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Lot 111
Adam Buck (1759-1833) British. Portrait of a Seated Lady, in a Blue Dress with White Bonnet, with a Dog on her lap, Watercolour, Signed and Dated 1807, Inscribed on the reverse 'E.G.Bullen 1886', Unframed, 14.25" x 11". Provenance; the Hansard Family - Wayford Manor, Somerset, to the present owner.
Lot 432
MIXED, mainly part sets, inc. Lambert & Butler Motor Index Marks, Sarony A Day on the Airway; Wills, Engineering Wonders, First Aid, Merchant Ships, Romance of the Heavens, Cricketers, Footballers; Players, Naval Dress, Tennis, Motor Cars, Cricketers 1930 & 1934, Dog etc., a few creased, about G to EX, 1750*
Lot 177
ROYALTY, selection, inc. newspapers, magazines, supplements, souvenir brochures; OK, TV/Radio Times, Coronation Pee-Show Book, Titbits Coronation Souvenir 1937, Punch Coronation Number 1953, Diana, The Queen, William & Kate, Queen Mother, Charles & Camilla, weddings, children, Jubilees; commemorative covers (13); hardback editions, Coronation Souvenir Book 1937, Charles A Prince of Our Time, A Dress For Diana, Queen Elizabeth II 1952-1992, The Reign of Elizabeth II, The Queen Mother's Century, William & Catherine, Princess Michael of Kent etc., FR to EX, Qty. (two boxes)
Lot 571
J *** Steffelaar (Belgian, 19th Century) Portrait of a lady, believed to be Marie-Caroline de Bourbon-Sicile, Duchess de Berry, seated before a fireplace, probably a member of the Bourbon family, wearing gold and emerald jewels, with a small Maltese terrier on her lap signed lower right "J Steffelaar" oil on mahogany panel 44 x 35cm (17 x 14in) Provenance: In the collection at the Chateau de Maintenon and by descent to Adrien, 8th Duc de Noailles; his daughter Elizabeth, Lady Macready (1898-1969) whose granddaughter bequeathed it to the present owner. Other Notes: This portrait of circa 1840 by an apparently unrecorded artist is possibly the wife of Ferdinand, Duc de Berry, who was murdered in 1820, four years after she married him, hence her wearing black, and with fleur-de-lys on her footstool. The Maltese Terrier was a favourite dog of high-born ladies; the sitter is wearing important contemporary jewellery, including a suite of Renaissance revival jewellery comprising of a necklet and pendant, earrings and bodice ornament/brooch of gold set with coloured enamel, pearls and emerald cabochon, in the manner of Carlo Giuliano (see lot 185). On her wrist we can also see a Renaissance Revival gold bracelet in the manner of Alessandro Castellani whom Giuliano trained under in Naples. Two rings can also be seen on her left hand, most likely set with diamonds and a small pearl buckle or brooch holds up the right sleeve off-setting the dark colour of her gown. Oil on panel. Paint layer is in good condition. Alligatoring and drying cracks in dark dress of the sitter. Glossy, even varnish. Light surface dirt present. Small loss on decorative beading on frame.
Lot 567
William Shuter (British, active circa 1771-1799) Portrait of Mrs Kynaston of Oteley, Ellesmere, Shropshire, wearing a lace hat over her powdered hair, and a grey silk dress with lace fichu and pearls oil on canvas, oval 29 x 24cm (11 x 9in) The Kynastons, who claimed descent from Bleddyn ap Cynfyn, an 11th Century Prince of Powys, were a prolific family concentrated in north-western Shropshire and adjacent parts of Montgomeryshire. The painting has been cleaned and relined and very tightly stretched. Craquelure is present throughout but the paint layer is sound and stable. Shiny varnish. Area of retouching to the lower left area, around the knot on her shawl.
Lot 621
Follower of Henry William Pickersgill (19th Century) Portrait of a lady, head and shoulders, in a red dress, tartan shawl and garnet brooch, beside a red curtain oil on canvas 67 x 50cm (26 x 20in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: The sitter wears a garnet and pearl brooch set with a central garnet carbuncle and pear shaped drop both surrounded by smaller garnet cabochons. Canvas has been extended at bottom edge. Flaking paint and paint loss along left hand edge and cracking along paint and fill of join. Thick, yellowed varnish layer. Surface dirt.
Lot 569
Tilly Kettle (British, 1735–1786) Portrait of a young girl in cream dress with blue sash, half length in a painted oval oil on canvas 54 x 47cm (21 x 18in) Provenance: From an Indian collection. Other Notes: In 1768, Kettle sailed to India with the British East India Company, landing at Madras (now Chennai), where he remained for two years. There, he painted Lord Pigot and Muhammad Ali Khan twice (once alone and once with five of his sons). He also painted non-portraits, including Dancing Girls (Blacks) in 1772 and a suttee scene in 1776 entitled, The ceremony of a gentoo woman taking leave of her relations and distributing her jewels prior to ascending the funeral pyre of her deceased husband. In 1770 Kettle painted a half-length portrait of 'Sir' Levett Hanson, a peripatetic writer on European knighthood and chivalry originally from Yorkshire. (The portrait is now in the collection of the Bury St Edmunds Manor House Museum.[1]) Kettle moved on to Calcutta (now Kolkata) in 1771 and painted Shuja ud-Daula and Dancing-Girl Holding the Stem of a Hookah. In 1775, he painted George Bogle, Warren Hastings' emissary to Tibet, in Tibetan dress, presenting a ceremonial white scarf to Lobsang Palden Yeshe the 6th Panchen Lama. He also took an Indian mistress and had two daughters by her. Lined canvas. Painting has been recently restored and is in good condition. A few retouchings, mainly in the background. Varnish is clear and even. Frame has been regilded/applied with bronze paint.
Lot 605
English School (early 20th Century) Miniature portraits of Lt. Col. The Hon. John Pleydell-Bouverie (1846-1925, late 17th Lancers), 7.5 cm (3in), signed lower right "Nasey"/"Vasey"? and his wife the Hon Mrs John Pleydell-Bouverie (nee Mallaby, 1860-1953), monogrammed lower right "MWL", 8 cm (3in); and another portrait miniature of Grace Pleydell-Bouverie in a white dress, cracked, overpainted photograph, 11 cm (4.25in); and another 1920s unframed portrait miniature of a Lady, possibly of the Pleydell-Bouverie family, 2.5 cm (1in) watercolour on ivory, both cased (4) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Lt Colonel The Hon. John Pleydell-Bouverie was the son of Jacob, 4th Earl of Radnor and his wife, daughter of James Walter Grimston, 1st Earl of Verulam. The Hon Mrs John Pleydell-Bouverie was the daughter of Lt-Gen Robert Mallaby who served in the Bombay Staff Corps; she married Lt Col The Hon. John Pleydell-Bouverie in 1882 and was widowed in 1925. John and Grace Pleydell-Bouverie cased. Dirt under the glass of both, Generally in good condition.
Lot 586
§ A E Harris (British, 1865-1951) A pair of portraits of Indian Princes, possibly from Cossimbazar, the Prince and his heir, both wearing the same diamond turban sarpech with egret feathers, the older Maharajah decorated with three medals - the Delhi Durbar Medal of 1903, the 1875 Royal Visit Medal (commemorating the visit of HRH Albert Edward, the Prince of Wales) and the Empress of India Medal (given on the occasion of the 1877 Imperial Assemblage in Delhi when HM Queen Victoria was declared Empress of India) one signed "A E Harris" oil on canvas (a pair) 123 x 100cm (48 x 39in) Provenance: From an Indian private collection. A E Harris, a painter of portraits and landscapes was born in Birmingham. He studied at the Cardiff School of Art, Hatherley's School of Art and South Kensington College of Art. In 1890, he arrived in Bombay and worked for the photographic firm of Johnson and Hoffman. In 1897, he moved to Calcutta to set up his own portrait studio. During his 37 year stay in India he painted portraits in oils of many Indian princes and British administrators. The two present sitters are wearing the same diamond and probably emerald sarpech; a status symbol of Royalty and usually reserved for Rajas and Princes. A Sarpech is a type of turban ornament, often jewelled as the one seen here, worn at the front of a turban whereby a feather or plume is inserted, often from a bird that is native to the region of the wearer. Around the younger sitter's neck we can see an impressive single row cushion cut diamond riviere and two strands of uniformly sized saltwater pearls, most often sourced from the southern Indian Gulf of Mannar. This diamond riviere is also present in the portrait of the older sitter, worn on his person as a chain looped from his fob and chain, under his medals. The fact that the two sitters are wearing the same jewels indicates that the younger sitter may be the son or successor of the older sitter. Sometimes rulers would adopt an heir rather than naming a son as successor, which would explain the difference in facial features. The younger of the sitters is wearing an alkalack with a bib front and the older is wearing typical court dress with tunic The portraits are likely to have been painted circa 1903-4 and certainly before 1911 when, if still alive, the older sitter would almost certainly have received the 1911 Durbar medal. Around 220 Empress of India medals were issued in total. The medals in the present portrait have been painted in a way not typical with how they would have been worn; in reality Indian princes often wore medals on longer ribbons around their neck and the two British Empire medals would have been larger than the Delhi Durbar medal. The way they have been represented in the present portrait indicates that it was painted by a British artist. It has been suggested that the older man may possibly be The Hon Maharaja Manindra Chandra Nandi of Cossimbazar or his predecessor, however this has not been verified. This man was received by the King Emperor during a reception at Calcutta after the 1911 Delhi Durbar. Cossimbazar (sometimes Kassimbazar) was an ancient ruined city in the Murshidabad state near Calcutta. Murshidabad was ruled by a Muslim prince. We are very grateful to Jeffery Bates for his assistance with the catalogue entry. Older sitter: Lined canvas. Old losses in background and lower half of painting which have been retouched. Appearance of painting is good. Younger sitter: Lined canvas. Some retouchings in the background. Paint thinly applied in some areas. Appearance of the painting is good.
Lot 572
Circle of Johannes Closterman (German, 1660-1711) Portrait of a lady, half length, in a grey silk dress and pink shawl oil on canvas, oval 74 x 59cm (29 x 23in) Provenance: From a Norfolk country house. Lined canvas. Paint layer is stable. Retouchings in the background have darkened and become very matter. Varnish is semi-matter. Surface dirt present, Frame in good condition. Craquelure overall and card to the reverse.
Lot 573
Anthony de Bree (British, 1854-1921) Portrait of Mrs Margaret Parsons (nee Gladstone) in a pink dress, holding a bejewelled chatelaine signed and dated "Anthony de Bree 1915" oil on canvas, in an ornate gilt plaster frame with acorns and oak leaf design 126 x 100cm (49 x 39in) Provenance: Womersley Hall, Yorkshire, and by descent. Other Notes: Miss Margaret Betty Parsons was the daugher of Sir John Evelyn Gladstone, 4th Baronet. She married the Hon. Geoffrey Parsons, brother of the 5th Earl of Rosse, on 5 September 1911. Craquelure overall, particularly in the right-hand corner. Good gilt frame.
Lot 594
English School (early 19th Century) Portraits of Mr and Mrs John Leader, he in a black jacket and white cravat, and Mrs Leader in a lace cap and black dress, three-quarter length oil on canvas (a pair) 90 x 75cm (35 x 29in) Provenance: Monks Hall, Syleham, Suffolk Mrs Leader: Appears to be unlined but with some sort of coating on the reverse of the canvas which is making it stiff. Two holes in the canvas with tears and associated paint loss. Paint layer is stable. Surface is very matte and dirty. Old varnish layer and surface dirt present. Looks like there has been a change to sitter's heair style during painting, leaving dark circles on her forehead. Frame is worn with losses to gilding. Mr Leader: Unlined canvas. Tear at bottom edge. Paint layer is stable. Darkened and dicoloured varnish which is uneven with drips. Layer of surface dirt. Frame is worn with losses to gilding.
Lot 622
Circle of Florence Kate Upton (American/British, 1873-1922) Portrait of Winifred Pember, of 8 Bryanston Square, in a lace dress, gold shawl and diamonds indistinctly monogrammed and dated lower right "1892" oil on canvas, in a gilded frame 114 x 86cm (44 x 34in) Provenance: Monks Hall, Syleham, Suffolk Other Notes: Here Winifred Pember can be seen wearing a large diamond cluster engagement ring and a plain wedding band alongside a small diamond pinky ring and a three stone diamond ring on her right hand. She is also wearing a long gold chain (similar to Lot 60) draped around her neck and resting in her hand. Unlined canvas. Original tacking margin/foldover visible at top edge where canvas has been put onto a larger stretcher. At centre of painting an area of raised and flaking paint. Uneven and yellowed varnish - probably applied by artist. Bloom on surface of painting, visible in darker paint passages. Very dusty on back of canvas. Glazing is dirty. Small losses to frame but generally frame is in good condition - not original frame. Label to the reverse reads: Portrait of Miss Winifred Pember, 12 Bryanston Square
Lot 560
French School (18th Century) Portrait miniature of a lady with curled hair in a white turban and dress watercolour on ivory in a blue and gold decorated glazed frame with hair verso and glass bearing monogram "EC" 6cm (2in) In general condition is good. A few scratches and abrasions to the decoration on the frame, which is under glass. Image is clear, some very tiny spots of dirt to the sitter's dress . Perhaps a slight fading in colour
Lot 630
C Long (Italian, 20th Century) Portrait of Mrs Kitty Leader, wife of Colonel W Lewes, in a silk and lace dress, three-quarter length, wearing a rose and holding a rose signed "C Long" to the reverse and with monogram "CL" lower right oil on canvas 30 x 20cm (12 x 8in) Provenance: Monks Hall, Syleham, Suffolk Under glass. Unlined canvas. Very dusty and dirty on reverse. Slight wrinkling to paint layer at lower left corner with a few localised losses and flaking. Otherwise in good condition. Frame is in poor condition with large losses to gilded surface. Glass is dirty inside and out.
Lot 570
Provincial Follower of Sir Godfrey Kneller (British, 1646-1723) Portrait of Miss Elizabeth Lacon, half length, in a cream dress and blue cloak, wife of Richard Lacon of Linley, Norfolk in a painted oval and dated on the reverse 1730 oil on canvas, loose from frame 77 x 64cm (30 x 25in) Provenance: The Lacon baronets of Norfolk and by descent Out of its frame. Lined canvas. Paint layer is stable and secure. A few localised aeas of retouching visible. Old degraded varnish which is patchy and uneven. Scuffs and scratches to varnish. Surface dirt present. Inscribed to reverse "Painted by J More, 1730".
Lot 248
James Bell Anderson (1886-1938) Portrait of a woman, seated, the artist reflected in the mirror Signed and dated 1921 Oil on canvas 102 x 127cm; 40 x 50in Provenance: Lauraine Diggins Fine Art, Melbourne, Australia ++Some paint separation and craquelure especially in the darker areas of the dress, canvas unlined, a small amount of paint loss in the lower right corner, other minor scuffs and blemishes
Lot 248
PAIR OF ROYAL DUX PORCELAIN LARGE WATER CARRIERS, of male and female in traditional Arab dress, carrying terracotta vessels on naturalistic bases. Royal Dux Bohemia triangle marks to bases and numbers: 685 and 686. 62.5cm high approx. (2) CONDITION REPORT: Female: minor chip to base rim and surface wear as expected, no obvious major damage or losses, one or two minor nibbles to naturalistic base.Male: Good overall condition on first inspection, minor nibbles to rockwork or foliate base but both appearing in good overall condition, some wear to gilding on both figures.
Lot 100
BRITISH SCHOOL, a companion pair of two similar early 19th Century portraits, gentleman in frock coat with gold watch chain and a well dressed lady with ostrich feather hat and velvet, lace and fur trimmed dress, having cameo brooch and holding lunette. Each approx. 91 x 71cm. CONDITION REPORT: Not matching frames, both appear to have older lining to the canvases with some over-paint evident in places but no significant holes or obvious current damage.
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228188 item(s)/page