version by the studio of Thomas Hudson in the collection of Dunham Massey.Condition Report: The canvas has been relined. Fine surface cracking but the paint surface is stable. UV reveals scattered retouching across the image including in the sitter's face. A thick layer of dirt and discoloured varnish, which may cover older restorations. Condition Report Disclaimer
Los 22
CIRCLE OF CHARLES D'AGAR (BRITISH 1669-1723)PORTRAIT OF A BOY, FULL-LENGTH, IN ROMAN COSTUMEOil on canvas133 x 109cm (52¼ x 42¾ in.)UnframedProvenance:The Wodehouse, Wombourne, StaffordshireCondition Report: The canvas has been relined and the reline is visible around the edges. Paint layers appear stable, but surface impasto has been flattened. Fine surface cracking throughout. A thick layer of surface dirt and discoloured varnish. Canvas weave coming through in areas. Some abrasions, particularly around the edges. UV reveals large areas of broad retouching mainly in the back ground, as well as finer retouching in and around the figure, including in the chin and right cheek. Condition Report Disclaimer
Los 25
TILLY KETTLE (BRITISH 1735-1786)PORTRAIT OF A LADY, SEATED THREE-QUARTER LENGTH, IN A LANDSCAPE Oil on canvas Signed (lower left)124 x 99.5cm (48¾ x 39 in.)Provenance:Colonel Thomas Shaw-Hellier (1836-1910)The Wodehouse, Wombourne, StaffordshireExhibited:Wolverhampton Art and Industrial Exhibition, 1902, no.1Condition Report: The canvas has been relined. Paint layers appear stable and surface impasto appears well preserved. Very fine surface cracking throughout and some courser surface cracking mainly in the lighter pigments of the skin and the dress. A layer of surface dirt and discoloured uneven varnish, would benefit from a clean. UV reveals areas of retouching mainly in the background areas, as well as in the sitter's forehead and around her hand. Much of this retouching seems excessive and restoration could reduce it considerably. Condition Report Disclaimer
Los 43
FOLLOWER OF SIR ANTHONY VAN DYCKPORTRAIT OF WILLIAM VILLIERS, 2ND VISCOUNT GRANDISON, QUARTER-LENGTH, IN A SLASHED DOUBLET WITH A LACE COLLAR Oil on canvas 73 x 61cm (28½ x 24 in.)In a Lely panel frame. The original portrait resides in the collection of Lydiard House. Please note the amendments to the cataloguing: FOLLOWER OF SIR ANTHONY VAN DYCKPORTRAIT OF WILLIAM VILLIERS, 2ND VISCOUNT GRANDISON, QUARTER-LENGTH, IN A SLASHED DOUBLET WITH A LACE COLLAR Oil on canvas 73 x 61cm (28½ x 24 in.)In a Lely panel frame. The original portrait resides in the collection of Lydiard House.Condition Report: The canvas has been lined, restored, and re-varnished. Light craquelure throughout. There is a large area of previously repaired damage to the sitter's lower chest where scaring and overpaint are both visible in natural light. There is a very small area of flaking (approx. 2mm) to the sitter's right arm. Inspection under UV light reveals scattered retouching, predominantly to the sitter's chin and around his head, as well as to the chest area as previously mentioned. There is also a cloudy green masking varnish.Condition Report Disclaimer
Los 44
FOLLOWER OF GERARD VAN HONTHORSTPORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS LADY ELEANOR TEMPLE, WIFE OF SIR PETER TEMPLEOil on panel Dated 1636 (upper left) and inscribed on a label (on the reverse)71.5 x 57cm (28 x 22¼ in.)Condition Report: The panel has two vertical splits running the full length of the portrait. These splits have been in-filled and this is visible in natural light. Wooden supports have been added verso to the corresponding areas (see images online). There is an uneven layer of varnish which has caused the paint surface to appear matt and discoloured in some parts of the background. There is also retouching here which is visible in natural light. Some of this pigment has also been scrubbed and is wearing thin. Retouching to the sitter's dress has discoloured and is therefore visible in natural light. Rubbing and abrasions to the framing edges. Inspection under UV reveals retouching scattered throughout and traces of a green masking varnish. Measurements with frame: 86 x 71.5cmCondition Report Disclaimer
Los 45
DUTCH SCHOOL (17TH CENTURY)PORTRAIT OF A LADY, BUST-LENGTH, WEARING A BLACK DRESS IN A FEIGNED OVAL STONE CARTOUCHEOil on panel15.8 x 13.3cm (6 x 5 in.)Provenance:Sale, Christie's, London, 17 July 1986, lot 194Condition Report: Surface dirt, scratching, and scuffs to the panel which has also been re-varnished. The paint is wearing thin in some isolated areas, predominantly in the background and framing edges. There are several small areas of retouching, again predominantly to the background, which can be seen in a natural light, including a horizontal line (approx. 10cm) running parallel to the lower framing edge. Inspection under UV light reveals scattered retouching as mentioned above, and a green cloudy masking varnish, which may be obscuring further retouching.Measurements including frame 37 x 34 cm.Condition Report Disclaimer
Los 46
CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646-1723)PORTRAIT OF A GENTLEMAN, FULL-LENGTH, IN A LANDSCAPEOil on canvas226 x 148cm (88¾ x 58¼ in.)Provenance:Sale, Sotheby's, London, 14 April 2011, lot 68 (as Circle of Godfrey Kneller)Sale, Dreweatts, 11 December 2012, Lot 34 (as attributed to Benedetto Gennari the Younger)Condition Report: The canvas has been relined. Surface cracking throughout and old stretcher marks visible. Paint layers appear stable. Difficult to read under UV due to the thick layer of discoloured varnish and dirt, but there appears to be broad retouching in the background, particularly in the dark pigments on the left, as well as some fine lines along the stretcher marks and some of the surface cracking. Abrasions around the edges from contact with the frame.Condition Report Disclaimer
Los 47
ENGLISH SCHOOL (CIRCA 1630)FULL-LENGTH PORTRAIT OF A YOUNG MAN, POSSIBLY JEFFREY HUDSON, SERVANT OF QUEEN HENRIETTA MARIAOil on canvas124 x 88cm (48¾ x 34½ in.)Condition Report: The canvas has been relined. Fine surface cracking throughout, and signs of old repairs in the canvas making the surface uneven in places. A thick layer of surface dirt and discoloured varnish, making it difficult to read under UV light though there are signs of retouching across the image including in the sitter's face. Also scattered areas along the lower edge and on his shoes and a diagonal line across his waste. The frame is modern but in 17th century style, burr walnut veneer. Some cracks and joints to the veneer. Condition Report Disclaimer
Los 48
ATTRIBUTED TO SIR GODFREY KNELLER (BRITISH 1646-1723)PORTRAIT OF A GENTLEMAN TRADITIONALLY IDENTIFIED AS SAMUEL PEPYS, THREE-QUARTER LENGTH, STANDING BY A COLUMN, WEARING A RED FUR-LINED CLOAKOil on canvas121.9 x 98.4cm (47 x 38½ in.)Provenance:By direct descent through the family of the sitterSale, Christie's, British and Continental Pictures of the 18th, 19th & 20th Centuries, 19 January 1979, lot 7 (as Samuel Pepys by Sir Godfrey Kneller, unsold)Samuel Pepys (1633-1703) was a diarist and administrator of the Navy. In 1660 he began his service under the patronage of Lord Sandwich, his cousin. He was initially Clerk of the Acts, and from 1686 to 1688 was Secretary to the Admiralty.Sir Godfrey Kneller is known to have painted him and other members of the Pepys family on several other occasions. Kneller painted Samuel Pepys in 1684 for the Royal Society, while another portrait dated 1689 resides in the National Maritime Museum (acquired from the Pepys family in 1931). Kneller also painted Pepys's nephew John. In 1702, Pepys commissioned Kneller to paint a portrait of the mathematician John Wallis as a gift to the university of Oxford. Condition Report: The canvas has been relined and fine surface cracking is visible across the image, but the impasto is well preserved and the paint layer is stable. Under UV light there are some smaller areas of retouching along the lower edge. There are three broader areas on the column to the left of the sitter. The varnish is discoloured and uneven and the surface is quite dry and has some dirt and discolouration. It should respond well to a light clean. It is presented in an early 18th Century carved and gilded frame which has minor chips, losses and abrasions. Condition Report Disclaimer
Los 49
CIRCLE OF JOHN MICHAEL WRIGHT (BRITISH 1617-1694)PORTRAIT OF A LADY, SEATED IN FRONT OF A TERRACE, WITH THREE SHRUBS IN TERRACOTTA POTS AND A BASKET OF FLOWERS AND FRUITOil on canvas126 x 101cm (49½ x 39¾ in.)Condition Report: The canvas has been relined, paint layers appear stable. UV reveals scattered retouching across the whole image, the most significant is a rectangle of approx. 5 x 8 cm on the sitter's right upper arm. The restoration is extensive but has been carried out sensitively and is not visible to the naked eye. It has been cleaned and revarnished and is presented in a Lely panel frame. Condition Report Disclaimer
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283287 Los(e)/Seite