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Lot 15
λ λCircle of William EgleyPortrait miniature of a lady wearing a black dress and lace shawl; Portrait miniature of a young lady wearing a black dress and with ringlets in her hairA pair, both oval, framed together within a brown leather caseEach 83 x 67mm (2)Ivory Act registration number: JU4WCMLV
Lot 16
λ λEnglish School Early 19th CenturyPortrait miniature of a gentleman wearing a black coat and a red and green waistcoatOval, in a gilt metal frame, the glazed reverse revealing a lock of hair81 x 64mmTogether with Manner of Richard Cosway; Portrait miniature of a lady wearing a blue and white dress and oriental headdress; Oval, in a gilt metal frame; 76 x 63mm; English School 19th Century; Portrait miniature of a lady wearing a pink hat; Enamel on porcelain, oval in a gilt metal frame with pierced scroll decoration; 36 x 29mm; and English School Late 19th Century; Portrait miniature of a lady in a maroon dress and pearl headdress; Over a photographic base, oval, in a gilt metal frame; 53 x 43mm (4)
Lot 17
λ λEnglish School Mid 18th CenturyPortrait miniature of a young child wearing a blue dress and holding a hunk of breadOval, in a gilt metal frame, the glazed reverse revealing locks of hair, within a red leather case61 x 51cmProvenance:The collection of the late John TaylorIvory Act registration number: TH1URGEF
Lot 18
French School c.1800Portrait miniature of a lady wearing a blue dress and broad brimmed hat decorated with flowersOn card, oval, in a gilt metal frame, the glazed reverse revealing a playing card55 x 46mmProvenance:Sotheby's, London, English and Continental Portrait Miniatures, 10 June 1974, lot 94;The collection of the late John Taylor
Lot 19
λHannah Myers (act.1893-1913)Portrait miniature of a young girl, traditionally identified as a member of the Gore Booth family, wearing a white dress and broochSigned with initials and dated HM/1913 (centre right)Circular, in a gilt metal frame, within a red leather case45mm diameterProvenance:The collection of the late John TaylorIvory Act registration number: R81D768Z
Lot 23
λ λAndrew Plimer (1763-1837)Portrait miniature of a lady wearing a white dress and a bandeau in her powdered hairOval, in a gilt metal frame, the reverse with a glazed aperture revealing a lock of hair and a blue glass border over guilloché68 x 55mmProvenance:The collection of the late John TaylorIvory Act registration number: FCMXNLZS
Lot 250
John Theodore Heins (German c.1697-1756)Portrait of Judith Bedingfield (1730-1794) half-length, wearing a blue dress in a painted ovalSigned and dated Heins Fec 1746 (lower left)Oil on canvas76.8 x 63.8cm; 30¼ x 25inJudith Bedingfield married Sir John Rous, 5th Bt (1727-1771) of Henham Hall Suffolk in 1749.
Lot 260
Studio of Sir Thomas Lawrence and LaterPortrait study of Lady Amelia Anne Hobart, Viscountess Castlereagh, later Marchioness of Londonderry (1772-1829), wearing a white dress with blue sashOil on canvas76.2 x 63.7cm; 30 x 25inProvenance:Possibly delivered to Lord Londonderry after the death of the artist, February 1830Literature:Possibly Archibald Keightley, The Claims of Works of Art, Books et. under the Estate of the late Sir Thomas Lawrence;Possibly Kenneth Garlick, Sir Thomas Lawrence (Routledge and Kegan Paul Ltd, London, 1954), Appendix III, p.74, no.101;Possibly Kenneth Garlick, 'A Catalogue of the Paintings, drawings and pastels of Sir Thomas Lawrence' in The Walpole Society, vol.39 (1962-1964), Appendix IV, p.282, no.100This work is a half-length version of the full three-quarter length painting in the collection of the Marquess of Londonderry (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of Oil Paintings, 1989, p.228, no.508a). The list of works remaining in Sir Thomas Lawrence's studio after his death drawn up by his executor, Archibald Keightley, records a 'head finished' of Lady Londonderry. Given that much of the present work, with the exception of the face, appears to consist of later overpaint, it is possible that this is the painting listed by Keightley.
Lot 261
Attributed to Sir Thomas Lawrence PRA, FRS (1769-1830)Portrait of the actress Sarah Siddons (1755-1831), wearing a white dress with a red jewel, and a yellow shawlOil on canvas91.5 x 71.2cm; 36 x 28inProvenance:Monty Bernard, Ryder Street, St. James's, London;Christie's, London, 13 June 1952, lot 84 (as Sir Thomas Lawrence, Portrait of Mrs Siddons in a white dress and yellow cloak);English Private CollectionLiterature:Probably Bells Weekly Messenger, 30 April 1797;Probably The Morning Chronicle, 2 May 1797;Probably Anthony Pasquin [John Williams], A Critical Guide to the Present Exhibition at the Royal Academy, for 1797... (H. D. Symonds, London, 1797)Exhibited:Probably London, Royal Academy, 1797, no.166In 1797 Sir Thomas Lawrence exhibited a portrait of the famous actress Sarah Siddons (1755-1831) at the Royal Academy. This work has long been believed to be the one recorded by Kenneth Garlick as being in a private collection (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of Oil Paintings, 1989, p.264, no.715b). However, there are several inconsistencies between contemporary accounts of the picture at the Royal Academy exhibition of 1797, and that listed by Garlick. In fact, the painting presented here appears more likely to be the 1797 R.A. version portrait of Siddons. Contemporary accounts of the 1797 painting described it as a full length work (for example Bell' Weekly Messenger, op. cit.). However, the painting listed by Garlick is a half-length, whereas the present work has clearly been cut down from a larger canvas. Another contemporary account said that the canvas was disfigured, and resembled the inside of a melon (quoted in William T. Whitley, Artists and their friends in England, 1700-1799 (London, Medici Society, 1928, vol.2, p.214). It is impossible to know exactly what this refers to, however, the background of the present work has an unusual 'veined' texture which could plausibly be compared to a melon. This texture becomes more prominent in the lower section of the work, and would explain why the canvas was cut down.When the portrait was exhibited in 1797, it divided the critics. Some thought it showed Siddons far younger than in reality. Anthony Pasquin (op. cit.) said that 'It is no more like her than Hebe is similar to Bellona. We have here youth, flexibility of feature, and an attempt at the formation of beauty, to denote a lady who is so proverbially stern in her countenance that it approaches savageness'. Although the True Briton praised the portrait, it thought the dress too showy and of a fabric too modern. Pasquin also mentions the unusually red cheeks, that 'are so betinted with carmine'. All these contemporary comments seem to be more relevant to the present work, than that listed by Garlick, a work in which Siddons looks older and sterner, in a more traditional costume.Sarah Siddons was probably the best known actress of her generation. Her performances on the stage gave her a celebrity status, and she was a cultural icon. Lawrence had been an admirer of Siddons since his youth, and they became close friends, to the extent that there were rumours they planned to elope. He was also believed to have had affairs with Siddons' two daughters, Sally and Maria.
Lot 63
Sir Robert Ker Porter (Scottish 1777-1842)An album containing 41 sketches of French and Russian figures Comprising A Peasant near Châtillon; A Maid Servant at Châtillon; A French Curate; A Grenadier of Moravia; A Bourgeois of Châtillon; A Salute from a National Sentinel; A Garde Nationale, Châtillon-sur-Seine; A Russian Tradesman; An Artelchick; A Russian Coachman; A Russian Peasant in his Winter Dress; A Russian Butcher Crying his Meat; A Coachman Going to the Neva for Water; A Russian Tradesman's Wife in her Winter Dress; A Russian Nurse; A Single Horse Sledge; A Traveller and Kibitka; A Zbitenschick; A Grey Police Soldier; A Russian Waiter; An Archbishop in his Robes; A Priest in his Summer Dress; A Russian Monk; A Boodishnick; A Russian Grenadier; An Officer of the Horse Guards; A Russian Peasant in his Summer Dress; Descending an Ice Hill; A Quasnick; A Cossack; Ice Cutters on the Neva; A Russian Peasant in her Summer Dress; A Finnish Peasant; A Green Police Soldier; A Russian Tradesman's Wife in her Winter Dress; A Postillon; A Soldier of the Imperial Guard; A Merchant's Wife of Moscow; A Merchant of Moscow; A Soldier of the Imperial Guard; A Russian Peasant Playing upon the BalalaikaEach signed with initials RKP, numbered and inscribed with title, and some datedWatercolour, and pen and black ink, 1814-1816, bound in green gilt-tooled leather20.1 x 26.2cm; 8 x 10¼inProvenance:From the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996)
Lot 228
An assortment of clothing, including a satin dress, gloves and other itemsCondition & Info: There are 10 pairs of kidd gloves.There are roughly 15 pieces of table linen and lace of various sizes.Roughly 8 pieces of clothing, including one wedding dress (most pieces have small rips, tears and stains)There are 4 shawls/scarves, some small holes.
Lot 101
A collection of gentleman's and lady's wristwatches to include: A Jacques Lemans 1-1264 stainless steel 'Divine' chronograph with crystal set dial, boxed; a Michael Kors MK-6138 stainless steel bracelet watch with crystal set bezel, boxed; a Rotary Toledo 5021 stainless steel and gold plated bracelet dress watch, boxed; and five further lady's watches including Rotary, Gianni Sabatini, Sekonda and others. (8)Jacques Lemans: Fair to good with minor signs of wear. Some misting underneath crystal. Not running (likely new battery required)Michael Kors: Fair to good with general signs of wear. Not running (likely new battery required)Rotary Toledo: Fair to good with general signs of wear. Not running (likely new battery required)Remaining: None running but will likely need new batteries. Degrees of wear from very light to heavily worn.
Lot 148
Charles O'Neill (E & C O'Neill), late 19th/early 20th century, an Arts and Crafts stained and leaded glass rectangular panel of a female figure in a flowing diaphanous purple dress, 24.5cm wide x 32.2cm highCharles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.One sliver chip and associated crack to short blue rectangular panel on the top left hand side corner. Cracks visible through both of the figure's wrists.
Lot 217
A pair of Royal Dux figures, circa 1900-1918, modelled as a lady and gentleman in 19th-century dress, model numbers 992 and 993, pink triangle 'E' mark, 43cm high (2)Female figure - scratch to rear of one elbow. Small nibble to rear of hat. Lots of scratches to the fingers above the vase.Male figure- tiny nibble to base. Small section of possible repair to base of cloak, or possibly just misfired.No further damages or repair.
Lot 365
A 17th/18th century needlework panel, depicting a maiden in flowing dress holding a flower spray, she stands in a landscape with trees, accompanied by a lamb and a rabbit, to a mahogany veneered frame, 35cm x 24cm (frame 40cm x 29cm).Uniformly faded/discoloured. Small losses in places but backing textile intact. No signs of moth. Frame repaired top right corner and otherwise showing signs of age including old scratches and other cosmetic marks.
Lot 489
Gentleman's and lady's dress wristwatches, including Empire, Yeoman, Seiko and Casio, gentleman's studs and cuff links, a City of Chester Rifle Association 1955 Division Two bronze medallion, cased, and a Victorian silver backed hand mirror, embossed with birds, flowers and scrolling leaves, reserve monogram engraved, Birmingham 1898. (a quantity)
Lot 425
A group of early 20thC and later photographs and postcards, depicting figures, some in military dress, views of Engelberger, Snehetta, Fjaernand, Barholm, further scenes of Norwegian Fjords, etc. (a quantity), together with a treen box, of rectangular form, the underside to the lid bearing plaque stating 'this box is made from Millars' Jarrah sleepers withdrawn after 45 years continuous service some were taken from the London Tube railways and others from open track of the New Zealand Railways Millars' Timber and Trading Company,' 23cm wide.
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228188 item(s)/page