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Lot 262
A GEORGE III MINIATURE OVAL PORTRAIT, probably on ivory, of James Gillespie, 1767-1804, the subject facing half right and bust length, 2 1/2" high in ebonised frame, and a further miniature portrait of his wife Mary Patterson circa 1800, 3" high on oval card, both in ebonised frames (see illustration). Note: J G m. 1st Mary Patterson, 2nd Agnes Blair. A farmer of Parkhall, Douglas Lanarkshire, son of Alexander and Grizel Gillespie of Douglas Mill.
Lot 601
French Napoleonic Mantel Clock, circular dial with gilt numerals, French movement striking on a bell contained within a polished slate case, surmounted by a bronze bust of a classical youth with grapes and leaves in his hair and on shaped gilt metal supports, 64cms, (25"), (see illustration).
Lot 512
Herbert Chapman's personalised bound volume of Arsenal programmes for 1925-26 his first season at Highbury, the red cloth covers titled gilt ARSENAL FOOTBALL CLUB LTD., PROGRAMMES, SEASON 1925-6, HERBERT CHAPMAN, ESQ., the volume containing first-team League and Cup, reserve matches plus Northern Nomads v Redhill F.A. Amateur Cup s/f & London Combination v London League Having achieved great success at Huddersfield Town Herbert Chapman was tempted to Highbury by Arsenal Chairman Henry Norris in the summer of 1925. Chapman laid down the foundations for Arsenal to become one of the most formidable teams in English football. He brought an F.A. Cup and two Championship titles to the London club before his tragic death due to pneumonia in January 1934. He is commemorated by the club with a bronze bust which stood in the marbled hall at Highbury and is now housed at the Emirates Stadium. This bound volume of match programmes is from the great man's first season at Highbury in 1925-26 when the Gunners finished runners-up in the League behind Chapman's old club Huddersfield Town.
Lot 290
A large late 19th century Copeland Parian bust of Clytie, the maiden metamorphosing into a sunflower, on circular socle base, height 57cm The original Greco-Roman marble is in The Townley Collection at The British Museum. Clytie is the companion piece to Apollo as she was in love with Apollo, pined away and was turned into a sunflower (illustrated)
Lot 492
Three pieces of Goldscheider pottery comprising a bust of a lady heightened in gilt, impressed Goldscheider Wien No. 29,266,14 and incised "Rose", (af),height 37cm and two Art Deco style wall masks of ladies holding a piece of fruit, one with impressed factory mark and number 6774,12, length 34cm (af) the other with printed factory mark, length 21cm (3)
Lot 493
A late 19th/early 20th century Austrian Art Nouveau bust of a lady, painted in muted tones, impressed made in Austria and numbered 45,92, height 19cm together with an Goebel terracotta bust of a lady, impressed marks, height 12cm and a white glazed bust of a lady, unmarked, height 15.5cm (3)
Lot 68
FINE COPELAND PARIAN BUST OF CLYTIE, late 19th century, the bust of the nymph emerging from a sunflower, impressed "Copeland" and J94". 57cm Note: The British Museum holds a smaller parian version of this bust (M&ME 1991,6-12, 1) which is based on a larger Roman marble sculpture (GR1805.7-3.79), also in the museum's collection and believed to date to c.AD 40-50. Clytie was a nymph who had fallen in love with the God Helios and been turned into a sunflower. The subject lot, at 57cm, is an exact replica in parian of the original Classical bust.
Lot 198
19TH CENTURY ENGLISH SCHOOL - Portrait of ? Charlotte Bronte, bust length, her hair tied in a bun, charcoals heightened in white, 8 3/4" x 7"; and a pair of 19th Century School drawings 'Going to Market' and 'Returning from Market', each signed with a monogram and one dated '46, charcoals heightened in white, 14" x 20" (all items unframed) (3).
Lot 289
Charles Hayter (1761-1835), 'Portrait of Frances Ann Kemble', wearing dark head scarf, long bust length, watercolour on ivory, oval, signed with initials, 7.5cm x 5.5cm Note: Fanny Kemble was born in London in 1809. She was the daughter of the notable actor Charles Kemble and niece of Sarah Siddons. She became an instant success following her debut as Juliet in her father's production of Romeo and Juliet in 1829 at the Covent Garden Theatre. In 1832 she accompanied her father on a tour of America and in New York met her future husband, Pierce Butler, heir to one of the largest slave holders in Georgia. Seeing first hand the conditions and treatments of slaves, Fanny became a vehement abolitionist.
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