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Lot 1162
A Continental 18ct gold white opal dress ring, basket set with oval cabochon opal, opal measures: 14.95mm x 10.80mm x 4.80mm, setting height 21.5mm, size M, 5.3gNo damage or repairs, opal has a good play of colour with mostly oranges greens and blues, settings lightly worn, mark clear, engraved 18k
Lot 64
Italian school, 19th century."Portrait of a Lady, 1853.Oil on canvas.Signed and dated in the right margin.Measurements: 81 x 65 cm.The work will be available approximately 15 days after payment has been made.The present portrait shows a woman seated on an elegant red armchair. Her dress has been richly worked, showing the vegetal motifs that adorn it, as well as the lace bows and frills that finish the sleeves and the corseted body of the woman. The sitter, a middle-aged woman, is depicted with an uncomfortable face and a crystalline gaze directed towards her portraitist and, in our case, towards the viewer. Historically, as this type of work became more democratic, more and more families were able to have their own portraits, either individual or family portraits. Although the woman portrayed comes from a wealthy family, it is enough to observe the dress, the jewellery, the bobbin watch hanging from her dress, the cross and the various gold pendants that serve as a chain to hold the watch in place, as well as the bracelet and earrings made of precious stones.The human figure has always been a subject of interest for artists of all times, which is why their dedication and work has been so extensive. In ancient times, portraits were reserved for great personalities, monarchs, emperors, etc. Busts and half-busts were made in marble, representing the person's physiognomy with great attention to detail: women's hairstyles, men's beards, jewellery or the drapery of their clothes were reproduced with great realism. During the 19th century, portraits diversified into classical, romantic and political portraits. The invention of photography opened up new scenarios in portraiture, which became an experimentation with light and colour, the expression of the subconscious and personal visions, taking away ground from the prized portraits.
Lot 78
EDOUARD HALOUZE (France, 1895-1958)."Parisian Characters", ca. 1920.Watercolour and gouache on paper.Signed in the lower right corner.Work published in the Gazette du Bon Ton.Size: 25.5 x 20.5 cm; 38 x 33 cm (frame).Edouard Halouze uses in this composition a plastic art of clear modernist roots, based on fluid lines and nuanced colours, a completely personal style at the level of the great artists of the Paris of the moment. Halouze presents us with an elegant couple, caught in a moment of leisure, possibly on their way out of the theatre, judging by their elegant clothes. The male figure wears a long morning coat and top hat, has a neat, upturned moustache and holds a walking stick in his right hand; the girl wears a long dress to match her hat, high and with a mottled veil decorated with a large bow. The two are walking towards the carriage waiting in front of them, while a small poodle prances through the streets of early 20th-century Paris. The modernist school focused its attention on the contemporary urban world rather than on the literary symbol. What stands out in this work is the impression of transience; in the modern, industrial, urban world in which nothing remains, in which society is constantly changing.
Lot 79
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Portrait of a seated young woman".Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 116 x 90 cm; 131 x 104 cm (frame).Oil on canvas, in which the artist has captured the portrait of a seated girl. This type of images starring young ladies were very common during the 19th century, as they allowed the recreation of values such as delicacy and sumptuousness, as can be seen in this case in the treatment of the white dress of the protagonist. The author proposes an intimate image featuring a young woman who has stopped reading and whose gesture seems to recreate the words she has read, reminiscent in a certain way of the idea also put forward in Madame Bovary, on the influence of literature on young women.Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years, with works of a literary and genre nature and some portraits. From 1890 he moved away from history painting, which was in great demand in Spain but little appreciated in France, and devoted himself to genre painting, landscape and illustration in publications such as "Blanco y Negro" and "La Ilustración Española y Americana". On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. Among his disciples were María Blanchard and Cecilio Pla, and he published "La gramática del colour", a work that was used as a textbook in the Fine Arts Schools of Madrid and Barcelona. In the capital Sala opened his own studio and took part in the decoration of the Palaces of Anglada and Mazarredo. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
Lot 81
LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.
Lot 210
Assorted Modern Costume Jewellery, including chunky Middle Eastern style hinged bangle, Wedgwood Jasperware and other dress rings, assorted bead necklaces and bracelets, earrings, gent's Rotary and other wristwatches, bedside clock, jewellery stand, wolf design signet style ring and similar pendant, etc :- One Tray
Lot 395
A Dainty Opal Ring, claw set centre, within inset border, between tapered shoulders, stamped "18 Ct & Pt" (finger size P) (2.5 grams), a modern cabochon set ring, allover textured finish, stamped "375" (finger size J) (3 grams), a full eternity style band (finger size M½), and a three stone dress ring, stamped "Silver" (finger size M½). (4).
Lot 227
Late 18th or early 19th Century carved walnut gingerbread mould, probably Dutch or German, intaglio carved with a native American Indian over two figures in hats; together with another hardwood gingerbread mould similarly carved with figure in Ottoman dress with robes and elaborate headress, 44cm x 14cm and smaller (2)
Lot 148
* Claudet (Antoine François Jean, 1797-1867). A hand-tinted stereoscopic daguerreotype of Katherine Sarah Gurney, March 1857, black passepartout mount with Claudet's 107 Regent Street label to verso, contemporary manuscript note identifying the subject and date, loosely contained within a hinged, folding morocco case stereo viewer with spring-loaded lenses, upper cover with gilt crest and Claudet's name and address, rubbed, one clasp deficientQTY: (2)NOTE:Katherine Sarah Gurney (1837-1917) was the daughter of Anthony and Mary Anne Hamond. She married Somerville Arthur Gurney of Runcton Hall, Norfolk, in 1857, most likely at the time of this photograph which shows the young woman seated in a white lace evening dress.
Lot 149
* Claudet (Antoine François Jean, 1797-1867). A hand-tinted stereoscopic daguerreotype of Katherine Sarah Gurney, March 1857, black passepartout mount with Claudet's 107 Regent Street label to verso, contemporary manuscript note identifying the sitter with her birth date of 25 August 1837 and her marriage date as 14 April 1857QTY: (1)NOTE:A three-quarter length pose wearing a feathered hat, jacket and chequered dress.
Lot 151
* Claudet (Antoine François Jean, 1797-1867). A hand-tinted stereoscopic daguerreotype of Mary Ann Hamond, March 1857, black passepartout mount with Claudet's 107 Regent Street label to verso, with manuscript details of the subject named Mary Ann Chaworth Musters who married Anthony Hamond of Westacre and dateQTY: (1)NOTE:Mary Ann Hamond (1808-?) of Annersley, Nottinghamshire, married Anthony Hamond (1806-?) of Nottingham, in 1828. They had two sons and four daughters. Mary Ann is seen in a half-length seated pose wearing a black lace shawl over a matching dress.
Lot 160
* Gurney Family Photographs. A Gurney family photographic scrapbook, mostly 1860s, containing 30 mounted albumen print photographs, mostly portraits of various sizes, sitters identified include Mrs Joyce, Charles Gurney, Johnny Harbord and Bobby Harbord, A. Hamond, a group outside Moore Hall, Mrs Dunn, a group of 3 men in military dress, unidentified, J. Hay Gurney, C.W. Wickstead, Walter S. Gurney, Somerville Arthur Gurney, Hay Gurney, 2 views of North Runcton Hall, plus one of Daniel Gurney in his pony and carriage with the butler Lincoln and attendant Robert Betts also identified, an interior scene of the gallery at Westacre, etc., various sizes, mounted to rectos of linenised leaves with damp mildew, new endpapers, contemporary quarter morocco, spine worn, 4to, 5 related photographs loosely inserted, together with 8 cased images, a one-ninth plate daguerreotype of an unidentified young girl, a quarter plate ambrotype of Somerville Gurney and his wife Katherine, 2 one-sixth plate ambrotypes of Samuel (one with an infant on his lap), a one-ninth plate ambrotype of Samuel with a dog on his lap, plus 2 tintypes and a hand-tinted one-ninth plate ambrotype of a sleeping or deceased young girl in a white dress, plus 8 stereoviews including 1 of R.S. Gurney in military dress and 1 showing North Runcton Hall in the distanceQTY: (approx. 20)
Lot 200
Thomson (John). Devonshire House Fancy Dress Ball, July 2nd 1897, a collection of portraits in costume of some of the guests, Hammersmith: Privately Printed, 1899, 286 photogravures, spotted (heavier to preliminary leaves), contemporary quarter calf gilt, worn and marked, 4to, together with:A Souvenir of Her Majesty The Queen's Diamond Jubilee, June the 22nd, 1897, and in commemoration of Her Majesty's Eightieth Birthday, May the 24th, 1899, circa 1899, 6 full-page photogravures, further smaller illustrations to text, silk pastedowns and endpapers (pastedowns detached and loose), spotted, hinges cracked, original red morocco gilt, worn, oblong folioRoyal Visits. Arrangements for the Queen's Visit to Sheffield, 1897, circa 1900, 59 mounted letters (both manuscript and typed) and telegrams, occasional light spotting and toning, hinges repaired, contemporary dark blue half morocco gilt, worn, 4to QTY: (3)
Lot 259
* George V (1865-1936). King of the United Kingdom, 1910-1936, & Mary of Teck (1867-1953), Queen Consort of King George V. A pair of photographs of King George V and Queen Mary, by Vandyk and A. Wrightson, c. 1931 & 1940, vintage gelatin silver prints on original mounts, photographers' credit to upper mounts, the King in military dress with medals facing left, the Queen with a tiara and necklace choker, images 14.5 x 10.5 cm and 13.5 x 9.5 cm respectively, boldly signed in brown ink by each sitter on the lower mount, 'George R.I.' and 'Mary R', matching modern desk frames, glazedQTY: (2)NOTE:A near-matching pair of signed studio portraits, though possibly taken some ten years apart.
Lot 261
* George VI (1895-1952). King of Great Britain and Ireland; & Elizabeth (1900-2002), Queen Consort. A pair of photographs of King George VI and Queen Elizabeth, by Dorothy Wilding, 1938, head-and-shoulder portraits, the King in military dress with decorations, and the Queen wearing a formal embroidered crown, tiara and six rows of large pearls, both wearing the star of the Order of the Garter, photographer's credit in the negative lower right, each photograph 14 x 11 cm, laid down on the original cream mounts, signed by each sitter in dark ink on lower mount, 'George R.I. 1938' and 'Elizabeth R 1938', matching modern desk frames, glazedQTY: (2)
Lot 272
* Philip (1921-2021). Duke of Edinburgh, Prince Consort of Queen Elizabeth II. Photograph Signed, 'Philip', c. 1963, vintage gelatin silver print by Baron, dressed in military uniform, seated with left hand on sword hilt, white china ink signature credit of the photographer lower left, image 13.5 x 10.5 cm, signed by Prince Philip in lower blank margin, Baron's wetstamp to verso, presentation blue morocco desk stand with gilt royal crest at head, overall 25.5 x 18 cm, together with 2 smaller signed photographs of Queen Mary wearing a tiara and ceremonial dress, signed and dated lower right, 'Mary 1939', image 12 x 8 cm, gilt metal desk frame, glazed, the other of Princess Anne, image 9.5 x 8 cm, signed and dated in blue ink in the lower blank margin, 'Anne 1994', gilt metal presentation desk frame with monogram A surmounted by a crown at headQTY: (3)
Lot 79
* Japan. An album containing approximately 170 photographs of Japanese people, c. 1900-1920, including several of Yasushi Ohashi (1910-2004, Japanese baseball player), and other unidentified men and women, mostly in traditional dress, postcard and smaller sizes, mounted as multiples to rectos and versos of stiff card leaves without captions, contemporary boards with cloth spine tie, a little rubbed, oblong small folio, together with a group of approximately 30 studio portraits from Japanese studios, 1920s/1930s, and a negative wallet with many Japanese imagesQTY: (approx. 30)
Lot 87
* Lord Kitchener's Mission to Japan. Group of Lord Kitchener's Mission to Japan to attend the Imperial Grand Japanese Manoeuvres. Taken in the grounds of the Shiba Palace, Tokyo, November 1909, carbon print, showing a group of eight men, comprising Major-General Sir Henry Rawlinson, Major General Murata, Colonel W. Lambton, Field Marshall Viscount Kitchener, Mr M. Assano, Lt Col. Yoshida, Major Lord Brooke and Captain Fitzgerald, all standing in dress uniform wearing Orders and Medals, minor spotting and soiling, image 27.5 x 40 cm, printed caption details to window mount beneath, framed and glazed, overall 53 x 65 cmQTY: (1)
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