Lord Frederick Leighton PRA, RWS, HRCA, HRSW (Baron Leighton of Stretton) (1830-1896) Portrait of Mrs Sutherland Orr, sister of Lord Leighton, in profile, wearing classical dress Extensively inscribed on old exhibition labels verso, oil on canvas, circular, 41cm diameter Exhibited at the Royal Academy of Arts Winter Exhibition 1960 "Italian Art and Britain", no.114; also the RA Winter Exhibition 1956-1957 "British Portraits"; and Sheffield City Art Galleries September/November 1968 "Victorian Painting" Provenance: Sir Michael Leighton, Loton Park, Shrewsbury, Shropshire Leighton was born in Scarborough. He received his artistic training in Europe, from Eduard Von Steinle and Giovanni Costa. In Florence he studied at the Accademia di Belle Arti and painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855-1859, where he met Ingres, Delacroix, Corot and Millet. In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning`s tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 became an associate of the Royal Academy and in 1878 its President (1878-96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition. Leighton was knighted at Windsor in 1878, and was created a Baronet whilst living at Holland Park Road, Kensington, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent, creating him Baron Leighton, of Stretton in the County of Shropshire, was issued 24 January 1896; Leighton died the next day. As he was unmarried, after his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park , London has been turned into a museum.
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A mid 20th Century Ladies 18ct Gold Dress Watch, Tudor, the 21-jewel signed movement, to a gilt and signed circular dial, with applied gilt baton markers, in a shaped case with snap-on back, and fancy lugs, with a later fitted Gold-plated bracelet, together with its original black Leather strap and clasp, width 5/8”
A mid 20th Century Swiss 18K Ladies Dress Ring Watch, Lidher, the 17-jewel movement to a signed and silvered circular dial, with applied Arabic quarters, dagger markers and hands, in a polished circular case with snap-on back and hinged wire work gauze cover, to a pierced shank, width ¾”, marked 18K .750, numbered 21491
A second quarter of the 20th Century 9ct Gold Ladies Dress Watch, Rolex “Prima”, the 15-jewel movement to a signed and silvered Arabic dial with outside minute track, sunk subsidiary seconds and blued steel hands, marked for the retailer Sam Lyon Junr, in a polished square case with snap-on back, numbered 48711, 3470, fitted with a sprung link bracelet with folding clasp and safety chain, with hallmarks for Glasgow 1938, sponsors mark R W C Ltd, width 15/16”
A third quarter of the 20th Century 9ct Gold Ladies Dress Watch, Omega, Cal 620, 31345541, the 17-jewel movement adjusted to two positions, to a signed and silvered circular dial, with applied gilt markers and black painted hands, in a polished circular case, with snap-on back and fitted integral mesh link bracelet with folding clasp, bearing hallmarks for London 1969, (weighable Gold approximately 24gms), width 7/8”
A last quarter of the 20th Century 9ct Gold Dress Watch, Tudor, the 17-jewel movement, to a signed rectangular silvered dial, with applied gilt baton markers and black painted hands, in a polished rectangular case, with snap-on back and fitted integral brick link bracelet with folding clasp, width 1”
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