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Lot 25
λPhilip Jean (1755-1802) Portrait miniature of a lady, wearing a brown dress and white fichu, and with powdered hair Oval, in a gilt metal frame with blue glass border and back 57 x 46mm Provenance: The Comerford Collection; Ellison Fine Art; Private Collection Literature: The Comerford Collection: Portrait Miniatures (Dublin, 2009), pp.10, 49, no.206 Exhibited: Dublin, Irish Architectural Archive, The Comerford Collection, 2009
Lot 27
λHenry Edridge ARA (1768-1821) Portrait miniature of a lady, traditionally identified as Mrs James Grant, wearing a white dress and white bonnet, with powdered hair Signed and dated Painted by/Hen: Edridge/1795 and inscribed by a later hand wife of Gerard/James Grant/commissioned/1796/11th foot (to reverse) Oval, in a gilt metal frame, with a lock of hair to back 75 x 62mm Provenance: Cynthia Walmsley Ltd., where purchased by the present private collector, April 2015
Lot 346
English School Late 17th Century Portrait of a gentleman, bust-length, wearing a wig and red cloak; Portrait of a lady, wearing a pink dress and red shawl A pair, both pastel Each 26.3 x 19cm; 10¼ x 7½in (2) Provenance: From the collection of Edward Croft-Murray (1907-1980) Literature: Neil Jeffares, "English, Irish and Scottish Schools", Dictionary of pastellists before 1800, online edition, nos. J.85.230232 & J.85.2302323 These works are comparable to a pair traditionally attributed to Edward Gibson at Syon House, possibly depicting the Duke and Duchess of Somerset (op. cit. nos. J.347.108 and J.347.109).
Lot 385
Attributed to Joseph Highmore (1692-1780 Study for a family portrait in an architectural setting, with some of the figures in Van Dyck dress, within a painted frame Oil on canvas 46.6 x 57.3cm; 18¼ x 22½in Provenance: From the collection of Edward Croft-Murray (1907-1980) Literature: Samuel Ireland, Graphic Illustrations of Hogarth…, vol II, p.108, (as Hogarth); Ralph Edwards, 'Hogarth into Highmore, or a Wrong Redressed' in Apollo, vol.90, pp.148-151 (fig.1)
Lot 416
Follower of John Constable Study of clouds Dated 1794 (to verso) Oil on paper 7.4 x 17.5cm; 3 x 6¾in Together with English School 1787; Study of leaves; indistinctly inscribed and dated 1787 (to verso); oil on paper; 9.8 x 14cm; 3¾ x 5½in; Circle of Alfred Edward Chalon; Portrait miniature of a lady seated in a garden with a book, a young girl on a balcony above; oval, on paper, in a rectangular ebonised frame; 74 x 58mm; and Continental School; Portrait miniature of a lady in a red dress; oval, on card, in a painted wooden rectangular frame; 100 x 85mm (4) Provenance: From the collection of Edward Croft-Murray (1907-1980)
Lot 42
λEnglish School 19th Century Portrait miniature of Henry Leach of Corston, Pembrokeshire, in uniform Oval, in an ebonised rectangular frame 72 x 57mm Together with an over-painted print of Mrs Henry Leach wearing a black dress, and white bonnet; oval in a rectangular ebonised frame; 70 x 58mm; and a pair of over-painted prints of Major General and Mrs Edmund Leach; each oval in silver gilt George Sumner frames; both 65 x 50mm (4)
Lot 444
English School c.1830 Portrait of a lady, half-length, dressed in black dress with lace trim and a turban Oil on canvas 91.7 x 71.4cm; 38.5 x 28in Provenance: From the collection of Edward Croft-Murray (1907-1980) A label on the reverse identifies the sitter as Elizabeth Bradridge Shepherd (1788-1876), wife of Dr George Vance 'by Gush'. William Gush (1813-1888) exhibited a portrait of Dr Vance at the Royal Academy in 1837 (no.421), although this sitter would appear younger than Elizabeth Shepherd would have been during this period.
Lot 470
Charles Jervas (Irish c.1675-1739)Portrait of a young lady in a landscape, probably a member of the Digby family, three-quarter length, wearing a blue dress and holding a straw hat and shepherd's staffOil on canvas127.8 x 102.7cm; 50¼ x 40½inProvenance:William 5th Lord Digby (1661 - 1752);By descent to Lettice Adelaide Digby;By descent to Mrs JDH Bankes;By whom sold, Bonhams, 10th July 2002, lot 315;Property of The Cider House Galleries
Lot 545
Michiel Jansz. van Mierevelt (Dutch 1566-1641) Portrait of a lady, traditionally identified as Elizabeth Stuart (1596-1662), Queen of Bohemia, the Winter Queen, half-length, in a bejewelled dress, lace collar and plumed headdress Signed and dated Mierevelt/Ao 1620 (centre right) Oil on panel 69.4 x 58.5cm; 27¼ x 23in Provenance: John Mitchell Chapman, California, by 1950; Ian MacNichol, Glasgow, by 1970; Where purchased by the present private collector, UK, c.1979 Elizabeth Stuart was the eldest daughter of James VI and I, of Scotland and England. In 1613 she married Frederick V, Count Palatine of the Rhine, who six years later was offered the throne of Bohemia. However, Frederick's reign ended in 1620, after the Battle of White Mountain, and the couple became known as the Winter King and Winter Queen. The rest of her life was largely spent in exile at the Hague, though she cannily used portraiture to publicise her plight, dispatching numerous portraits of herself and her family by Mierevelt and his studio to potential allies and supporters. According to records in the RKD, The Hague, in 1950 Wilhelm Valentiner argued that this portrait depicted Elizabeth Stuart. However, in 1970 Frits van Kretschmar suggested that the sitter may be a member of the Hanau family.
Lot 618
Attributed to Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Portrait of Mary Palmer, later Marchioness Thomond, the artist's niece, half-length, wearing a black dress and black feathered hat Oil on canvas 76.4 x 63.5cm; 30 x 25in Together with Joseph Collyer (1748-1827) after Sir Joshua Reynolds; Miss Palmer; aquatint; 9.9 x 7.6cm; 3¾ x 3in (2) Provenance: Woolley and Wallis, Salisbury, 13 March 2013, lot 234, where purchased by the present private collector Engraved: Joseph Collyer, aquatint, 1785 David Mannings' catalogue raisonné (New Haven and London, 2000) lists two autograph versions of this portrait, both untraced.
Lot 619
Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Girl leaning on a pedestal, 'The Laughing Girl' Oil on canvas 76.4 x 63.5cm; 30 x 25in Provenance: Painted for the Polygraphic Society, 1787; Their sale, Christie's, London, 14 November 1793, where purchased by John Opie RA (1761-1807); His posthumous sale, Peter Coxe, London, 6 June 1807, lot 108, where purchased by William Lowther, 1st Earl of Lonsdale (1757-1844) (£451.10s); By descent to William Lowther, 2nd Earl of Lonsdale (1787-1872); By descent to Henry Lowther, 3rd Earl of Lonsdale (1818-1876); By descent to St George Lowther, 4th Earl of Lonsdale (1855-1882); His sale, Christie, Manson and Woods, London, 8 March 1879, lot 5 (unsold); By descent to Hugh Lowther, 5th Earl of Lonsdale (1857-1944); His sale, Christie, Manson and Woods, London, 18 June 1887, lot 819, where purchased by Thos. Agnew & Sons; From whom purchased by James Orrock RI, ROI (1829-1913), 23 June 1887; Arthur Sanderson Esq. by c.1900; His sale, Christie, Manson and Woods, London, 6 May 1910, lot 120 (unsold); Christie, Manson and Woods, London, Important Pictures by Old Masters, 2 July 1937, lot 21, where purchased by The Fine Art Society, London (£199); The Fine Art Society, London, November 1937; Private Collection, Berkshire; And by descent Literature: James Northcote, The Life of Sir Joshua Reynolds (London, 1819), vol. II, p.350; Joseph Farington, The Farington Diary, ed. James Greig (London, Hutchinson & Co.), vol. I, p.18; Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds (London, 1899), vol. III, p.1167, and vol. IV, p.1456; Sir Walter Armstrong, Sir Joshua Reynolds: First President of the Royal Academy, (London, 1910), p.240; Martin Postle, Sir Joshua Reynolds: The Subject Pictures (Cambridge University Press, 1995), pp.106-107; Martin Postle, in David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p. 532, cat. no. 2074 (untraced) Exhibited: London, British Institution, 1813, no.81; London, British Institution, 1823, no.39; London, British Institution, 1833, no.44; London, British Institution, 1843, no.2; London, Royal Academy, 1876, no.2 Engraved: W. Bond, in stipple, 1813, as 'The Laughing Girl. Engraved from a highly finished Enamel, painted by H. Bone Esq. from the original picture now in the possession of Lord Lonsdale'; J. Singleton, small oval stipple; G.S. Shury, 1864 Despite its illustrious provenance, this fine example of Sir Joshua Reynolds' 'fancy pictures' has not been seen since 1937, and has only been recently rediscovered, after hanging for decades unrecognised on the walls of a family home. Reynolds painted two distinct versions of this subject, popularly known as 'The Laughing Girl', which Martin Postle has labelled Type A and Type B. The original version of Type A is at Kenwood House, probably painted in 1782, and shows a girl wearing a cream coloured dress, golden shawl and hair held back by a hairband. It is thought that Reynolds may have originally painted Type B, to which the present version belongs, as a pendant to Rembrandt's Girl at a window (Dulwich Picture Gallery, no.163). Reynolds painted the present work in 1787 for the Polygraphic Society, a commercial venture which produced facsimile copies of both old masters and modern paintings. When the society closed, the painting was bought by the artist John Opie. On 25 November 1793 Joseph Farington (1747-1831) recorded in his diary that 'Opie has bought a three-quarter picture painted by Sir Joshua Reynolds, for which he gave to the Proprietors of the Polygraphic Manufactory 60 guineas. The subject of a girl resting on her arms. Opie thinks Sir Joshua was the greatest colourist that we have any knowledge of by their works, including the Italian and Flemish masters'. Whilst in Opie's collection the painting was also copied by the noted enamel painter Henry Bone (1755-1834), and Bone's squared drawing of Reynolds' work is in the National Portrait Gallery (no.D17474). After Opie's death, the painting was purchased at auction by William Lowther, 1st Earl of Lonsdale, when it was described as 'The Laughing Girl - one of his [Reynolds'] best performances, if not his very best - it is Perfection itself! and has all the great merits of Rembrandt, with the taste and beauty of Correggio'. It seems to have been whilst it was in the collections of successive Earls of Lonsdale that the present work achieved wider popularity, partly due to its regular appearance in exhibitions, and partly due to its dissemination through engravings. Reynolds began to paint 'fancy pictures', so called to distinguish them from traditional commissioned portraits, in the early 1770s and became increasingly fixated on the genre towards the end of his career. While he could complete the face of a portrait sitter within a matter of hours, his subject pictures often absorbed him for months. As Postle notes, 'it is clear from Reynolds's own preoccupation with them, and the critical coverage they received during his day, that the subject pictures lay at the very heart of Reynolds's practice as a painter'. Postle lists four autograph versions of this composition, of which the present work is the only one recorded as untraced. However, there are also numerous copies, which are a testament to the success and popularity of the scene, and a reflection of the importance of this rediscovered work.
Lot 622
After Louis Gauffier Portrait of Elizabeth, Lady Webster, later Lady Holland (1771-1845), full-length, in a white dress and feathered hat, with her spaniel, Pierrot, on a chaise-longue, with a guitar Oil on canvas 101.8 x 134.7cm; 40 x 53in After the original in a private collection (see Sotheby's, New York, Master Paintings, 26 May 2016, lot 83).
Lot 628
Circle of Francis Alleyne Portrait of a gentleman, half-length, in a green coat and waistcoat; Portrait of a lady, half-length, wearing a white silk dress with lace and pearl trim A pair, both oil on copper Each 21.6 x 16.8cm; 8½ x 6½in (2) Provenance: From the family collections of Captain George Lionel Jameson OBE (1880-1961) and his descendants
Lot 834
Edith Corbet (1846-1920) Portrait of Alice Williams, née Herbert, in a white dress with lace shawl, standing in an interior Signed Edith Corbet/1897 (lower left) Oil on canvas 148.4 x 100.5cm; 58½ x 39½ Provenance: By descent from the sitter Alice Williams and Edith Corbet were friends, and studied together in Florence. She was the niece of the Earl of Pembroke, and married Frederick Williams (lot 831).
Lot 836
English School 19th Century Portrait of a young girl sitting in a landscape with a spaniel Oil on panel 34.5 x 29cm; 13½ x 11½in, framed as an oval Together with English School 19th Century; Portrait of a young lady in a white evening dress; oil on canvas; 34.2 x 29cm; 13½ x 11½in, framed as as oval (2)
Lot 840
B. A. Butler (19th Century) after Franz Xaver Winterhalter (German 1805-1873) Portrait of Queen Victoria (1819-1901), three-quarter length, wearing a white silk dress and the insignia of the Order of the Garter Signed and inscribed Her Most Gracious Majesty/ VICTORIA/ Queen of Great Britain & Ireland/&/ Empress of the Indies/ PAINTED IN THE YEAR OF HER DIAMOND JUBILEE/FROM WINTERHALTER'S PICTURE/IN THE PALACE OF VERSAILLES/By B A Butler (to reverse) Oil on canvas 127.4 x 96.3cm; 50¼ x 38in Provenance: Woolley and Wallis, Salisbury, Fine Old Masters & 19th Century Paintings, 10 December 2014, lot 225, where purchased by the present private collector After Winterhalter's version in the Château de Versailles (inv. no.MV 4675)
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228098 item(s)/page