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Lot 175
An early 20th century Arts & Crafts style carved alabaster bust study of a lady, in medieval dress with a headscarf. On a simple angular base.32 cm wide x 35 cm high x 16 cm deep.Condition report: Some small chips to the corners of the base see imagesSlight softening of the detail of the hair from polishing.
Lot 301
English School, 19th c - Portrait Miniature of Captain Bridges John Hooke of the 34th Regiment, bust length in uniform, 145 x 100mm, with engraved silver tablet "Lieutenant Bridges John Hooke 34th Regiment from a miniature dated about 1824 in possession of his son Colonel Hodson Hooke late commanding 45th Regiment District" and on another "Presented to the Officers Mess 1st Border Regiment by Lieutenant Colonel A E St V Pollard", mounted in velvet surround and varnished oak frame Provenance: Sold in these 'rooms 28 November 2018 £1364 Bridges John Hooke was born at Godmanchester in 1801, the son of Bridges David Hooke, Captain, Royal Artillery (1764-1831) and his wife Mary Anne, nee Hodson. B J Hooke married Frances Margaret Bourne (1809-1880) and died at Dublin in 1864. In 1828 Lieutenant Hooke was advanced to the rank of Captain, by purchase In good condition with slight bowing of the support but not split or restored
Lot 122
A Wedgwood black basalt library bust of Democritus, C1800, on socle, 38cm h, impressed mark and title DEMOCRITUS The bust of Democritus first appears in Wedgwood's Catalogue in 1779. In common with the majority of such busts, it was produced from a cast supplied by the Plaster Figure and Mould Makers Hoskins & Grant, which was probably "repaired" by William Hackwood at Etruria. See Reilly (R), Wedgwood 1989, vol II, p750 Provenance: Sold in these 'rooms 24 September 2009, £1081 Good condition
Lot 317
Attributed to George Engleheart (1750-1829) - Portrait Miniature of a Man called Anthony Rhudde, bust length in a brown coat and white stock, with initial E and date (possibly 1804), oval, 75 x 59mm, later ormolu strut frame Provenance: By descent in the family of the sitter until sold Gilding's, Market Harborough 13 July 2010, £646. There is no record of Anthony Rhudde in Engleheart's fee book, however this portrait is unlikely to be of him since he would have been 66 in 1804 Laid down on circa late 19th / early 20th c card of approximately the same age as the present good quality empire style gilt brass strut frame
Lot 261
English Profilist, c1830 - Silhouette of a Gentleman, bust length in a top hat, painted on card, bronzed, 87 x 72mm, reeded ebonised frame with embossed brass corner rosettes Provenance: Christie's South Kensington, 19 November 1991 Good original condition with slight yellowing of card and some old encrusted dirt and wear to frame
Lot 8
England, Hammered Silver, Henry VI, Groat, annulet issue, Calais, short flan crack, otherwise almost very fine; Henry VI, Groat, leaf pellet issue, London, nice portrait, mostly very fine; Henry VIII, Halfpenny, 2nd coinage, fine; Halfgroat, York, fragment only; Edward VI, Shilling, Fine Coinage, slight creasing almost fine; Mary, Groat, mm lis, fair; James I, Sixpence, 1st coinage, 1st bust, mm thistle, 1603 holed, another 2nd coinage, 3rd bust, 1604, mediocre; Charles I, Sixpence, Tower mint, poor; with Richard I, Anglo-Gallic, Silver Denier, very good, (10)
Lot 332
English School, c1690 - Portrait of Eusanna Crawley-Boevey, bust length in a white dress with blue mantle and black lace headdress, feigned oval, oil on canvas, 74 x 61cm, carved, gilded and sanded frame Provenance: Bruton, Knowles & Co, By direction of Sir Lance V. H. Crawley Boevey, Bt, the Contents of Flaxley Abbey, on the premises, March 29-1 April and 4-5 April 1960, Sixth Day's Sale, lot 1327 (as 'English School c1740') bt. F. Baden Watkins; thence by descent in the Watkins family until sold in these 'rooms 4 March 2015, lot 111, £900 Susanna Lloyd was the daughter of John Lloyd and Susanna Holier. She married Thomas Crawley (Crawley-Boevey from 1726) son of Thomas Crawley and Mary Bonnell in 1701/2. She died in 1739. Lined and restored for Flaxley Abbey Estate Ltd almost certainly by Frost & Reed Ltd c1966, preserving on the stretcher and earlier printed label of F Newcombe Carver & Gilder, Bristol
Lot 325
English School, late 18th century ‘ Portraits of the Reverend Dr Durand Rhudde and his brother Anthony Rhudde, a pair, bust length, pastel, oval, 26 x 20cm (2) Provenance: Gilding's, Market Harborough, July 13, 2010, £423 The Revd Durand Rhudde, DD (1734-1819), Rector of East Bergholt, Suffolk and Chaplain in Ordinary to King George III. A wealthy and controlling man, Rhudde was strongly opposed to the proposed marriage of his granddaughter Maria Bicknell to the artist John Constable on the grounds that Constables father and he had quarrelled, Maria's family were socially superior whereas the Constable's were 'trade' and John Constable was a friend of an atheist. When they eventually married, in spite of his long hostility to the union, in 1816, Rhudde accepted the fact and was to bequeath Maria Constable £4000 on his death three years later. Rhudde married Mary Shergold (1738-1811). Their daughter Harriet married Edward Farnham of Quorndon, Leicestershire. His brother Anthony (1738-1816) lived at Uttoxeter House, Uttoxeter, Staffordshire Both in good unrestored condition, long undisturbed in what are possibly the original giltwood mounts and giltwood and composition frames, each with later engraved brass tablet
Lot 338
Studio of Sir Godfrey Kneller ‘ Portrait of Elizabeth Viscountess Dunbar, bust length in a yellow gown with pearls, her hair curling over her right shoulder, feigned oval with early inscription Elizabeth Viscount's Dunbar daughter of the Earl Lindsay when this was drawn aged - AD 17n, oil on canvas, 74 x 61cm Provenance: Sale at Appleby Magna, Heathcote Ball & Co, April 10, 1987, £3278 Restored, apparently more than once, but of pleasing appearance, lined, on the stretcher two stencilled auctioneer's lot numbers and chalked date 20 June '69, manila label stamped 6858 20 June '69. In the same restored ready to hang, gallery condition as at the time of the 1987 purchase. Frame regilt, gilding chipped in places
Lot 205
An English porcelain plaque, early 19th c, painted with a portrait of a man traditionally said to be John Rose proprietor of the Coalport factory, bust length in a brown coat and white stock, gilt border, 73mm diam, ebonised frame Provenance: S M Collins, Ilkley, 13 April 1967 £5 Broken in two and re-stuck, some rubbing / wear, loose in frame
Lot 320
Maria Ann Chalon (1797-1877) - Portrait Miniature of a Lady of the Mainwaring Family, bust length, wearing her dark hair in ringlets, with earrings, ivory satin dress and pearls, signed and dated on the card backing Painted by Maria Chalon 1829, 111 x 87mm, scarlet morocco case Provenance: Heathcote Ball & Co 14 December 2000, £596 Miniature slightly warped but not split, case scuffed
Lot 204
A John Adams & Co parian ware portrait bust of the Duke of Wellington, c1851, in uniform wearing sash and orders, including that of the Golden Fleece, on socle, 36cm high, impressed ADAMS Adams exhibited his bust of Wellington at the Great Exhibition, 1851. Jewitt (Ceramic Art of Great Britain) observed Adams' parian ware busts were "...remarkable for their truthfulness and artistic treatment." Handling marks and dirt, apparently very good condition, no restoration detected
Lot 348
British School, 18th century ‘ Portrait of a Lady traditionally identified as Mrs Wayne, nee Metcalf (b1726), bust length in a pink dress with green drapery and pearl earrings, feigned oval, 74 x 62cm, contemporary ebonised cavetto frame with sanded slip, an old label on the stretcher inscribed, probably in the 19th c, ‘Mrs Wayne’s portrait" Provenance: By descent in the family of the sitter until sold in these 'rooms July 4, 2008, lot £1567 In the same condition as when sold in 2008; restored, probably in the later 19th c, lined, localised overpainting, the extent of which not verified UV; light general craqueleur
Lot 344
English School, early 19th century ‘ Portrait of an Officer, bust length in a red tunic with gold facings, epaulettes and white shoulder belt, landscape background, oil on canvas, 74 x 61.5cm Provenance: Yellow Lantern Antiques Ltd, Hove, Sussex, August 7, 1997, £1800 In the same restored ready to hang condition as at the time of the 1997 purchase
Lot 408
Edgar George Papworth the Younger (1832-1927) - Portrait Bust of a Young Woman, statuary marble, 44cm h including socle, signed and dated E G Papworth Fecit London 1859 Provenance: sold in these 'rooms, 19 September 2018, £420 Minute chip on upper lip and surface dirt, tiny chips around moulding on turned socle
Lot 342
English School, 19th century - Portrait of a Gentleman, bust length in tweed coat, oil on canvas, 51 x 41cm Provenance: Kathleen D'Offay, November 14, 1972, £145 In the same condition as at the 1974 purchase; lined and restored, small areas of retouching without UV, not examined under UV, in Regency style 1970s gilt frame
Lot 312
Andrew Plimer (1763-1837) - Portrait of William Pitt the Younger, bust length with powdered hair, in blue coat and white stock, sky background, oval, 82 x 71mm, gold frame, the reverse with plaited hair Provenance: Christie's 7 November 1988, £1059. Exhibited: Crediton Arts Exhibition, No. 7 Pigment on coat rubbed / scratched, otherwise fine
Lot 349
British School, 18th century ‘ Portrait of a Lady traditionally identified as Mrs Eliot, nee Metcalf (b1726), bust length in a pale grey satin gown, pearl earrings and blue drapery, feigned oval, oil on canvas, 74 x 62cm, contemporary ebonised frame with sanded slip, an old label on the stretcher inscribed ‘Mrs Eliot’s portrait’ Provenance: By descent in the family of the sitter until sold in these 'rooms, July 4, 2008, lot £1205 In the same condition as at the 2008 sale; restored presumably with the preceding lot in the later 19th c, lined, retouching and localised over painting the extent of which not verified under UV, light craqueleur, less so than preceding lot
Lot 316
Sir George Hayter K.S.L. (1792-1871) - Portrait Miniature of General George Henry Vansittart, bust length in a coat with fur collar and black stock before red drapery, signed and dated on the card backing This miniature is a copy by George Hayter M.A.S.L. from an oil portrait which he painted from memory never having seen Genl Vansittart but once 4 years previously to painting it 1826 G. H., 125 x 105mm, ormolu frame, the back engraved General George Henry Vansittart born July 17th 1768 died February 4th 1824 after being 38 years in His Majesty's service Good condition
Lot 335
Follower of Gerrit van Honthorst - Portrait of Prince Rupert, Count Palatine, bust length in armour and lace jabot, feigned oval, oil on canvas, 76 x 63cm, unframed Provenance: Sold in these 'rooms, September 24, 2004, lot 724 (in Sunderland frame; see lot 336) £1058 Lined, old restoration, pigments darkened in passages, revarnished prior to 2004
Lot 145
Portrait of a noblewoman, bust-length, in pink, decorated with pearls, wearing an elaborate ruff and a magnificent aigrette of rubies and pearls in her hairoil on canvas, oval71 x 55.5cmProvenance:Acquired in London circa 1917 by a relative of the present ownerFootnote: The sitter is almost certainly named Margaret due to the fact she is so elaborately bedecked with pearls and the symbolism of the pearl (ancient Greek μαργαρίτης - margarítēs) was important at Italian and Spanish courts during the early Baroque period. It has been suggested the sitter could be Margaret of Savoy (1589-1655) who married Francesco IV Gonzaga, Duke of Mantua (1586-1612) though a certain portrait of her by Frans Pourbus suggests Margaret of Savoy had the distinguishing Habsburg lip and chin which the present sitter appears not to have.We are grateful to Dr Annemarie Jordan Gschwend, Senior Research Scholar at Centro de Humanidades, Zurich & Lisbon, for her assistance with this catalogue entry.Condition report: 92 x 76 cm framedOil on canvas which has been lined. There is addition to the canvas at the upper edge with a horizontal join. The canvas tension is stiff and there are undulations around the edges. There is a small puncture to the canvas in the lower half. The paint layers are in a good, stable condition overall. Areas of overpaint appear matte compared to the surrounding area and are now mismatched. Overpaint is present in the sitter’s hair, areas of the dress and in the background. The varnish has yellowed with age and is streaky in appearance, particularly in the sitter’s face.
Lot 149
Portrait of King Charles I, bust-length, in armour wearing the Garter Ribbon and the Lesser Georgeoil on canvas74 x 62cmProvenance:At an unknown date entered the collection at Castletown House, County Kildare, Ireland,Castletown House Sale, Jackson-Stops & McCabe, 20th April 1966 and following days, 2nd day of sale, 21st April 1966, lot 342, as 'Attributed to Wissing', when acquired by the parents of the present ownerFootnote: The attribution - based on photographs - to Jan van Belcamp, was proposed by the late Sir Oliver Millar in 2006 at which time he drew a comparison with a signed portrait by the artist at Longford Castle - presumably the painting formerly there of King Charles I attributed to van Dyck (see H. Radnor, Catalogue of the Pictures in the Collection of the Earl of Radnor, 1901, vol. 1, p. 15, no. 24) The ex-Longford portrait is presumed to be that now in an American private collection that was on long loan from 1961 to 1995 to the Phoenix Art Museum (see E. Larsen, van Dyck, vol. I, p. 296, pl. 293, and vol. II, p. 311, no. 785. - where a slightly different size is given to that in the Longford catalogue). Larsen in 1988 seems to have been unaware, as Millar claimed to be in 2006, that the Longford portrait was apparently signed by Belcamp - a rare occurrence as he was generally copying other pictures in the collection of the King.In 2006, Sir Oliver wrote: "The portrait is clearly dependent on van Dyck and in particular on the portrait of 1637; a very popular image of which the probable original is in Dresden" (see E.A. Seemann, Katalog der ausgestellten Werke, 1992, p. 189, no. 1038). In that portrait, the King is wearing garter robes and Millar suggested "the armour etc. could be his [Belcamp's] own invention. One should date the work, I think, to the 1640s." The Dresden composition was much repeated by van Dyck's studio of which a fine example still in the Royal Collection, hangs today at Kensington Palace. According to the parents of the present owner, who acquired the painting at the Castletown sale of 1966, the portrait may have been taken to Ireland after the Restoration of Charles II by Sir Abraham Yarner (c. 1598-1677). Yarner, though a soldier in Ireland in the 1640s during the Irish Rebellion, was later sent back, when in 1661 he was appointed Commissary-General of the Musters for the King's Army in Ireland. After Yarner's death in Dublin in 1677, how and when the portrait could subsequently have been acquired for Castletown is unknown. A possible alternative for it being in the collection of Castletown - which was not being built until 1722-c.1729 by Speaker William Conolly (1662-1729) - is that the latter's great-nephew Thomas (1738-1803) who inherited the great house, was married in 1758 to Lady Louisa Lennox (1743-1821) great-granddaughter of Charles II and thus great-great-granddaughter of the sitter in the present lot. It could be equally possible that the present portrait entered the collection at Castletown via Lady Louisa's mother-in-law, who was Lady Anne Wentworth, daughter of Thomas Wentworth, 1672-1739 (1st Earl Strafford of the 3rd creation) who was descended from the brother of King Charles I's favourite Thomas Wentworth, Earl of Strafford (1593-1641) who was Lord Deputy in Ireland from 1632 to 1640.Though Belcamp is known to have been employed at the court of Charles I to generally copy paintings particularly by van Dyck, he was in 1649 after the King's death, appointed to the commission set up to sell the King's goods (H. Walpole, Anecdotes of painting in England, with some account of the principal artists, Volume II, 1849, pp.359-60). Another portrait of Charles I of almost identical composition other than in detail and in a painted oval (74.5 x 58.5cm) was sold at Sotheby's, London on 6th December 2012, lot 352, for £32,450 as from the Studio of Honthorst. As however Honthorst was only in England in 1628, an attribution also to Jan van Belcamp is perhaps more plausible.Condition report: Oil on canvas which has been lined, there is a thick layer of gritty adhesive present on the reverse of the lining canvas and the cut edges of the original are visible in the frame. The paint layers are in a good stable condition overall. Losses and abrasion around the edge of the canvas have been retouched. The overpaint has darkened over time and is now very apparent, especially along the lower edge. There is some overpaint and reinforcement of the hair but the sitter’s face appears to be in a good condition. The varnish layer has yellowed with age and is slightly matte and uneven in appearance.
Lot 154
Portrait of John Willoughby Cole (1768–1840) 2nd Earl of Enniskillen, bust-length, wearing the insignia of the Order of Saint Patrickoil on canvas75 x 60.5cmProvenance: Painted for the sitter’s sister, Lady Henrietta Frances Cole (1784-1848) who married Thomas Philip de Grey, 2nd Earl de Grey of Wrest (1781-1859) in 1805, Thence by descent at Wrest Park to his great-granddaughter Nan Ino Herbert, Baroness Lucas of Crudwell (1880-1958) Her Sale, Christie’s, Wrest Park Sale, 16th November 1917, Sold to Lady Charlotte Smith-Barry (née Cole, d.1933) the sitter's granddaughter,By whom given in 1922 to her nephew Lowry Arthur Casamaijor Cole (1878-1955) Thence by descent to his son Reverend Arthur Lowry Frederick Cole (b.1911), By whom bequeathed to the present owner.Footnote: The present lot is by family tradition a copy Robinson made for the sitter's sister, Lady Henrietta Frances Cole (1784-1848) from the prime version that hangs still at Florence Court, Enniskillen, County Fermanagh.Condition report: 107 x 92cm (framed)Oil on canvas which is unlined and has a stamp for canvas tax purposes on the reverse. The canvas tension is slightly slack and there are undulations at the upper corners. It appears as though the painting was once framed with a slip with spandrel corners at the top. There are deformations in the paint layers following this shape at the top corners which have been filled and retouched. There is another area of retouching at the lower left corner. There is damage above the sitter’s head which has caused deformation to the canvas and losses to the paint layer. In the background there is fine scale flaking and loss. The varnish has degraded and become yellow with age and no longer adequately saturates the darker paint layers below.
Lot 436
realistically modelled, signed to reverse and mounted to an ebonised plinth base,40cm high overallFootnote: Note: Astride Petrilli worked with Raffaello Romanelli before establishing his own studio at via Serragli, 152, in Florence. He specialised in romanticized figures of classical and historical themes, often using coloured marbles or bronze or gilt highlights. His exhibited at the Salon of the Société des Artistes Français in 1896 (n° 3744 "Deux haut-reliefs" and n° 3745 "L'Empereur Napoléon Bonaparte") and exhibited a bust of Joan of Arc at the Paris Exposition Universelle 1900, and Wrestling Bacchantes at the 1904 Louisiana Purchase Exposition (St. Louis World's Fair).Condition report: Large loss to true right-hand side of head dress, restoration to front of head dress, repair to nose, further lesser chipping, losses and repairs. Somewhat stained.
Lot 101
Coins of antiquity, including a Roman silver denarius, obverse Antonius AVG Pius PP COS III with head right; reverse depicting a guardian figure; Indo-Skythian Azes (58-12) BC bronze unit, Roman bronze coin obverse possibly Diocletian with head right; reverse depicting an offering table; another Roman bronze coin obverse possibly Diocletian with head right; reverse depicting a standing figure; a copper Roman coin obverse with a bust of Germanicus (possibly Caesar); reverse depicting an eternal flame; Antoninus Pius Sestertius bronze coin 28mm, obverse Sestertius with head right; reverse depicting a seated guardian figure together with five bronze pre-coin nuggets.
Lot 87
Georgian silver coins, including a George II Lima shilling (old head profile with Lima beneath, this relates to a vast quantity of Spanish silver captured during the War of Jenkin's Ear); George II 1737 shilling, George III 1787 (older bust with stop over the head), George III six pence and a William and Mary silver three pence coin 1689 together with an Edward II (1307-1327) hammered silver coin.
Lot 54
Anatole Calmels (1822-1906)King Pedro VWhite marble sculpture Signed and dated 1866 (minor restoration to an epaulet)Height: 40,5 cm Special Notes: NATOLE CÉLESTIN CALMELSAnatole Célestin Calmels, was born on March 26, on the year of 1822 in Paris, and from the year 1858 he developed his artistic activity in the city of Lisbon. As a disciple of one of the most classic statuary of French Romanticism, it was with James Pradier (1790-1852) that he learned to formalize sensuality with a formal allusion to Hellenism and to consider the refinement of execution as a fundamental factor in the honorability of sculpture. From 1837 he attended the École des Beaux-Arts where he was a student of the sculptor François Joseph Bosio (1768-1845) and of the neoclassical painter Merry-Joseph Blondel (1781-1853). In 1839, he took part in the “Prix de Rome”, where he won 2nd place. From the year of 1843 he began to participate in the salons and universal fairs of Paris, which were fundamentals for collecting the results of his work, and the maximum prize he achieved was the 3rd Class gold medal in the year of 1852, with the model in bas-relief Birth of the Virgin to the church of St. Mauritius in Lille. Meanwhile in 1849 he was awarded with an honorable mention by the Bust of Géricault, in 1850-51 with the Denis-Papin Statue for the facade of the Paris Chamber and in 1853 with the Calypso statue commissioned by Emperor Napoleon III for the Tuileries Palace. The fact that he was a disciple of such influential names as Pradier, Bosio and Blondel, based on his artistic dispositions and a persistence in the practice of sculpture, allowed him to move influences with the figures of power. Read the full text, available at: https://veritas.art/en/lot/king-pedro-v-1081921287/
Lot 903
António Soares dos Reis (1847-1889)"The artist in infancy"Carrara marble sculpture Signed and dated 187770x40x29 cm Special Notes:António Soares dos ReisBorn on 14 October 1847 in the parish of S. Cristóvão de Mafamude in Vila Nova de Gaia, António Soares dos Reis came from a humble family. One day, either because he saw his drawings or small sculptures, or because António had drawn on the whitewashed walls of his house, his neighbor, Diogo de Macedo found him well suited for the Fine Arts. From childhood to the last day of his life, his existence was doomed by sadness and depression. Taciturn, neurasthenic, dejected, all these adjectives are recurrently used to narrate the great sculptor until they revert to an irrefutable truth. Apparently, the reality was a little different and the depression from which he suffered was attributed to him by time and not by the truth. He was a man with some sense of humor (good or bad, that's questionable). He liked to party with friends, sing, play the guitar and games with those closest to him, to make a good joke and he knew how to accept the ones that were about him. There were only two topics he didn't like to talk about: religion and politics. He was a Christian and a Catholic – as he affirmed at the time of his death – but he was almost indifferent to the religious cults, theories and dogmas of the church. He recognized all beliefs and was against anything that restricted or curtailed freedom of conscience and the right of opinion. In political matters, despite having a great and spontaneous aversion to it, he followed the same order of ideas and the same principles of freedom, justice and morality. But life was not just work and in the early 1880s the sculptor fell in love with the young Amélia de Macedo, granddaughter of Diogo de Macedo and the marriage took place on July 15, 1885, just four years before his suicide. In 1888, he left Lisbon – where he had learned that Elisa Leech did not approve of the bust she had made of herself – and returned to Gaia to write a letter to the Porto Academy of Fine Arts, dated July 2, to manifest the intention of leaving the regency of the chair of sculpture. At the beginning of 1889, his illness showed signs of worsening, and he began to suffer from great mental agitation and irritability. Constantly isolated, there is an apparent improvement and on February 15th he meets his friends to present his project for Monumento ao Infante D. Henrique. The next morning, he got up and went to give some touches to the work he was working on at the time, the Busto de Fontes Pereira de Melo for the headquarters of the Porto Commercial Association. Shortly thereafter, his wife heard a bang in the ground-floor room, similar to a detonation, and ran to see what was going on, where she found her husband, standing, cleaning his pistol and justifying that if he had been distracted and had accidentally shot. After that, he went to his office, on one of the walls he wrote “Sou cristão, porém nestas condições a vida para mim é insuportável. Peço perdão a quem ofendi injustamente, mas não perdoo, a quem me fez mal”, and shot himself in the head. Read the full text, available at: https://veritas.art/en/lot/the-artist-in-infancy-1175713547/?chosen=1
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