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Lot 593
A Chinese Kangxi style blue and white brush pot (Bitong), the sides with a calligraphy poem, a red seal mark to the side reads "Antique Passed Down From Our Glorious Dynasty", the four character mark to the base reads "Scholarship High As The Mountains And The Great Bear", height 17cm, diameter 18cm. Condition Report: Pitting, but otherwise good.
Lot 1559
A Wedgwood `Colonnade` pattern part tea service, comprising a cake plate, eight plates, five cups and eight saucers, milk jug and sugar bowl, a Spode `Victorian Violets` pattern square shaped dish, five Ardleigh Elliott & Sons porcelain musical boxes and covers, each decorated with Russian figures and dancers, a Langham glass model of a bird, a glass model of a Koala bear, an enamelled teapot and a Hammersley bone china model of a piano.
Lot 1182
Niger Coast Protectorate The "Dunrovin" Collection 1894 (May - Oct.) Opobo Provisionals "½" in blue on half 1d. vermilion (240 - total number with black, violet and blue surcharges). Aug.-Sept. Left vertical bisect in combination with 1894 (May) 2d. lake, both tied by Opobo squared-circle d.s. on 1894 (1 Oct.) envelope to Twickenham, showing arrival c.d.s. on reverse; the envelope a little soiled, large part flap missing and some light creases. Very rare, only five covers recorded with this provisional of which three bear the blue surcharge. Photo VAT Status: Margin Scheme View Terms & Conditions
Lot 68
A pair of Chinese delicately potted porcelain Dragon bowls of deep conical form with straight footrim, the exterior painted with a five clawed dragon finely outlined in blue and enamelled with green, orange and black, amidst flaming clouds in a five colour way palette, they bear a six character Yongzheng mark to base within a double concentric underglaze blue band, (one with staple repair and the other with tiny rim chip and hairline crack) (2) 7 cm high by 19.5cm diameter
Lot 116
A pair of 19th century Russian brown/black patinated bronze table candelabra, each with four scones supported by a prostrate bear on a naturalistic shaft, the base applied with three gun dogs, h. 46 cm CONDITION REPORT: possibly originally with drip trays, one sconce replaced max w. 23 cm D. of base 14 cm PLEASE SEE ADDITIONAL IMAGES
Lot 1101
Robert Edge Pine (1742-1788) British. Portrait of George Washington (1732-1799) Oil on Canvas, In an Earlier Fine Carved Giltwood Chippendale Style Frame. 33.25” x 25.5”. Sold on behalf of a Private British Collector Provenance: Previously whereabouts unknown, but possibly referred to in 1931 as; ‘November 1927, Messrs. Kennedy & Company, of New York City’, found in France, sold to an American Collector’ (1p.88 item 4) It has been inscribed in ink along the top stretcher ‘Rembrandt Peale (1778-1860)’ and Inscribed ‘Philadelphia’ In the Collection of Alexander Kardo Sessoeff, purchased in New York in February 1952 (relined and restored prior to leaving this collection in the late 1990’s) Private British Collector (who changed the frame to an earlier Chippendale style frame). This, the missing fourth portrait of George Washington (1732-1799) by Robert Edge Pine, was painted during the artist’s stay at Mount Vernon between April 28th and 16th May 1785. Dressed in the Uniform of The Continental Army in which Washington had recently served as Commander-in-Chief, with his right hand across his body and resting on the head of a cane, Washington is not surrounded by symbols of war, or in the context of battle but still as a powerful figure of authority. Four portraits of Washington by Pine are known to exist owing to a listing of some of the artists work in an advertisement published in the Pennsylvanian Packet and Daily Advertiser (December 28, 1789) ‘Scheme of a Lottery’ following Pine’s death in 1788 and posted by Mrs Pine before her return to England. The other three portraits (listed below) bear many similarities. The figure of Washington appears in each as three quarter length, facing left, his hand resting on a cane, said to have been presented to him by Louis XVI. The edge of a tent and head of a spear showing in the top right corner. It is in the detail of the epaulettes which differ with only one portraying the three stars signifying the rank of Commander in Chief (Exhibition No.79). Washington, having only recently returned to Virginia in 1783 following an absence of eight years during the American Revolution, appeared to be a reluctant sitter as observed in correspondence to Francis Hopkinson: ’In for a penny, in for a pound is an old adage. I am so hackneyed to the touches of the Painter’s pencil, that I am now altogether at their beck, and sit like patience on a Monument, whilst they are delineating the lines of my face’. His sittings for Pine are widely referred to in his prolific diary entries. On April 28th 1785 he wrote: ‘To Dinner Mr.Pine, a pretty eminent Portrait & Historian Painter arrived in order to take my picture from the life & to place it in the Historical pieces he was about to draw. This Gentleman stands in good estimation as a Painter in England, comes recommended to me from Colo.Fairfax-Mr Morris Govr.Dickenson-Mr.Hopkinson & others.’ However it was not only due to the significant introductions made by Pine’s friends in Bath, George William Fairfax and Samuel Vaughan, both friends, neighbours and patrons, that Washington obliged to sit but also to hear of the artists sympathies to the American State. In a letter dated August 23rd 1784 Fairfax wrote: “Poor Mr Pine is as true a Son of Liberty as ay Man can be…and made so many enemies in this selfish Nation, that he is compelled to go to America to seek bread. Give me leave to reassure you, Sir, that there is not a person in England, that merits a better reception in America than the unfortunately Gentleman who only fault was his good wishes to our Country’” Another driving force for Pine’s move to America in 1784, shortly before these portraits were painted, was due to the lack of recognition for his work in England. It is believed a disagreement with Sir Joshua Reynolds and near expulsion (before himself resigning) from The Chartered Society of Artists lead to his unhappiness in London and following an inheritance from his brother Simon in 1772 he moved to Bath where he remained for eight years. There his disenchantment of Britain intensified and he began to display on canvas his strong political opinions with works such as ‘America’ ;described by his friend Fairfax as “expressive of the great Oppressions and Calamities of America, also the glorious Revolution with which it pleased Heaven to terminate the infernal War.” The lack of engravings as well as Washington’s reference in 1785 as being painted to be later placed in the ‘historical pieces’, enforces the belief that these four portraits were not intended to be a stand alone works, but studies to be incorporated into larger narrative historical scenes; a genre intensely popular in England and of which Pine intended to introduce to America. However, sadly Pine only lived for another four years and many of the great works he did complete were destroyed by fire at Daniel Bowen’s Museum in 1803. Biography of Artist: Much of Pine’s early life is not known, not even his birth date or education but it is clear he was brought up surrounded by art and artists due his father, John Pine (1690-1756) a prominent engraver who specialised in historical events. The earliest recognition of young Pine’s work is documented in 1760 when he won a prize given by the Society for the Encouragement of the Arts for his painting ‘The Surrender of Calais to Richard III. He was married in 1749. Pine’s contemporary Joseph Hopkinson (who also introduced him to Washington) described Pine as: ‘A very small man- morbidly irritable. His wife and daughters were also very diminutive; they indeed were a family of pigmies’. The Other Three Recorded Portraits by Robert Edge Pine of George Washington Oil on Canvas 35 ¾” x 28 ¼” 1817 Purchased in Canada by Henry Brevoort. By descent to J Carson Brevoort, By descent to Grenville Kane, Esq, Tuxedo Park, New York, exhibited Brooklyn 1917 Property of Mrs Rolla D Campbell, Jnr Now the Property of National Portrait Gallery, Smithsonian, Washington DC. Acquired 1980 Exhibited, National Portrait Gallery, November 1 1979-January 6, 1980, No.77 Oil on Canvas 35 ¾” x 29 ¾” Possibly Property of George Washington Philips Property of Benjamin Moran who donated it to City of Philadelphia in his will dated January 27 1887 Now situated in Second Bank National Portrait Gallery, Philedelphia, Pennsylvania Exhibited, National Portrait Gallery, November 1 1979-January 6, 1980, No.78 Oil on Canvas 36” x 30” Property of Godefroy Meyer of Paris (print dealer) as illustrated as ‘Number 56’ in his catalogue of 1913. 1925 Property of Percy A Rockefeller Property of Hayden Bartlett Harris, purchased from Rockefeller 1957 bequeathed to Harris Trust and Savings Bank, Chicago by Hayden Bartlett Harris Property of Jack Warner and Westervelt Company, now on display at the Tuscaloosa Museum, Alabama Exhibited, National Portrait Gallery, November 1 1979-January 6, 1980, No.79 Bilibiography Robert G Stewart, Curator of Painting and Sculpture, Robert Edge Pine, A British Portrait Painter in America, 1784-1788, Published for the National Portrait Gallery by the Smithsonian Institution Press, City of Washington, 1979, for the Exhibition at the National Portrait Gallery, November 1, 1979-January 6, 1980. 1 Morgan, John Hill, and Mantle Fielding, The Life Portraits of Washington and Their Replicas, Philadelphia, 1931.
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