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Lot 90
MARY ELLEN STAPLES NEE EDWARDS (BRITISH FL. 1862-1908)BABY'S BETTEROil on canvasSigned M. E. Edwards (lower right) and signed, inscribed and dated 1879 (on the relined reverse)96 x 70cm (37¾ x 27½ in.)Condition Report: The canvas has been relined. Some specks of surface dirt, would benefit from a clean. Areas of light craquelure in the darker pigments around the figures. UV reveals scattered retouching in the foliage and bench as well as in the child's face. Condition Report Disclaimer
Lot 55
Property of a Gentleman 16th Century A pair of portraits of Margaret Roper and William Roper Margaret Roper with inscription 'AETATIS SU[A]E 32' (lit: In her 32nd year) William Roper with inscription 'ANNO 1537' (lit: In the year 1537) Oil on panel On the portrait of Margaret Roper there is an inscription, verso 'Titian pinxt 1547'. On the portrait of William Roper there is an inscription, verso 'Titian pinxt'. In the portrait of Margaret Roper there is a plaque with an inscription painted above her head on the right wall. It reads 'AETATIS SU[A]E 32' (lit: In her 32nd year). In the portrait of her husband, William Roper, there is an inscription painted above his head on the left wall which reads 'ANNO 1537' (lit: In the year 1537). Margaret Roper (1505–1544) was the eldest daughter of Sir Thomas More. She is considered to have been one of the most learned women in sixteenth-century England and was a scholar as revered as those male scholars in her society, in spite of the prejudices of her time. Roper's best known publication is a Latin-to-English translation of Erasmus' Precatio Dominica. It is a testament to her rare and unusual abilities, that Erasmus entrusted her with this task. In addition, she wrote many Latin epistles and English letters, as well as an original treatise entitled The Four Last Things. She also translated the Ecclesiastical History of Eusebius from the Greek into the Latin language. William Roper the second was the eldest son of John Roper (d. 1524), Attorney-General to Henry VIII, and his wife Jane (died c.1544), daughter and coheir of Sir John Fyneux, Chief Justice of King's Bench. His biography of his father-in-law, Sir Thomas More, is still held in high-regard for its accuracy and clear sense of devotion.  He was educated at one of the English universities and the studied law at Lincoln's Inn, being called to the bar in 1525. Aged about twenty-three it is thought he joined the household of Sir Thomas More, marrying Margaret, More's eldest daughter, in 1521. Erasmus, who knew More and his family well, described Roper as a young man "who is wealthy, of excellent and modest character and not unacquainted with literature". Roper became a convert to the Lutheran doctrine of Justification by Faith and spoke so freely of his belief that he was summoned to appear before Cardinal Wolsey on an accusation of heresy. Provenance: Margaret and William Roper;By descent to Hon. Anne Maria Roper (1719 - 1782), mother of Admiral Sir Charles Tyler (1760 - 1835);By direct descent through the Tyler family to the current owner. Dimensions: (Panel) 6 in. (H) x 4 in. (W)
Lot 317
Box of brassware to include: Art Nouveau style incomplete epergne, various brass candlesticks, fireside items, small bench ornament, measuring tankard, miniature kettle, various buckles, hourglass with dragon terminals, candle snuffer, small clamp in the shape of a ship's wheel etc. (B.P. 21% + VAT)
Lot 1
19th century Spanish school."Escena galante" (Gallant scene)Oil on canvas.Signed with anagram "RM" on the left side.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 41 x 34 cm; 56 x 48 cm (frame).The present work shows an idealised landscape with tall trees and a series of stone elements (bench, vase on pedestal) which suggest a park. On the bench sits a lady, dressed in a shawl and long skirt, drinking a beverage. Next to her, a humbly dressed gentleman is accompanied by a water jug and another element alluding to his profession as a water carrier or seller of drinks or refreshments, a common figure in parks.Stylistically, and except for the figures' dress, the idealisation and composition are slightly reminiscent of 18th-century rococo scenes of the gallant (also due to the lack of transcendental subject matter).
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