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Lot 100
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
Lot 99
Follower of Hans Holbein the Younger Portrait of King Henry VIII (1491-1547), bust-length, in a fur-lined cloak and gold-brocade doublet, with a chain and feathered black hatinscribed 'HENRICVS OCTAVVS' (above)oil on panel35 x 27cmProvenance:Christie's, London, 25th June 2013, lot 329Footnote: This portrait is based on the iconic images of Henry VIII which Holbein and his studio produced throughout the sitter’s lifetime. These depictions of Henry VIII became the sanctioned images of the court and were reproduced widely. They were intended to propagate the strength of the Tudor dynasty and the total authority of Henry VIII as King. Significantly, these images achieved this without the traditional symbolism of royal power such as a crown or sceptre, but instead through Henry VIII’s posture, facial expression and symbols of wealth, such as his costume and jewellery.Condition report: 45 x 36.6cmBelieved to be a 16th-century copyThe painting is executed in oil on a wooden panel formed from a single board. The panel has tool marks and bevels on the reverse and the woodgrain runs vertically. There are some old woodworm holes running along the centre of the panel. The paint layer has suffered from flaking and loss in the past. In some areas there are localised listers of paint following the vertical woodgrain, although these appear stable. There is extensive overpaint across the panel covering old loss. The overpaint is reasonably well matched to the original. The varnish is clear, even and semi-matte.
Lot 87
Selection of antique and later jewellery to include a watch Albert chain with fob, assorted mostly rolled gold brooches and pendants, silver fob and shield medallion, coral necklet, crystal slide depicting a dog, plated coin ring, two 9ct front and back lockets etc; together with a mixed box of assorted costume jewellery
Lot 318
Costume Jewellery - a pair of Ciro clip snake earrings, boxed; other fashion clip earrings; an Attwood and Sawyer brooch and earrings part suite, set with blue and white stones, boxed; an Attwood and Sawyer violin brooch; a green and white paste stone earrings and brooch; a Christmas tree brooch; etc
Lot 311A
Malachite brooch/pendant, large oval malachite stone in a pear shape, mount stamped 9 ct gold, together three silver brooches, a pendant and chain, and boxed mother of pearl cufflinks, also a selection of costume jewellery, including necklaces, brooches and earringsCondition Report: Gross weight of malachite brooch 18.3 gramsIn worn condition with some surface scratches, overall good conditionSilver and costume jewellery in worn condition with surface scratches
Lot 319
A selection of costume jewellery and silver, including, a silver brooch with acorn and oak leaf design, three silver rings, one with a small diamond, a pair of amber drop earrings, a faux pearl necklace, a silver curb bracelet, a beaded necklace, a paste set brooch and seven other pairs of earrings, with one antique boxCondition Report: Silver gross weight 42 gramsAll items have signs of wearSilver acorn and leaf brooch is in good condition
Lot 320
A set of four vintage Harrods bridge propelling pencils, in original box, with a collection of mainly silver jewellery including four rings, a modern solid silver charm bracelet, three pendants and chains, two christening bangles and loose sections of chains, all in silver and some other base metal costume jewellery items Condition Report: Silver gross weight 68.9 grams
Lot 323
Selection of costume jewellery, including a bar brooch, in 9 ct gold, a silver chain and set amethyst earrings, dyed freshwater pearl necklace with silver clasp, faux pearl two row choker with silver clasp and a large glass choker Condition Report: 9 ct bar brooch gross weight (base metal pin) 1.2 gramsSilver chain and amethyst earrings gross weight 68.1 gramsAll items well worn
Lot 324
Silver cigarette case hallmarked Birmingham 1958, together with a selection of costume jewellery, including a seed pearl necklace, faux pearl necklaces and three watchesCondition Report: Weight of cigarette case 157.9 gramsGeneral wear with surface scratches to be expected with age and useEwbanks does not guarantee the working condition of the items in this lot
Lot 41A
Pearl and diamond earrings, each set with two old mine cut diamonds and a faux pearl, with screw back fittings, in 9 ct gold, together with a collection of paste set costume jewellery, including two brooches and two necklaces. Condition Report: Earrings gross weight 2.2 grams Earrings in worn condition, faux pearl is discoloured Costume jewellery is in worn condition
Lot 101A
Mixed jewellery, featuring a mother of pearl brooch with an 18 ct yellow gold mount, diameter 2.6cm, a pair of drop earrings in tested 14 ct gold, a stick pin set with paste stones in tested 9 ct gold, together with a selection of costume jewellery, including a silver hinged bangle, silver stick pin, and a marcasite cluster ring tested as silver, ring size LCondition Report: Gross weight of gold items 12.6 gramsGross weight of silver items 22.3 gramsAll items are in worn condition with surface scratches to be expected with ageEarrings are clip-on faux pearl in base metal
Lot 239
Pearl brooch with green stones in yellow gold stamped 9 ct, together with an abstract brooch in 9 ct yellow gold, and also a selection of costume jewellery, including some silver and paste set items, thimbles, a hospital anniversary coin and a hospital medalCondition Report: Gross weight of 9 ct brooches 14.9 gramsIn worn condition, some surface scratches
Lot 104
A selection of costume jewellery and accessories, including a silver gilt enamelled pendant by Marius Hammer (at fault), an Edwardian style silver coloured paste set suite comprising necklace and earrings (at fault), five assorted silver thimbles including a Charles Horner example, a selection of polished semi-precious gemstones, and a further quantity of vintage jewellery including pendants, earrings, cufflinks, brooches etc (Qty)
Lot 112
A selection of Victorian and later costume jewellery and watches, to include a ladies vintage 9ct gold Jaquet-Groz wristwatch on expanding strap, a selection of Victorian silver and silver coloured brooches, a carved jet coloured Victorian brooch, a silver coloured cricket interest pin, a blue enamelled belt buckle, and a further assortment of watches, brooches, bracelets, chains, buckles and beaded necklaces, all enclosed in a rosewood jewellery box with mother of pearl inlay (at fault) (Qty) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
Lot 143
A selection of vintage costume jewellery, to include a ladies Gucci bi-coloured wristwatch, a silver, enamel and marcasite floral brooch, a Sergio Bustamante silver sun pendant on chain, a silver coloured charm bracelet set including assorted silver and silver coloured charms, a gold coloured pendant and matching earrings, and two further silver coloured marcasite brooches (9) Your attention is drawn to our important notice regarding the Trevanion sale of watches found in our Terms & Conditions, please read this prior to bidding.
Lot 147
A selection of vintage costume jewellery, to include a Catherine Popesco paste bracelet, 19cm long, a 1920's panel bracelet depiction sporting ladies, 6.8cm x 6cm, a selection of cultured and simulated pearl necklaces, and a further assortment of earrings, brooches, rings, bracelets and charms (Qty)
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162147 item(s)/page