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Lot 710
A VICTORIAN EMERALD AND DIAMOND DRESS RING, the central square-cut emerald flanked by two round old-cut diamonds and a further square-cut graduated emerald on either side, on yellow gold (unmarked) shank with open scrolling setting and shoulders. A valuation for insurance confirms a laboratory test on the emeralds as natural and with very good clarity
Lot 482
ENGLISH SCHOOL(19TH CENTURY) A set of three portaits, Mary Littledale greenwood (1820 - 1913) head and shoulders, looking to dexter, wearing a simple dress with lace collar and a locket on a ribbon, 54.5cms x 53cms; Frederick Greenwood (1805 - 1892) head and shoulders, facing, wearing a high collar and cravat, 53.5cms x 42cms; Mrs F Greenwood (1805-1892) head and shoulders, facing, wearing a white bonnet and lace collared dress and brooch 53cms x 42cms, charcoal heightened in white, unsigned
Lot 513
Theatrical interest: a pair of Bow white-glazed models of actors in Turkish dress, the man possibly David Garrick, holding a yatagan with one hand resting on his hip, the woman dressed in a long fur-lined cloak, c.1752, some restoration, 20.8cm max. (2) Cf. Raymond C. Yarbrough, Bow Porcelain and the London Theatre, p.38.
Lot 59
A SAPPHIRE AND DIAMOND DRESS RING in the form of a flower head, central old cut diamond, mounted in a milled, grained rub over setting surrounded by square cut sapphires then a further circle of ten diamonds and an outer border of sapphire, wire work gallery and diamond set shoulders (see illustration).
Lot 72
DAVID ROBERTS R.A (BRITISH 1796-1864) CATHEDRAL AT AMIENS Signed and dated 1830, pen and ink and watercolour 31cm x 23cm (12in x 9in) Note: David Roberts may have visited Amiens when he traveled to northern France in 1825. This accomplished watercolour, dated 1830 is most likely to have been painted from on-the-spot sketches rather than in-situ. It is very similar to an oil composition, 'a small picture of the Church of St Remy at Amiens', which Roberts painted for Mr Scarnel in 1829 and which is reproduced in Roberts's Record Book. The church of St Remy is situated south-west of the Cathedral of Nôtre Dame in Amiens and this watercolour most likely shows the tower of St Remy in the centre, with the Cathedral in the distance left, and the former cloister of the Convent of the Cordeliers on the right. Roberts was very interested in the dress of different areas in northern France and Belgium as exemplified by his focus on the characteristic head dresses of the figures here.
Lot 140
CHARLES EDMUND BROCK (BRITISH 1870-1938) A FAMILY PORTRAIT OF ELIZABETH, THE QUEEN MOTHER AND HER DAUGHTERS PRINCESS ELIZABE th and Princess Margaret, Signed and dated 1936, oil on canvas 132cm x 104cm (52in x 41in) Exhibited: The Royal Opera House, Covent Garden, 4th August, 1980, the formal part of a Tribute to Her Majesty Queen Elizabeth The Queen Mother on the occasion of her 80th birthday. Harrods, London, on the occasion of Her Majesty Queen Elizabeth the Queen Mother's 100th birthday. New Burlington Galleries, London Note: This beautifully observed group portrait of Elizabeth, the Queen Mother and her daughters, Princess Margaret Rose and Princess Elizabeth, now Queen Elizabeth II, is a fine example of the work of Edmond Brock. The son of sculptor Sir Thomas Brock, who built the Victoria Memorial in front of Buckingham Palace, Edmond rose to prominence through his talent for portraiture. His reputation travelled across the Atlantic and he crossed over to America several times to paint sitters such as the Countess of Granard, Ogden Mills and Marshall Field. In England, his sitters included the Earl of Dalkeith, Viscountess Castlereagh and the children of numerous members of high society. He painted several portraits of Princess Elizabeth before her eighth birthday and went on to paint several others of her sister Princess Margaret. In a letter to the artist from 1952, Elizabeth II acknowledges that her father, King George VI, held the portraits of her and her sister in very high esteem and always had one in his sitting room at Buckingham Palace. Uniquely, a letter from Her Majesty, the Queen Mother commissioning this work survives and will be sold with this painting. Following the portraits he painted of Princess Elizabeth, Brock was in correspondence with the Queen regarding a portrait of her younger daughter, Princess Margaret, three years old at the time, when the Queen requested that a group portrait be painted of her with her two daughters. They sat for the portrait in the artist's studio in Piccadilly and Brock is said to have painted several versions of the oil before being satisfied with the result. He destroyed five or six versions which he considered unsuccessful. From correspondence we know that the princesses, even at such a young age, remembered the visits to the studio, and having to pass messages to the artist in sign language as he was rather hard of hearing. Brock must have had a particularly kind and engaging manner as it must have been difficult to persuade children to sit still long enough for him to paint them. In his composition Brock refers to the enduring English tradition of group portraiture, whilst also nodding to Renaissance art, and even Leonardo's seminal The Virgin, and child with St Anne now in the Louvre. The composition is a solid pyramid with the head of the Queen Mother at its apex and her dress and Princess Elizabeth forming the base. Precedents of this subject include Sir Joshua Reynolds' Charlotte Grenville and her children in the National Museum of Wales and .Elisabeth Vigée-Lebrun's Queen Marie-Antoinette and Her Children, currently at the Chateau de Versailles. In the relaxed poses of the princesses seated by their mother and the natural outdoor setting of the sitters, this portrait is much more informal than these earlier examples. Princess Margaret has wrapped her arms around her mother playfully, whilst Princess Elizabeth is seen in profile, holding her mother's right hand and gazing out of the frame. The older daughter's more pensive mood and her relationship with her mother indirectly implies the responsibility and power which are to be invested in her in later life. The right hand of the Queen Mother almost seems to hand down power to the right hand of the seated princess.
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