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McTear's
Lot 23

JAMES WHITELAW HAMILTON RSA RSW NEAC (SCOTTISH 1860 - 1932),THE OLD FARMHOUSEoil on board, signed25cm x 35cmFramed.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture.Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life.Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery.James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.

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Warrington Auction Ltd
Lot 734

Five piece white and gold painted wicker conservatory set

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Artemis Gallery LIVE
Lot 100

New World, Spanish Colonial period, ca. 19th century CE. One of my favorite santos! Finely painted in rich jewel tones, an exquisite rendering of a silver winged Archangel Michael in full battle attire, holding a silver repousse shield and a silver sword. He wears conquistador-style armor, complete with a rounded helmet, dashing flowing vestments and boots, both detailed with gold leaf designs, and is posed dynamically atop a pedestal with a delicately painted floral design. Size: 6.25" W x 14.5" H (15.9 cm x 36.8 cm)This Santo is among the most expertly carved and polychromed examples we have come across. Just look at how the sculptor modeled the flowing vestments and wavy coiffure, truly making fabric and tresses from wood! No less impressive is the movement of the figure that the artist conveys. Furthermore, the gold leafed details are so skillfully painted, applied with a fabulous eye for design.Santos played an important role in bringing the Catholic Church to the New World with the Spanish colonists. These mannequin-style religious figures were hand-sculpted and often furnished with ornate religious clothing (though this example features such finely delineated, painted, and gilded clothing that there is no need for added vestments), usually funded by religious devotees, and were used as icons to explain the major figures - Mary, Christ, and the saints - in the religion to new, indigenous converts. Likewise, they served as a connection to the Old World for colonists far from home. Provenance: From the Lilly and Francis Robiscek Collection of Religious Art, Charlotte, NC Condition: Face has been repaired; sword has been reattached and may not be original. Shield and sword are both removable. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119815

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Artemis Gallery LIVE
Lot 105

Russia, ca. 19th century CE. Beautifully painted in egg tempera and gold leaf, this wood Russian icon presents the Virgin Hodegetria ("She who shows the way"), the composition depicting the Mother of God holding the Christ child in one arm, as he makes a blessing gesture. On her shoulders and head, Mary wears a triple, star-shaped cross, which is an ancient Syrian symbol of her virginity - before, during, and following the birth. Size: 14.75" W x 18.75" H (37.5 cm x 47.6 cm)Since the artist only depicted her head and shoulders, the viewer is invited to gaze upon Christ with the subtle inclination of her visage, particularly given those expressive eyes. The Christ Child is characteristically depicted in a rigid, vertical pose - wearing regal vestments. Adoring diminutive angels peak at the pair from behind the Virgin's halo. The pair is 'framed' by a decorative border with scrolled and floral motifs. Gold leaf highlights accentuate various areas of the composition. This use of golden hues, the serene and regal countenance of Mary's face, as well as the pantomime-like gestures reference classic Byzantine splendor. According to the text accompanying this icon in the brochure for "Windows into Heaven" exhibition, "The example on the left, with its flattened features and stylized drapery, shows adherence to Byzantine painting norms." (p. 16)The pamphlet also discusses this icon as a fine example of the Mother of God of Kazan version of the Russian Theotokos. "Per tradition, the prototype of this icon came to Russia from Constantinople in the 1200s. It disappeared after the Tatars besieged the city of Kazan in 1438, and then was dug up in Kazan in 1579 by a girl named Matrona and her mother after the Virgin appeared repeatedly in the girl's dreams, telling her of the buried icon. The Kazan Mothr of God later became Russia's symbol of national unity. The icon accompanied soldiers freeing Moscow from the Poles in 1612, and traveled with the troops fighting Napoleon in 1812." (p. 15)Icons were some of the first religious artworks brought to Russia from Byzantium. These sacred pictures of the Greek Orthodox church reached a high point in the Byzantine era, however, the Russians brought their own style to the art of the icon. Icons were initially created for use in churches and processions. In time they became smaller and were used increasingly within households. To this day they remain an important form of visual culture in Russia's orthodox religious community.The existence of back slats demonstrate that this icon predates 1880/1890. A lovely example inspired by the icon of the Hodegetria that arrived in Constantinople from Jerusalem, where it was found in the 5th century by the sister-in-law of Emperor Theodosius II. According to Alfredo Tradigo's "Icons and Saints of the Eastern Orthodox Church" (2004), "Hidden from the Iconoclasts in a wall at the Hodegon Monastery, it was later carried to the city walls when Constantinople lay under siege and became, under the Palaiologan dynasty (1261-1453), a major palladium protecting the capital. Copies made their way to Rome, the Near East, the Balkans, and Russia." (Tradigo, p. 169)Exhibited in "Windows Into Heaven: Russian Icons from the Lilly and Francis Robicsek Collection of Religious Art" at the Mint Museum of Art, Charlotte, North Carolina (December 20, 2003 through February 22, 2004) which presented highlights of one of the world's great artistic traditions through an extraordinary group of sixty-five 18th and 19th century Russian icons on loan from the private collection of Lilly and Francis Robicsek. Also featured in an exhibition of the same name at the North Carolina Museum of History in Raleigh, North Carolina October 4, 2013 through March 5, 2014. Published in the catalogue accompanying the North Carolina Museum of History written and compiled by curator Jeanne Marie Warzeski.Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Some icons are encased in precious metal covers (oklads) adorned with pearls and semi-precious stones or glass-fronted wooden cases (kiots). Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven."The “Windows Into Heaven” exhibition profiled a magnificent chapter of Russian artistry, the embrace of the Russian Orthodox faith of religious icons during the Romanov centuries. The Russian religious faith was an offshoot of Byzantine Christianity, which in 1054 parted ways from Roman Catholicism. Icons were and continue to be religious images created for veneration. As a focus for prayers and meditation for believers, icons serve as “windows into heaven.” Provenance: Ex-Lilly and Francis Robicsek Collection of Religious Art, Charlotte, NC; exhibited at Mint Museum of Art "Windows Into Heaven", Charlotte, North Carolina (December 20, 2003 through February 22, 2004) and North Carolina Museum of History in Raleigh, North Carolina October 4, 2013 through March 5, 2014 Condition: Nice age to surface with craquelure, age cracks, and losses as shown. Back slats are intact. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119594

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Artemis Gallery LIVE
Lot 109

Russia, ca. 19th century CE. Finely painted in egg tempera and sumptuously adorned with gold leaf and enamel on wood, this icon features the miracle-working Saint Nicholas the Wonderworker dressed as a bishop in a cross adorned omophorion holding candlesticks in each hand, flanked by two saints; a heavenly apparition of the Holy Trinity in the celestial realm above. Surrounding the arched composition is a gilt and enamel border of jewel tone and golden hues, enamel also featured on the 'pearl' haloes of Nicholas and the saints. Size: 12.25" W x 14" H (31.1 cm x 35.6 cm)Nicholas, one of the most beloved saints of the church, who served as an intercessor, performing miracles of healing and rescue, has an interesting history. A strong opponent of the heretical bishop Arius at the Council of Nicaea, Nicholas, after slapping Arius in the face, was denied his holy insignia and tossed in jail. However, Christ and the Virgin appeared to him and gave him back his freedom and his episcopal office. Here shown with a serious countenance, a high furrowed forehead, concentrating eyes framed by arched brows, and a short, gray beard, Saint Nicholas is portrayed as a staunch champion of the Christian faith, a defender against heresy, and a healer. Saint Nicholas is regarded as the archetypal Bishop and the archetypal Saint – these titles supported by the presence of the Holy Trinity amid heavenly clouds above. The stunning gilding surrounding the arched composition as well as the decorative gilded and jewel tone enameled border add to the sacred nature of this icon.Exhibited in "Windows Into Heaven: Russian Icons from the Lilly and Francis Robicsek Collection of Religious Art" at the Mint Museum of Art, Charlotte, North Carolina (December 20, 2003 through February 22, 2004) which presented highlights of one of the world's great artistic traditions through an extraordinary group of sixty-five 18th and 19th century Russian icons on loan from the private collection of Lilly and Francis Robicsek.Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Some icons are encased in precious metal covers (oklads) adorned with pearls and semi-precious stones or glass-fronted wooden cases (kiots). Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven."The “Windows Into Heaven” exhibition profiled a magnificent chapter of Russian artistry, the embrace of the Russian Orthodox faith of religious icons during the Romanov centuries. The Russian religious faith was an offshoot of Byzantine Christianity, which in 1054 parted ways from Roman Catholicism. Icons were and continue to be religious images created for veneration. As a focus for prayers and meditation for believers, icons serve as “windows into heaven.” Provenance: Ex-Lilly and Francis Robicsek Collection of Religious Art, Charlotte, NC; exhibited at Mint Museum of Art "Windows Into Heaven", Charlotte, North Carolina (December 20, 2003 through February 22, 2004) Condition: Gilded and painted surfaces with some expected wear and loss as shown, but overall very good. Age cracks visible on verso, small loss to wood on periphery. Mint Museum label and suspension wire on verso. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119447

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Artemis Gallery LIVE
Lot 24a

Ancient Rome, ca. 1st to 3rd century CE. An 18 karat gold ring with a deep blue glass intaglio set in an oval bezel. The gold setting is finely worked; note the wavy surround 'framing' the intaglio and the fine, stylized geometric engraving adorning the shank. While possible to see glimpses of the schematized imagery on the intaglio, it is difficult to decipher due to surface wear and encrustations. Total weight: 8.6 grams; Size: intaglio measures .5" L x .375" W (1.3 cm x 1 cm); opening measures .625" L x .5" W (1.6 cm x 1.3 cm) Provenance: Ex-New Hampshire collection, most acquired prior to 1985 Condition: Surface wear and encrustations to intaglio. Shank with surface wear and some bending as shown. Ring is somewhat misshapen, making ring size difficult to discern, closest to size 1. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119484

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Artemis Gallery LIVE
Lot 35

Western Europe, France to Germany, ca. 2nd to 1st century BCE. A very rare Celtic "rainbow cup" gold stater. According to popular belief, rainbows left a piece of gold - the rainbow cups - behind where they had touched the ground. 7.5 grams of about 16kt gold. Size: .625" W (1.6 cm)Gold coins like this very often surfaced on fields after heavy rainfalls. The cup is actually an upside down torque often worn by wealthy Celts. Inside the torque sits 6 rounded discs whose meaning is not well known. Additionally, the symbolism of the opposite side can only be guessed at due to its abstract nature. This unfamiliar, abstract and often purely ornamental imagery was often considered primitive and barbaric up until the 19th century. Provenance: Ex- Collection of James Farmer, Maryland, collected from major galleries and auction houses between 1995 and 2005 Condition: About VF All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120392

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Artemis Gallery LIVE
Lot 80h

Pre-Columbian, Costa Rica, Chiriqui, ca. 800 to 1200 CE. A large and finely delineated 16 karat gold pendant depicting a monkey with a secure loop on the verso, making this piece quite wearable. In southern Costa Rica, certain peoples thought of monkeys as former men; the spider monkey, in particular, was revered as a warrior. Here featured in a standing position, this lively monkey, with arms outstretched, grasps his bifurcated tail as if it were a swing. Masterfully worked spiral motifs ornament his curved headdress/coiffure, perhaps representing curls. His beady round eyes, arched brows that resolve to nostrils, and wide grimace complete this golden image created by the indigenous of Costa Rica. Cast by the lost-wax or cire perdue process, the composition of the piece is elegantly balanced with myriad detail. A stupendous example demonstrating a mastery of the medium as well as an aesthetic inspired by both the natural and supernatural worlds. Weight: 46.2 grams Size: 2.125" W x 2.375" H (5.4 cm x 6 cm) Provenance: Ex-private Van Buskirk collection, Tucson, AZ, Ex Bonham's New York, African, Oceanic and Pre-Columbian Art (15 May 2014, lot 200) Condition: Just a few minor casting flaws, else near choice. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120402

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Artemis Gallery LIVE
Lot 91b

Pre-Columbian, Panama, Veraguas, ca. 1200 to 1500 CE. Impressive enough to be worn by a chief or shaman, a large high karat (tested 20+) gold pendant cast via the lost wax process with an open back, depicting a complex hybrid zoomorphic form with a bird head holding a twisted snake in its mouth, a turtle shell, many legs and a bifurcated tail suggestive of an amphibian or insect. Weight: 19.5 grams Size: 1.625" L x 1.75" W (4.1 cm x 4.4 cm)According to scholar Dorie Reents-Budet, in Panama and Columbia, gold adornments such as this composite zoomorphic effigy would have been a totemic icon for a familial unit or community group, intimating the honorable members special powers. ["Exploring Art of the Ancient Americas" (2012)] Provenance: Ex-private G. Warneke Collection, acquired prior to 1970 Condition: A few casting flaws and minor surface wear. Overall excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120882

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Stanley Gibbons
Lot 855

Large world accumulation in 51 volumes wide range of countries seen incl Leeward Is 1954 set to $4.80 unused , Gold Coast 1948 set to 10s unused, Mauritius 1938-49 set to 10r unused, 1965 set to 10r unused, Nigeria 1953-58 set to £1 unused, 1965-66 set to £1 unused, Somaliland Protectorate 1942 set to 5r unused, 1951 set to 5s on 5r unused, Great Britain postage stamps, fdc`s, Presentation Packs; also various stamps in pages and envelopes, mixed condition still a good lot for the general collector ( Thousands)

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Stanley Gibbons
Lot 883

British Africa: Useful unused/used ex-dealer's stock on cards incl South Africa 1913-24 £1 green and red unused, Transvaal 1892 £5 deep green used by Klerksdorp cds, Zululand 1888 1s dull green used, SWA 1927-30 3d perf 14x13½ block of 4 incl no stop var, Southern Nigeria 1908 MCA 10s grey-black and purple/yellow, 1909 MCA purple and black/red unused, also used but cancel not guaranteed, Sudan 1935 Gordon 50p unused, Zambia 1968 8n with blue omitted, u/m, Somaliland 1903 3r overprint at foot, 1919 MCA 2r to 5r overprinted 'SPECIMEN', Tanganyika 1917 10r and 1923 Giraffe £1 watermark upright, both unused, Sierra Leone 1896-97 to £1 purple/red, also additional 5s and £1, Gold Coast 1898-1902 to 5s, incl 2d used, Gambia 1869 imperf 4d pale brown unused and 6d blue used by cds in black, KEVII to 3s unused, Morocco Agencies Spanish currency seahorses to 12p on 10s, 1948 RSW 45p on £1 (6), BEA 1895 overprint 2r, 3r and 5r unused, KUT 1903 50r used by Mombasa cds (not guaranteed), Nyasaland 1896 CC £1 unused, £25 overprinted 'SPECIMEN', 1897 £10 black and yellow fiscally used, 1903-04 £10 grey and blue used by Blantyre cds (not guaranteed), 1913-21 £10 purple and royal blue used by two part Blantyre squared circles (not guaranteed), cond mixed in places (Scores)

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Stanley Gibbons
Lot 1160

1973 British Explorers 9p with gold (Queen's head) omitted (SG 927a) fine u/m, with normal for comparison

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Stanley Gibbons
Lot 296

1966 President Kennedy Commemoration 3d variety 'Gold inscription omitted' (SG 371a) u/m, fine, with normal stamp for comparison, cat £300

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Stanley Gibbons
Lot 894

1964 Chinese Peonies 2y "Glorious Crimson and Great Gold Pink" miniature sheet (SG MS2199a), light creasing in lower margin but 'stamp' unaffected, unused without gum as issued, cat £4,000

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Stanley Gibbons
Lot 1154

1972 British Explorers 3p with gold (Queen's head) omitted (SG 897a) fine u/m, with normal for comparison

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Stanley Gibbons
Lot 1159

1973 British Explorers 5p with gold (Queen's head) omitted (SG 925a) fine u/m, with normal for comparison

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Stanley Gibbons
Lot 1141

1968 Bridges, 1s9d with gold (Queen's Head) omitted (SG 766a) fine u/m, offered with normal for comparison

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Stanley Gibbons
Lot 1138

1968 Bridges, 9d with gold (Queen's Head) omitted (SG 764a) fine u/m, offered with normal for comparison

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Woolley & Wallis
Lot 46

λ English School late 18th Century Portrait miniature of a gentleman, bust length wearing blue Oval, in a gold frame 38 x 28mm and similar With another of a gentleman c .1780 in a gold frame later converted to a brooch (2)

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Woolley & Wallis
Lot 29

λ James Scouler (1741-1812) Portrait miniature of a gentleman, head and shoulders, in a blue coat Signed with initials and dated indistinctly, thought to be 1771 Oval, blue glass surround, gold frame with hair back and seed pearl initials JMB 60 x 50mm Provenance: Lawrence Gould Antiques 15/11/07 Lots 1-31 from a private collection

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Woolley & Wallis
Lot 78

λ William Wood (1768-1809) Portrait miniature of the Reverend William Whiteside, head and shoulders, wearing black with a white stock and cravat Oval, in a gold frame 80 x 62mm General condition report Good condition

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Woolley & Wallis
Lot 17

λ English School late 18th century Portrait miniature of a lady, bust length, wearing a red ribbon in her hair Oval, blue glass mount, gold plated frame and hair back 28 x 23mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 26

λ English School early 19th Century Portrait miniature of a gentleman, head and shoulders, facing left, wearing a blue coat Oval, in a gold plated frame with a hair back 65 x 53mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 61

λ George Engleheart (1752-1829) Portrait miniature of a gentleman, head and shoulders, in a navy coat and white stock and cravat Signed with an initial E Oval, in the original gold frame with a blue glass back 80 x 64mm Painted c.1795 General condition report Good condition

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Woolley & Wallis
Lot 1

λ English School early 17th Century Portrait miniature of a gentleman, bust length wearing an elaborate wide ruff Oval, in a gold frame 40 x 30mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 75

λ Richard Cosway R.A. (1742-1821) Portrait miniature of The Earl of Burlington, head and shoulders, wearing a blue coat and white cravat Oval, in a double sided locket with hair and seed pearl on left side, the outside engraved Ricordanza 48 x 40mm Painted c.1790 General condition report Miniature good condition, one or two hairs displaced, Gold case, some light abrasions commensurate with age

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Woolley & Wallis
Lot 30

λ Samuel Shelley (1750/56-1808) Portrait miniature of a gentleman Head and shoulders, facing left, in a blue coat and lace stock Signed verso Oval, gold plated frame, glass back 45 x 35mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 31

λ Continental School late 19th Century Portrait miniature of an officer, wearing blue uniform with an orange sash Engraved verso: Wm Webb Ob. 18th Oct 1797 Oval, in a gold frame 35 x 20mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 27

λ German School early 19th century Portrait miniature of Wilhelm Friedrich Ernst Graf Schaumberg-Lippe-Buckeburg (1724-1777) Half length wearing blue uniform and the Prussian Order of the Black Eagle  Rectangular, in a gold plated frame 55 x 41mm Friedrich was the 2nd son and heir of Albert Wolfgang, Count of Schaumburg-Lippe and Margaret Gertrude, Countess of Oeynhausen. He was Grandson of George I as his mother was the illegitimate daughter of George I and his mistress Ehrengard Melusine von der Schulenburg, Duchess of Kendal Provenance: Lawrence Gould Antiques 9/6/06 Lots 1-31 from a private collection

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Woolley & Wallis
Lot 23

λ Francis Hargreaves (19th Century) Portrait miniature of Elizabeth Crosfield (1815-1893), daughter of George and Margaret Crosfield later married Octavius Waterhouse on 2nd August 1836 in Liverpool, head and shoulders, wearing quaker dress Inscribed and dated verso, in a gold plated frame 85 x 65mm Provenance: Bonham's London, 1st July 2003, lot 163 Lots 1-31 from a private collection

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Woolley & Wallis
Lot 80

λ William Wood (1768-1809) Portrait miniature of a lady, head and shoulders in a gold dress and blue turban Oval, in a gold frame 75 x 63mm Painted c.1810 General condition report Small area of rubbing lower right near shoulder otherwise good condition

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Woolley & Wallis
Lot 64

λ John Russell R.A. (1745-1806) Portrait miniature of a lady, head and shoulders, wearing a blue dress and a hat with a blue ribbon Oval, in the original gold frame with a hair back with blue and white enamel and seed pearls 80 x 65mm Painted c.1790 John Russell was portrait painter to George III and the Prince of Wales General condition report Good condition

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Woolley & Wallis
Lot 24

λ Circle of George Engleheart Portrait miniature of a gentleman, head and shoulders, wearing a grey suit and white stock, facing left Oval, in a gold frame, blue glass and hair back with the initials WR 77 x 58mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 20

λ William Haines (1778-1848) Portrait miniature of Hester Mills, head and shoulders, wearing a brown gown Signed, oval, in a gold plated frame 68 x 56mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 6

λ Circle of Gervase Spencer Portrait miniature of a gentleman, bust length in a full-bottomed wig and garter sash over armour Oval, in a gold frame 30 x 22mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 36

λ French School 1795 Portrait miniature of a gentleman, head and shoulders wearing a striped jacket and waistcoat Signed indistinctly Bellicas... and dated 1795 Set into the lid of a circular tortoiseshell box with gold mounts 67mm diameter General condition report Some damage to the edge of the box, miniature with water damage in various places

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Woolley & Wallis
Lot 16

λ Flemish School 17th Century Portrait miniature of a gentleman, head and shoulders, wearing a plumed hat Enamel, with an arcadian landscape verso, in a gold frame 22 x 18mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 45

λ George Engleheart (1752-1829) Portrait miniature of Sir William Loraine, 4th Baronet (1749-1809), head and shoulders, wearing a brown jacket and white cravat Engraved on the frame with name of artist and sitter Oval, in the original gold frame with blue glass and hair verso 73 x 60mm General condition report Miniature good condition, frame a few scuffs to gold and two chips to blue glass

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Woolley & Wallis
Lot 35

λ Isaac Ware Slater (1784-1836) Portrait of an officer, head and shoulders wearing uniform and a white sash Signed verso Set into the lid of a circular gold mounted tortoiseshell box 70mm diameter Previously thought to be James Gubbins of the King's Own Dragoons, this could also depict a Portuguese officer from the Peninsular War

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Woolley & Wallis
Lot 12

λ Charles Jagger (1770-1827) Portrait miniature of a lady, head and shoulders, with pearls in her hair Signed Oval, gold frame, hair back 70 x 55mm Provenance: Lawrence Gould Antiques 12/11/08 Lots 1-31 from a private collection

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Woolley & Wallis
Lot 11

λ Continental School c.1818 Portrait miniature of Jan Modeska, head and shoulders, in uniform Inscribed indistinctly verso Oval, in a gold plated frame 68 x 54mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 18

λ Follower of Nathaniel Plimer Portrait miniature of a lady, bust length in a blue dress with a white ribbon in her hair Oval, gold plated frame, hair back 53 x 36mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 22

λ English School mid 19th Century Portrait miniature of a gentleman, bust length, in black Oval, in a gold foliate scroll frame 40 x 30mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 13

λ William Armfield Hobday (1771-1831) Portrait miniature of John Taylor (d. 1859), head and shoulders wearing a black coat Oval, in a gold plated frame, hair back 70 x 55mm Provenance: Lawrence Gould Antiques 11/11/03 Lots 1-31 from a private collection

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Woolley & Wallis
Lot 63

λ George Engleheart (1752-1829) Portrait miniature of a naval officer of the 13th Light  Dragoons, c.1785-1790 in full dress uniform, head and shoulders Oval, in a gold and enamel frame with a blue glass and hair back 52 x 44mm General condition report Miniature good condition, frame enamel chipped

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Woolley & Wallis
Lot 28

λ English School c. 1810 Portrait miniature of a gentleman, head and shoulders wearing a blue coat Thought to be inscribed verso Adam Frederick Oval, in a gold plated frame, blue glass and hair back 54 x 45mm Provenance: Lots 1-31 from a private collection

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Woolley & Wallis
Lot 34

λ George Chinnery (1774-1852) Portrait miniature of Maria Graham, half length, wearing a green jacket Oval, in a gold frame 86 x 68mm Painted c.1795 This portrait of Maria Graham would have been painted by George Chinnery in Bombay. She married her first husband, Captain Robert Graham, RN in Bombay and travelled with him to Chile in 1821. However he died of fever en route and shunning the British community Graham lived among the Chilean people. She published her ~Journal of a residence in Chile~ in 1822 and other books about her stay earning the gratitude of Chileans for her invaluable social document. Her second husband was the painter Augustus Wall Calcott (1779-1844) whom she married in 1827. With her literary background and his wide circle of artistic connections they became a key part of the cultural scene in London. General condition report Good condition

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Bamfords Auctioneers & Valuers
Lot 231A

A 19th century hand scrivened and illuminated coat of arms, showing the achievement of Sir Thomas Hayes (d. 1617), Lord Mayor of London in 1614, within a blue bellhusk oval, watercolour, gouache and gold parchment, oval, 29cm x 24cm, gilt mount, framed

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Bamfords Auctioneers & Valuers
Lot 301

Military Interest - a World War I silkwork panel, probably the work of a convalescent soldier, worked in gold, silver and coloured threads with the insignia of the Leicestershire Yeomanry (Prince Albert's Own), 43cm x 33cm, c.1915, oak frame

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Bamfords Auctioneers & Valuers
Lot 1550

A 9ct gold curb bracelet, padlock

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Bamfords Auctioneers & Valuers
Lot 1551

Rings - 9ct and 18ct gold dress rings, mourning rings, gypsy set diamond ring; etc

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Bamfords Auctioneers & Valuers
Lot 1552

A 9ct gold ring, 9ct gold-mounted cameo, 5g gross; a yellow metal and 'amethyst' paste ring (3)

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Bamfords Auctioneers & Valuers
Lot 1554

A 9ct rose gold bangle, chased foliate decoration, 1899, Birmingham, Lawson Ward and Gammage

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Bamfords Auctioneers & Valuers
Lot 1557

A Georgian coral set gold brooch

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Bamfords Auctioneers & Valuers
Lot 1558

A 9ct gold and pearl modernist brooch, total weight 6 grams

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Bamfords Auctioneers & Valuers
Lot 1560

Jewellery - a Victorian gold-plated and malachite lady's brooch; Victorian silver bar brooch; cameo, mounted; loose paste stones; etc

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Bamfords Auctioneers & Valuers
Lot 1562

Three 9ct gold dress rings, one amethyst set; one agate; one topaz (3)

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Bamfords Auctioneers & Valuers
Lot 1564

A 9ct gold mounted cameo pendant and chain, 9ct gold wedding band/ring, 7g gross

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Bamfords Auctioneers & Valuers
Lot 1565

Jewellery - a 9ct gold fancy link bracelet with heart shaped lock; others including chains, costume jewellery; etc 29g

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Bamfords Auctioneers & Valuers
Lot 1566

An 18ct white gold diamond Pallas Athena ring, open shaped platform inset with fifty modern round brilliant cut diamonds, total estimated diamond weight approx 0.50ct, 18ct white gold shank, stamped 18kt, import masks, London 1999, size N, 5,6g gross, with Gema C & T certificate and original purchase documents)

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