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Lot 227
An Arita blue and white plate, a Kutani rabbit and and Imari wall pocket, the plate painted with a pine tree before Mount Fuji, 17cm (6.75 in) diameter, the rabbit eating, its eyes red and coat details gilt, 10cm (4 in) wide, the Imari wall pocket vase supported at its base by two boys, 20cm (8 in) high (3) The wall pocket is cracked at its back
Lot 2197
A 17th Century panelled oak livery cupboard With a cavetto cornice above a channelled frieze and a pair of four panelled cupboard doors enclosing a later rail and coat hooks, raised on a panelled base with two cupboard doors, extended stile supports, the sides enclosing six panels with moulded borders, 186x198x68cm. (illustrated)
Lot 180
PORTRAIT OF A MUGHAL RULER, PROBABLY SHAH JAHAN (R.1628-58) Mughal late 17th century gouache with gold on paper, laid on a album page, wearing gold brocade turban and coat with repeated floral design, holding a flower in his right hand, wide floral margins 169 x 85mm (image); 397 x 262mm (folio) For another portrait of Shah Jahan see Sotheby s London 6 April 2011, lot 245 Condition: Slight foxing in border, outer margin and elsewhere with some minor retouching
Lot 168
A PORTRAIT OF AN ELDERLY NOBLEMAN Mughal, Northern India, 18th century gouache with gold on paper, laid onto an album page, wearing turban, brocade coat and pathka, leaning on a stick in a landscape with flowering plants 13.7 x 8cm (image) Condition: Image trimmed otherwise mostly good, album page with various blemishes.
Lot 70
Matthew Noble (1818 - 1876), an early Victorian sculpted Carrara marble bust of Arthur Wellesley, 1st Duke of Wellington (1769 - 1852), portrayed in later years, his head declined slightly to dexter, his Waterloo medal adorning the lapel of his voluminously draped coat, above a waisted circular socle, the reverse inscribed WELLINGTON, M.NOBLE LONDON 1851, 82cm high, 57cm wide Provenance: Goodnestone Park, Kent This bust of the Duke of Wellington in later life is one of the very few known marble versions of a composition that was later worked up into a full length statue situated in Manchester`s Piccadilly. The prime version is dated 1851, and was apparently commissioned by the Army and Navy Club. This was exhibited at the RA the following year (no.1442) along with a statuette of Sir Robert Peel, and it seems that Noble then produced at least two other versions in marble during 1852. Gunnis notes that busts of Wellington and Nelson from that year were also made for Grocer`s Hall, London, and a further version exists in the Walker Art Gallery , Liverpool. Howerver, that made for Grocer`s Hall was apparently destroyed by fire in the mid 1960`s and the later is considered to be unsigned and dated . Several smaller bronze and parion versions are also dated 1852, but only three surviving full-scale marble busts other than that offered here have been publicly documented over the two years in question and none of these were dated for 1851. Wellington visited the RA exhibition on 28th of July 1852, and whilst it is not known if he went specifically to see Noble`s bust, the meeting would have been considered a public blessing for what would become the sculptor`s most influential portrait. Noble was born at Hackness, Yorkshire. He studied under John Francis (1780-1861) in London, and entered the first of 100 ensuing exhibits at the RA in 1845. Although still a relative unknown, he won the commission for the Manchester monument of Wellington (erected in 1856) against keen competition, and this was to be the work that established his name in the public mind. A consideration of the head and clothing of the statue show clear indications that it was modelled from this bust of the sitter - both bust and statue epitomise Noble`s style: classical controposto and dignity combined with a contemporary realism in the attention given to the rendition of the sitter`s costume and medal - and thus Noble`s most famous work was born from the same sitting that yielded the bust type a year before Wellington`s death in 1852. It is certainly likely that the sculptor secured the commission for the Manchester monument on the strength of the bust, both in the empathy of its characterisation and enduring heroism in capturing the sitter at the end of such a remarkable life. Noble himself was weak throughout his life, his constitution was so delicate that he was effectively killed by the shock of losing his son in a railway accident. An obituary in the Art Journal of 1876 commented that it seemed `surprising to those who knew him personally that he should have lived even the comparatively short period of his life, and yet more that he should have been able to continue his labours. Few men have been more esteemed or regarded, not alone for his great ability , the manifestations of talent that very closely approximated to genius, but for rare qualities of mind and heart....He was a gentleman of high rectitude, irreproachable in all the relations of life`(1). Other portrait busts include those of Queen Victoria and the Prince consort, Sir Robert Peel, W. Etty, R.A., the Archbishop of York and the Bishop of London. 1) R. Gunnis `Dictionary of British Sculptors` pg.274
Lot 383
Rare Interesting Early Indian Mutiny Era Photograph Album, showing single portrait and group shots of officers in military and civilian dress. One officer is wearing frock coat and peaked forage cap with insignia for the 87th (Royal Irish Fusiliers) Regiment of Foot. Pencil sketches of officers and other ranks from the Indian Mutiny period. Some small reproduced serious and humorous cartoon prints. Photographs have been mounted onto card and then placed in a later leather bound album. Some pages are loose. Original photograph images from this period are rare. (16 photographs)
Lot 444
Scarce Great War Naval Police Officers Frock Coat, being a single breasted blue melton cloth frock coat with open collar. Collar has bullion wire collar badges in the form of a crown with N P to the side. Gilt metal Royal Navy buttons to the front and cuffs. Tailors label to the interior. Accompanied by a fine Royal Navy officers belt which retains nearly all of the fire gilt finish to the buckle. (2 items) This type of collar badge was worn between 1890-1919.
Lot 264
Selection of Manchester Regiment Collar Badges, consisting of various Sphinx patterns in gilt and bullion wire for officers, white metal and brass other ranks examples. White metal and bullion wire patterns with blank scroll for volunteers. Various bronze OSD coat of arms pattern. Fleur-De-Lys patterns in gilt and bronze for officers and brass, white metal and anodised worn by other ranks. Floriated Fleur-De-Lys patterns in silver, white metal, brass and blackened worn by the territorial battalion. Badges remain in generally good condition. (74 items)
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