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Lot 155
An 18th century fine lace child's collar and matching cuffs. With an accompanying letter dated 1881 describing the owner of the collar and cuffs to be Sir Thomas Fowke the Great Grandfather of the letter's author, together with two 19th century lace christening gowns, embroidered crinoline sample with an accompanying letter claiming it to be from a dress belonging to Jennie Graham (1724-1805), and a cased set of seven mother of pearl buttons. Fowke family Lowesby Hall Leicestershire.Thence by descent.
Lot 108
A Harlequin Pair of Girl Marottes both with bisque heads (i) Harlequin stamped 52, with striped tapered velvet and silk dress, hat, inset glass eyes, open mouth, on blonde treen turned stick handles (ii) stamped SH flanking PB, dressed in cream silk and tapered damask, matching hat, turned beech stick handle both 14in. (36cm) high (2)
Lot 254
ENGLISH SCHOOL (20TH CENTURY) DESIGN FOR A DRESS CHARIOT Oil and bodycolour on board 13.5 x 20cm (5¼ x 7¾ in.) Notice: The picture is not on board but on cardboard, and on the back is inscribed the title 'Dress Chariot' and the author 'I.D. Grant' Condition Report: Although examined with protective glass, under UV light and racking light, the board presents some loss of paint on the brown coloured wall, especially near the lines, and on the right-hand side, near the border, and above the right wheel of the carriage. Condition Report Disclaimer
Lot 293
AFTER ALEXANDER NASMYTH ROBERT BURNS Engraving, oval 56 x 42cm (22 x 16½ in.) Together with a coloured engraving of Miss O'Neill in the Character of Juliet after George Dawe, and another print of Miss O'Neill after A W Davis engraved by H Myer, various sizes, (3) Condition Report: Portrait of Robert Burns The paper of the engraving has yellowed and presents various dots of mould and dirt scattered across, the most evident are on the upper right corner. There is also a vertical brownish stain that crosses the whole image, which is most evident on the sitter's cheek and eye. There are also superficial scratches, where the ink has been damaged, such as a diagonal scratch of about 10cm coming from the upper left corner, and various scattered spots of about 0.5cm on the right shoulder near the chin, some on the nose, and near the hair. The paper also has undulations, most evident in lower right corner. Portrait of Miss O'Neill in the Character of Juliet The paper has yellowed, with some patches of dirt and mould scattered across, especially visible on the sitter's dress. Portrait of Miss O'Neill with the red curtain The paper of the engraving has yellowed, and the colours discoloured. There hare spots of dirt and mould scattered across, especially on the lower right corner. There are signs of abrasion on the borders, and there are superficial scratches, such as near the best of the sitter and in other parts of the dress - such scratches are of around 1 cm of length. Condition Report Disclaimer
Lot 55A
JOHN HOPPNER RA (1758- 1810) LOUISA, COUNTESS OF MANSFIELD (1758-1843) Oil on canvas, a pair With old labels inscribed (on the reverse) 78 x 64.5cm (30½ x 25¼ in.)Provenance: By descent to The Rev. William R. Finch Hatton.Literature: W. McKay, W. Roberts, John Hoppner R.A., London, 1909, pp. 110, 164. (with the previous lot) W. McKay, W. Roberts, Supplement and index to John Hoppner, R.A., London and New York, 1914, pp. 59, 61. (with the previous lot)Comparative literature: J. Cornforth, 'Scone Palace, Perthshire - I: The Seat of the Earl of Mansfield and Mansfield', Country Life, 11 August 1988, p. 95.Louisa, Countess of Mansfield (1758-1843) was the daughter of Charles Cathcart, 9th Lord Cathcart and Jane Hamilton, the latter, granddaughter of the 3rd Duchess of Hamilton. Louisa's first husband was David Murray, 2nd Earl of Mansfield, who was 20 years her senior; as a young bride she lived in Scone Palace Perthshire and Kenwood House, Hampstead which her husband had inherited in 1793. She also lived in Paris where her first husband was the British Ambassador to Louis XVI. The French hostess and patron of the arts, Madame du Deffand, commented that the ambassador's wife 'is pretty, she holds herself badly, and has not a charming manner, but her expression is full of intelligence' (Cornforth, p. 95). Her second husband was The Hon. Robert Fulke Greville (1751-1824) (see the previous lot) was the third son of Francis, 1st Earl of Warwick and Elizabeth (née Hamilton)). Robert Greville and Louisa had three children. This painting, together with the previous lot, passed to their second daughter, Lady Louisa Greville (1800-83), who was married to The Rev. Daniel Heneage Finch-Hatton, and thence by descent to their son, William. Condition Report: The canvas presents fine craquelure across the whole surface which widens in the area near the neck, where, in a few case,s the cracks have been repainted over. UV light reveals retouching on the edges of the painting, particularly on right, and above the head. There are also some finer retouches on the sitter's neck, and in some places on the dress. The painting has been cleaned and revarnished. Condition Report Disclaimer
Lot 96
SIR JOSHUA REYNOLDS (BRITISH 1723-1792) PORTRAIT OF LADY STANDISH Oil on canvas 75 x 61cm (29½ x 24 in.) Provenance: Lady Catherine Standish;Elizabeth Ramsden née Smyth (heraldic co-heiress - Smyth arms quartered within those of Ramsden) Thence by descent to Col. R. C. P. Ramsden, Wigthorpe Hall, near Worksop, 1958 Thence by descent to Mrs Butroid. Her sale, Christie's 24 June, 1977, Lot 73. Private collection, United Kingdom. Literature: A. Graves & W. V. Cronin. A History of the Works of Sir Joshua Reynolds, 4 vols, London 1899-190. Volume III, p. 927 (sitter wrongly identified) David Mannings. Sir Joshua Reynolds, A Complete Catalogue of His Paintings, 2 vols, London: Yale University Press, 2000. Vol I, Text, p. 430; Vol II, Plates, p. 133 (fig. 365) Lady Catherine Standish (d.1780), née Catherine Frank, was born into the prominent Frank family of Pontefract, Yorkshire. Her mother, Elizabeth Lowther, was the daughter of Sir John Lowther Bt., M.P. for Westmoreland, and Catherine's father, Robert Frank MP (1660-1738), was active in borough politics and appointed Recorder for the Corporation of Pontefract in 1686. Although his appointment was contested several times during the dynastic and constitutional tumults of the late seventeenth century, he notably held office until his death in 1738, and served as an M.P. for the borough between 1710 and 1716. Frank was notably blacklisted as a 'Tory patriot' by the Hanoverians who held their crown by Whig support. Frank ensured that his daughter's marriages were advantageous and her first husband, John Smyth J.P. (1685-1731) of Heath Hall, Heath, was heir to a vast mercantile fortune. His father used this to cement their family's newfound place in the county gentry, purchasing the Heath estate near Wakefield and becoming 'the first squire of Heath.' His life was cut short however, and Catherine would soon remarry to Sir Thomas Standish of Duxbury, 2nd Baronet of Duxbury, becoming Lady Standish. However, it was through her daughter by her first marriage, née Elizabeth Smyth (b. 1727), that her acquaintance with Sir Joshua Reynolds was made. Elizabeth married Robert Ramsden of Osberton (1708-1769) in 1753, the fourth son of Sir William Ramsden, 2nd Bt. He was a captain in the British Army during the War of the Austrian Succession and served with distinction at the Battle of Dettingen on the 27th June 1743 and at the Battle of Fontenoy on the 11th May 1745. Robert was painted by Sir Joshua Reynolds in 1755, sitting to the artist on four occasions. The portrait, which depicts Ramsden in a 'plum-coloured coat,' on a 'luminous greeny-grey background' was likely the inspiration for the commissioning of this portrait by his mother-in-law three years later, for in 1758 Lady Standish would also sit for Reynolds four times. The resultant half-length portrait depicts her wearing a white dress and black wrap. A great experimenter with paint, Reynolds was hailed by his admirers and reviled by his critics. This portrait is typical of the artist's work of the 1750s when he developed the technique of 'dead colouring,' in which monochrome, or near monochrome, paint layers were used to create luminous flesh tones. That this technique is made explicit here makes this striking portrait a testament not only to the sitter's patronage, but also to the pioneering painter himself. Condition Report: Canvas relined and on later stretcher which is providing good support. Fine surface cracking across the image but the paint appears to be stable. Under UV light there a scattered spots of retouching most of these are in background areas, but the face is untouched. There is also a diagonal line of retouching across the centre of the sitter's dress which probably covers a deep surface scratch, this is approx. 10 cm long but quite narrow. It has a layer of discoloured varnish. Condition Report Disclaimer
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