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Click here to subscribeAttributed to Laurence Macdonald (Scotland 1799-1878): A White Marble Bust of a Woman, circa 1850-60, her hair curled and plaited into an elaborate coiffure, and with forward demure gaze, wearing Roman style dress with buttoned shoulders, 82cm high, on later associated black painted wood socle; together with A Pink/Fawn Variegated Composite Marble Column, on grey/white veined marble plinth, 163cm high overall (2) See illustration
A Late 19th Century Carved White Marble Bust of a Lady, her coiffured hair in a bun, gazing downwards and slightly to sinister, wearing diaphanous classical robes, 63cm high, upon a concave sided Sienna yellow marble swept socle, 78cm high overall; upon An Associated Carved and White Painted Wood Dwarf Column, 77.5cm high, overall height including column base 155.5cm See illustration
Attributed to William Hamlet Jnr (1779-1815): A Group of Three Profile Bust Portraits of Ladies, early 19th century, each sitter with upswept hair, one with bandeau in her hair, black painted on underside of convex glass, oval, 7.2cm, 7.3cm and 6.2cm, one with original Hamlet label inscribed Hamlet Profile Painter to Her Majesty and The Royal Family No.12 Union Street, Bath, all in papier mâché decorative frames See illustration
A Pair of Cut-Out Silhouette Half Length Portraits of James B Sharp Esq and Mrs Amelia Sharp, Ripon, Feb 1848, she faces to sinister, holding a book, he faces to dexter, within silhouette curtain drape reserves, in glazed and reeded frames, the images 12cm by 10.7cm; and A Group of Five Family Silhouette Bust Portraits, circa 1833, comprising Rd Bacon Frank, November 1823, oval, 8.7cm, in papier frame (ink inscription on the reverse), Mrs Caroline Frank, F Bacon aged 6 years 1833, Philip Carter Bacon Frank May 20 1833 aged 7 years 8 months, and P C Bacon Frank May 20 1833 aged 7 years 8 months, black cut-outs with grisaille wash detail, in ebonised and reeded glazed frames, the back panels each stamped Hubbard Gallery, 109 Strand, each 9.4cm by 6.6cm, some with sitter's details ink written on the reverse (7) See illustration
William Miers (1793-1863) and John Field: Profile Bust Portrait of a Gentleman, circa 1821-25, with thinning hair and sideburns, wearing a jabot and broad-lapelled jacket, painted black on plaster of paris with bronzed detail, oval, 8.2cm, in black papier mâché frame with leaf clasp to the suspension ring (with Miers & Field original label pasted to the reverse); and Another Similar, by John Miers, circa 1810-20, depicting a similar looking gentleman, said to be Rev S Holsworthy, in matching frame (with relevant pasted label on reverse) (2) See illustration
John Miers (1758-1821): A Pair of Profile Bust Portraits, Major-Gen Christopher Hodgson, born 14th May 1783, and Mrs Elizabeth Hodgson (nee Rowlandson), circa 1810, facing to sinister and dexter respectively, oval, 8cm, in original papier mâché frames with original labels pasted verso and pen and ink sitter details See illustration
A George III Profile Portrait Remembrance Ring, circa 1790, the marquise shape bezel inset with a bust portrait of a lady facing to dexter, a veil in her coiffured hair, possibly on ivory, within a surround of plaited hair, wrigglework cut outer bezel, with wirework shank, the bezel 3.2cm; Two Navette Shape Brooches, inset with profile miniatures; and A Ring, with glass intaglio depicting a profile portrait of a bewigged gentleman, bearing the inscription TASSI (4)
William Miers (1793-1863) & John Field, circa 1825: Profile Bust Portrait of a Midshipman, facing to sinister, with short curly hair, and wearing officer's jacket, black paint and gold detail on white plaster of paris, oval, 8.1cm, in papier mâché frame, original label on the reverse; and Another by John Miers, post 1801, of a lady, facing to sinister, with upswept plaited hair and lace collar, painted black with gold detail, on white plaster of paris (cracked), oval, 8cm, in ebonised frame with original label on the reverse (2). Both these profiles were purchased from Greenwoods of Harrogate in 1969.
Charles Rosenberg of Bath (1745-1844): Profile Bust Portraits of a Lady and Gentleman, said to be William Pemberton Esq, circa 1810, on convex glass, both face to dexter, he wears a top hat, her hair gathered into a bun, against white plaster of paris, oval, both 7.4cm, in ebonised frames with original paper labels pasted verso See illustration
Edward Ward Foster: Profile Bust Portrait of a Gentleman, 1833, facing to dexter, painted in Venetian red and decorated with bronzing, signed Foster pinx 1833, oval, 10cm, in turned and stained wood deeply moulded frame; and Another by the same artist, 1824, of a young gentleman, facing to dexter, on fawn tinted paper, oval, 8.5cm, in papier mâché frame (2) See illustration
John Miers (1758-1821): Profile Bust Portrait of William Cocks, circa 1800, sinister, with angular and feather trimmed hat, lace cravat, his long hair tied with ribbons, painted black on white plaster of paris, oval, 9cm, in domed verre eglomise with laurel banding, in deeply moulded turned and stained pearwood frame, with original label pasted verso inscribed Miers Profile-Painter & Jeweller No.111 Opposite Exeter Change, Strand, London, inscribed in ink with sitter's name W M Cocks, 18.6cm high overall See illustration
John Bryan: Profile Bust Portrait of a Lady, circa 1800, dexter, black painted on plaster with scratched detail, she wears a broad ribbon in her frilled and embroidered headpiece, oval, 9cm, within domed verre eglomise, in a deeply moulded stained pearwood frame, original label pasted on reverse inscribed John Bryan Miniature Painter No.34 Stationers Court, Ludgate St, 20.5cm high overall See illustration
A Wax Profile Bust Portrait of Napoleon, 19th century, polychrome detail, laid onto black paper within ebonised circular frame, 15.2cm diameter overall; A Continental Porcelain Painted Plaque Depicting the Bust of Napoleon, circa 1900, of convex oval shape, depicted gazing slightly to sinister against a cloud background, 10cm; and Two Others Smaller, depicting the head of Christ wearing the Crown of Thorns, 6cm, and a young Middle Eastern maiden gazing pensively downwards, 4.2cm, all unsigned (4)
A Pair of Paper Cut-Out Profile Bust Portraits, possibly American, late 18th century or later, depicting a young woman wearing a beribboned hat, and a gentleman, grey wash and fawn tinted paper applied to black fabric background, in stained pearwood oval glazed frames; and A Pair of Profile Bust Portraits, late 18th century, depicting an elderly woman wearing beribboned cap, and a gentleman with long hair wearing a broad lapelled jacket, painted in black on fawn tinted paper, in later frames (2 pairs)
Peter Rouw: Wax Profile Bust Portrait of James Woolley Esq of Birmingham, 1807, finely modelled in light salmon pink wax, sinister, wearing jabot and broad lapelled jacket, signed P Rouw sculpt London 1807 on the truncation, against a black slightly mirrored background, circular, 10.2cm, beneath a glazed dome within a black papier mâché square frame, inscribed on the reverse in ink A portrait of James Woolley Esq, Birmingham, Peter Rouw sculptor, Portland Road, London 1807 See illustration
Peter Rouw: Wax Profile Bust Portrait of His Grace the Duke of Bridgewater, 1803, finely modelled in light salmon pink wax, dexter, wearing a jacket, against a black slightly mirrored background, circular, 10.2cm, beneath a glazed dome within a black papier mâché square frame, inscribed on the reverse in ink Portrait of His Grace the late Duke of Bridgewater, Peter Rouw sculptor, Portland Road, London 1803, 18.5cm by 18cm See illustration
Peter Rouw: Wax Profile Bust Portrait of a Young Woman, 1810, finely modelled in light salmon pink wax, turning to dexter, her hair upswept and held by a band in Grecian style, wearing a ruffled lace collar to her pearl embellished dress, signed on the truncation P Rouw sculpt London 1810, against a black polished glass background and beneath domed glazing, within a gilt metal outer frame and in green leather protective case (front cover lacking), the image 11cm diameter See illustration
Charles Rosenberg (Austrian 1745-1844): Profile Bust Portrait of a Gentleman, possibly W Pemberton, circa 1800, painted on the underside of glass, wearing a top hat and gazing to dexter, against a salmon pink ground, within a leaf and arch decorative verre eglomise border, within turned and stained pearwood frame with original label verso inscribed Mr Rosenberg of Bath, Profile Painter to their Majesties & Royal Family, also indistinctly inscribed in ink with the sitter's name W Pemberton W, 8cm See illustration ALSO ILLUS OF LABEL. At the end of the 18th century Bath was practically the second capital of England. Rosenberg was well acquainted with many members of the aristocracy and court, and his sitters included the Duke of York.
French School: Profile Bust Portrait of a Gentleman, facing to sinister, his hair en queue and tied by a ribbon, painted in black on gold glass, oval, 7.6cm, in a gilt metal foliate frame with ribbon cresting; and A Very Similar Example, depicting a lady, facing to dexter, signed under the truncation CD, in similar frame (2) See illustration. Ex Bonhams, Jack Pollak's Sale, 21 February 1996
Sarah Harrington: A Hollow-Cut Profile Bust Portrait of a Young Woman, circa 1785-90, facing to dexter, her hair gathered up into a high and elaborate coiffure embellished with ribbons, oval, 10.6cm, in a silvered and stamped pewter ribbon tied and reeded frame, a typed label on the reverse states Arthur Main Col See illustration. Mrs Harrington with the first professional operator known to use a machine. She not only used it, she invented and took out Royal Letters Patent for it. It consisted of a sort of camera obscura in which the rays of the sun were allowed to enter through an aperture to cast a shadow. When the sun was not available, artificial illumination took its place. She took out this patent for her machine on 24th June 1775. Sarah Harrington was also a cutter, and her speciality was the hollow cut-a means by which the portrait was cut out of a sheet of white paper and placed against a sheet of black paper.
John Field (1772-1848): Painted Silhouette Portrait of Mary Anne Leaf of Streatham (Mrs Walker of Maunby Hall), circa 1837, black with bronze detail, signed (under the bust) Field 2, Strand, oval, 8.7cm by 7.3cm, in black papier mâché frame, label on the reverse inscribed Illustrated in the Antique Collector October 1969, the Brothers Jorden; and Three Profile Portraits, early 19th century, comprising two ladies and a young gentleman (4)
French School, circa 1780: Profile Bust Portrait of a Gentleman, painted black, his hair en queue, against a gilded glass ground with foliate engraved broad border, the reverse with gilt metal fretted insert with central monogram JSP(?) and around the edge il m'aime tout son coeur, against a light blue silk panel, oval 7.2cm See illustration
William Miers & John Field (fl.1823-1829): Profile Bust Portrait of a Young Woman, circa 1825, facing to sinister and wearing a ribbon tied veil over her hair, painted on black on white plaster of paris, oval, image only 8cm, domed verre eglomise border and black papier mâché frame with original label pasted verso; and Attributed to Hinton Gibbs: Profile Portrait of a Lady, circa 1790, wearing a full face mob cap and frilled ruff and blue dress, the sitter with black painted face and details on solid white wax ground, on slightly domed glass, within pressed brass frame (possibly later?), oval, 7.4cm (2) See illustration. An old label on the reverse describes this piece as Portrait of a lady by W J Phelps. Hinton Gibbs served for upwards of twenty years in the Bedfordshire Militia, attaining the rank of corporal and, while his tally of military likenesses is negligible, he apparently managed to combine professional profilism with his military duties for several years before his demoblisation in the period c.1790-1815. Gibbs relied on wax as a backing material, which generally does not stand up well to the rigours of time. For further details concerning this artist see Mayne (Arthur) British Profile Miniaturists, pg.72 andMcKechnie (Sue) British Silhouette Artists and Their Work 1760-1860, p.530.
Attributed to George Engleheart (1752-1829): Miniature Bust Portrait of a Lady, circa 1790, with short brown curly hair, grey-blue eyes and wearing a coral bead necklace and pleated lace trimmed white dress, against a cloudy sky background, initialled E, oval, 8.5cm high, the reverse with seed pearl trimmed hair locket within a guilloche machine turned blue glass covered border, gold metal frame See illustration
A Pair of "Sevres" Porcelain Oval Portrait Plaques with Ormolu Frames, signed Lebre, circa 1875, each oval plaque with midnight blue border and turquoise jewelled inner frame, about a bust length portrait of Marie Antoinette and Madame de Pompadour (?), signed Lebre, the omolu strut-back frames with ribbon-tied crestings and rich acanthus and fruiting laurel decoration, the plaques 14cm high, 22cm high overall See illustration
A rare engraved Georgian commemorative wine goblet circa 1774, the bucket bowl with wheel engraved profile bust inscribed Oliver Goldsmith, on a Dsot stem and conical foot, 16 ply spiral band outside a pair of spiral threads, 7 1/2" high. Two repair chips to foot rim, one to bowl rim, Provenance, USA auction sale 1994
JOHN (1) SIBLEY, A 50-BORE FLINTLOCK TURN-OFF OVERCOAT PISTOL, circa 1700, with 2 3/8in. two- stage barrel with turned muzzle, octagonal breech engraved with foliage, border and scroll engraved rounded lock signed 'SIBLEY' and with later safety-catch on the tail (steel-spring broken), figured rootwood half-stock (minor chips around lock, small filled repair behind trigger-plate), foliate engraved iron pommel (small hole in base) and trigger-plate, pierced side-plate, iron escutcheon engraved with a portrait bust, turned button trigger with flat front (some scattered shallow pitting and discolouration throughout), London proof marks and maker's mark of John (1) Sibley. Other Notes: John (1) Sibley was made free of the Gunmakers' Company in 1685, elected Assistant in 1700 and became Master in 1705. Until his death in 1714 he was a contractor to Ordnance from 1686, the Hudson Bay Co. from 1692, and the Royal African Co. from 1702 (until 1711).
A small collection of 18th century trade tokens to include: Macclesfield 1/2d,(S.p71) Lancaster 1/2d, (S.p80); London/J Palmer, (S.p88); Prince of Wales x 2, (S.p94): A Map of France (S.p96); Bust of Hardy, (S.p97); Bust of Tooke (S.p98); Norfolk Bottle (S.p101); Wilkinson x 2 (S.p115); Anglesey 1789 (S.p121); Anglesey 1791 (S.p121); Macclesfield 1/2d (D&H.p13); Warley 1/2d (D&H.p33); Lancaster (D&H.p64); Liverpool 1/2d (D&H.p72); Manchester 1/2d (D&H.p84); Lackington & Mail Coach (D&H.p88/6); Williams (D&H.p88/9); Map of France + Horne + Tooke (D&H.p88/11); Coventry Street (D&H.p127); Lackington (D&H.p136); Mail Coach (D&H.p137); Williams (D&H.p181); Fow x 2 (D&H.p185); Norwich Loom (D&H.p214); Birmingham Coining and Copper (D&H.p269) (29) S.p = Seaby page, D&H.p = Dalton and Hamer page
A bronze George IV Coronation medallion, published by Thomason & Jones, the obverse decorated with a laurel wreath bust of the Monarch within rose, thistle and shamrock borders, the reverse with the scene of the King being crowned by all three nations, together with a Duke of Cambridge, The English re-enter Hanover 1814 medallion by Webb & Barre, a Death of Charles James Fox medallion 1806 and a Treaty of Paris 1814-1815 medallion by Mills & Brenet
A late 19th Century Meerschaum pipe, the bowl carved with the head of a young woman wearing a hat, with amber stem, 4.25ins overall, and red leather covered fitted case, a cheroot holder, the bowl carved in the form of a bust of a young woman holding a parasol, with amber stem, 4ins overall (no case), and one other small cheroot holder, the bowl carved in the form of a young woman wearing a feather trimmed hat, with amber stem, 3.5ins overall, and leather case.
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