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Lot 411
*Portrait Miniatures. A pair of portrait miniatures of a lady and gentleman from Goggingen, painted in Mainburg, Germany, 2nd September 1831, watercolour on ivory, backed with green paper, both half-length portraits in profile, the lady facing to the right and the gentleman to the left, the lady attired in a red-patterned yellow dress and head-piece, and a many-stranded bejewelled gold choker and large gold earrings, the gentleman wearing a navy blue coat, patterned waistcoat, and black cravat, latter with contemporary pencil inscription detailing places and date on verso, each 6.5 x 5cm (2.75 x 2ins) (2)
Lot 413
*Attributed to Tingqua. Peruvian types, circa 1840s, fourteen opaque watercolours on pith paper, depicting male and female costumes of nobles and peasants including the "New Spanish dress", each 21 x 16cm (8.25 x 6.25ins), mounted, framed and glazed, together with three similar watercolours on wove paper, depicting female costumes of Peru, each 20 x 14.5cm (8 x 5.75ins) Provenance: Sir Frederick William Mallandaine Ashton OM CH CBE, (1904-1988) British ballet dancer and choreographer, (invoice enclosed). The present works comprise hand-made multiples, produced in Canton, of the popular studies of costumes or costumbrista. Some the earliest surviving example of Peruvian costume studies were produced by Francisco Javier Cortes in the 1820s in association with an American diplomat Jeremy Robinson. These studies fed into the growing demand for visual images of world cultures and soon print makers were producing copies after Cortes to sell to the European and North American market. By 1830 original watercolours and lithographs of Peruvian costumes had reached China and luxury, hand-made multiples were produced for wealthy clients. The present works represent an example of these hand-made multiples together with three original watercolours from which the Chinese artists produced their copies. Though rare, a few similar examples have survived and most bear labels of either Sunqua or Tingqua workshops. Tingqua (Guan Lianchang) was one of the most prolific painting workshops in Canton during the early and mid 19th century, and produced copies of numerous subjects. The Library of Congress, Washington DC holds an album of Peruvian costumes with a Tingqua label, commissioned by the wife of William Wheelwright, founder of the Pacific Steam Navigation Company. Literature: see Majluf (Natalia), Reproducing Nations: Types and Costumes in Asia and Latin America, Americas Society, 2006. (17)
Lot 394
*Dighton (Richard, 1796-1880). Ladies of Cheltenham, a pair of watercolours on paper, each depicting a full-length portrait of a lady, one standing facing left carrying hat and parasol, the other seated wearing a blue dress and bonnet, each signed and inscribed "Cheltenham" in pencil to lower left, 24 x 19cm (9.5 x 7.5ins) and similar, matching maple frames and glazed, Charles Plante Fine Arts gallery label to verso (2)
Lot 591
*@Beaton (Cecil, 1904-1980). Lady Ottoline Morrell in evening dress, 1927 vintage bromoil gelatin silver print, 300 x 254 mm (11.75 x 10 ins), on original thick paper mount, signed by the photographer in ink below, backing sheet size 407 x 280 mm (16 x 10.5 ins) Provenance: From the collection of Lady Ottoline Morrell by descent. The spectacular evening gown worn by the sitter, made of vivid yellow silk with purple embroidery, is now in the Museum of Fashion, Bath. A similar but much smaller portrait of Lady Ottoline standing, wearing the same dress is in the National Portrait Gallery (Dame Helen Gardner Bequest). (1)
Lot 344
*Rogers (Jane Masters, fl. 1847-70, circa 1823-1909). Portrait of a young woman in a white dress, 1855, pastel and pencil on dark buff paper, half-length, seated, signed and dated 'J.M. Rogers, London, 1855' lower left, 66 x 51cm (26 x 20ins), framed and glazed Jane Masters Macdonald (circa 1823-1909) was born into a family of artists from Cork. Her father was James McDaniel/Macdonald (circa 1789-1865) and her brother Daniel Macdonald (1820-1853), who painted the only known painting of the Great Famine. The earliest records for Jane's works shown at the Cork Art Institute is 1841. She married William Richard Rogers and at some point moved to London. She worked as a portrait painter, exhibiting 16 works at the Royal Academy (including one in 1855 which may have been this painting), and others at the British Institute and Suffolk Street Gallery. A similar portrait of a woman in a blue dress from 1863 is held in the collection of the Geffrye Museum, London. (1)
Lot 408
*Lacon (John, d. circa 1757). Portrait Miniature of a young lady, 1753, watercolour on ivory half-length oval portrait of a young lady in pink dress with blue shawl wrap, signed and dated J[ohn]. Lacon 1753 lower right, 45 x 36mm (1.75 x 1.5ins), brass frame, glazed, together with Portrait miniature of a gentleman in blue coat, mid 18th century, watercolour on ivory half-length oval portrait, within double glazed brass brooch frame with hinged pin, containing mounted lock of hair to back board and inscribed to verso 'Souvenir de mon P‚re', miniature dimensions 45 x 37mm (1.75 x 1.5ins), plus Portrait miniature of a gentleman in profile facing left, circa late 18th century, watercolour & bodycolour on thin card round portrait, red sealing wax to verso, diameter 49mm (2ins), brass frame, glazed, The miniature portrait artist John Lacon worked from circa 1740 in Bath, and also established with his family a fashionable puppet-show, featuring life-size Wax Figures. He is recorded as having possibly worked in the medium of wax in the Proceedings of the Bath Natural History Antiquarian Club Field, vol.8, p.215, 1897. (3)
![*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portr](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/c618e942-d819-4c20-9a28-8275ec08b9bc/468x382.jpg)
Lot 402
*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portrait of a woman identified in ink with a contemporary inscription as above to lower margin, half-length, half facing left, wearing a pink and white bonnet with deep dark ringlets protruding over her forehead, pink scarf and white dress, holding a document with red seal in her right hand, Bristol Paper embossed stamp lower left, 230 x 180mm (9 x 7 ins), verso blank, tipped onto a contemporary album leaf at corners A very sensitive and intriguing watercolour by an unidentified artist, with great care and detail given to the face and strongly suggesting this was done from life. There is no known portrait from life of the author Ann Radcliffe and its attribution as her appears spurious for a number of reasons. The Bristol Paper stamp was introduced in 1800 and that and the age of the paper are consistent with the early 19th century. The woman appears to be aged 30 to 40, which if of Ann Radcliffe from life would date this to between 1794 and 1804. The hair and dress are completely wrong for this early date and these features indicate a date of perhaps the late 1820s; the waist on the dress is still above the natural waistline and the sleeves have yet to become as exaggerated as they become in the 1830s. Mrs Radcliffe was supposed to be small-proportioned while this sitter seems to be big-featured and broad-shouldered. Mrs Radcliffe had blue eyes and brown hair and a nose 'inclining to aquiline', all of which could be interpreted as true in this portrait. The document held by the sitter is indeterminate and in a portrait of Mrs Radcliffe one would expect here to be holding a novel, or something at least more romantic. One of the founders of Gothic literature, Ann Radcliffe's most famous novel and for which she is lastingly famous, The Mysteries of Udolpho, was published in 1794. The only known image we have of Mrs Radcliffe is an imaginary portrait dated to 1853, some 30 years after her death, which appeared in J.S Pratt's edition of The Romance of the Forest. Provenance: From an album of prints and watercolours compiled by Sir Theodore Martin (see lot XXX). There is no evidence that Theodore Martin or his wife, the noted actress Helen Faucit, met or knew Ann Radcliffe, nor does the inscription on the watercolour appear to be in either of their hands. How it came to be in Sir Theodore Martin's possession and why he chose to keep this in this album without any additional notes or remarks isn't obvious. Certainly, there were no other watercolours or drawings in the album that were remotely related or in the same hand. The portrait is the work of a highly skilled artist in the manner of Andrew Plimer and other similar miniaturists and portraitists of the period and for the artist not to sign this at all is another mystery. TBC - LEAVE SPACE FOR UP TO 10 MORE LINES. (1)
Lot 404
*Austrian School. Portrait of a lady, 1839, oval watercolour, three-quarter length portrait of a young lady seated in a red upholstered chair, wearing a blue dress, ermine-trimmed stole, leaf pendant earrings, and lace cap decorated with flowers, initialled 'RJ' and dated lower right, 22.5 x 18.5cm (8.75 x 7.25ins), glazed green velvet mount (1)
Lot 407
*Miniatures. Portrait of a young lady, mid 18th century, watercolour on vellum half-length oval portrait of a young lady in blue dress with crimson wrap, 36 x 30mm (1 3/8 x 1 1/8ins), in double glazed locket with mounted hair at back, piece of card inserted inside locket stamped with the name Mrs W. Barclay, together with Portrait of a lady with black bonnet and blue dress, late 18th/early 19th century, watercolour on ivory(?) oval head & shoulders portrait, indistinctly inscribed lower right, 28 x 24mm (1 1/8 x 1ins), brass pendant locket frame, glazed, plus Portrait of a gentleman in brown coat, late 18th century, watercolour on ivory oval head & shoulders portrait, 35 x 30mm (1 1/2 x 1 1/8ins), brass frame, glazed (3)
Lot 131
A FINE EARLY 20TH CENTURY 18K GOLD KEYLESS LEVER DRESS WATCH, BY PATEK PHILIPPE, CIRCA 1925Patek Philippe, made for Tiffany & Co.The gilt and cream breguet numerals, signed Tiffany & Co., Patek Philippe & Cie Genève, with gold steel hands and subsidiary seconds, in a polished case with WTSS engraved initials
Lot 584
19th Century Irish School An impressive "Portrait of Maria, daughter of Mark Synnott, Kings County, and wife of George Maunsell, Oakley Park, Co. Kildare," seated and wearing a highly elaborate pink silk dress, profusely decorated with lace, with matching headpiece and jewellery, three-quarter length, O.O.C., approx. 98cms x 71cms (42 1/2" x 28"), inscribed on label on reverse, in fine gilt frame. (1)
Lot 444
Late 19th Century English An exceptionally fine and rare heavy Art Nouveau metal Panel, "Profile portrait of a Young Girl with decorated head dress arranged in a niche, set with flowers, leaves, shields etc., and decorated in various metal colours, painted etc., 40cms x 22cms (14 3/4" x 8 3/4"), in similar carved frame decorated with flowers. (1)
Lot 154
A rare 19th Century Irish Dress Small Sword, the engraved two sided 31" blade, inscribed Robinson and Steele, Dawson St. Dublin, the decorated hilt with coronet, wire bound grip and guard decorated with wreath of shamrock around Royal cipher, the leather scabbard with three brass mounts also with engraved decoration and shamrocks, with gold thread pommel etc., overall length 36 1/2", very good condition. (1)
Lot 831
Attributed to Charles Jervis Fine three-quarter length Portrait, "Lady (Viscountess) Butteevant," in fur trimmed dark blue velvet top, and matching hat with feather, and red satin dress, O.O.C., 126cms x 100cms (49 1/2" x 39 1/2") in stripped pine frame. Provenance: Purchase by the present vendor from last sale at Fota House.
Lot 507
The Bigger Family Richard Deighton, Cheltenham Watercolours: "Charlotte Ferris Bigger, Falmore Hall," full length portrait of lady in full blue dress standing by a chair, approx. 16cms x 21cms (10 1/4" x 8 1/4") signed, and inscribed on reverse, in maple frame, and its companion, "A Gentleman in a landscape, holding a cane," signed, maple frame; and another, "A Lady," faded; also a very fine watercolour Portrait, "Young Boy with student hat and check trousers," approx. 32cms x 20cms (12 1/2" x 8") signed "Thomas," and dated 1847, maple frame. (4) Provenance: Bigger Family, Falmore Hall, Dundalk, Co. Louth.
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228098 item(s)/page