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Lot 663
A 19th century miniature portrait of oval form, half length study of a lady in feathered hat, inscribed verso Baroness De Abercorn, 9 cm approx together with a 19th century photographic portrait of a seated lady, a small landscape etching signed M Hicks, etc., together with an acrylic painting of rocks signed Graeme Bell dated 1988, with New South Wales details verso, a signed limited edition etching of a Cornish fishing harbour by Graham Barry Cliverd and a coloured map of Hertfordshire after Robert Morden, all framed.
Lot 95
A 19th century dish of oval form with polychrome painted Watteauesque decoration of a lady and gentlemen within pierced floral borders, with AR monogram to reverse, together with a 19th century Sevres style cup and saucer with painted female portrait decoration to the cup and floral reserve panels to the saucer both with Sevres mark to base and a small collection of 19th century miniature cream ground dinner wares with fleur de lys decoration
Lot 70
EARLY VICTORIAN OVAL PORTRAIT MINIATURE of The Madonna and Child, painted on porcelain, set in silver gilt frame, the reverse of which is engraved 'Helen Colquhoun Alexander Daughter of Sir James & Lady Alexander B.1839 D.1848 at Sorel', the portrait 6cm high and 4.7cm wide Note: Major General Sir James Edward Alexander (1803-1885), of Westerton House, had a distinguished military career (at the time of the portrait he served in Canada as Captain with 14th Foot), was a prolific author and was also largely responsible for the preservation and transfer of Cleopatra's Needle to London in 1877.
Lot 176
***PLEASE NOTE: THIS ITEM CONTAINS OR IS MADE OF IVORY***ATTRIBUTED TO JOHN SMART (1742-1811)Miniature Half-length portrait of a young manOil on ivory, 6.4 x 5.1cmBidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory, or any goods containing ivory. Therefore Adams advises prospective purchasers who intend to ship this lot to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.
Lot 576
A pair of Continental porcelain plaques of oval shape, one painted with the portrait miniature of a lady, the other with a three quarter length portrait miniature of a lady, both within gilded ribbon tied easel frames, one marked E.H. Till, Lucerne, Nice 1904, 10.5cm high; together with a pair of brass and enamel opera glasses, painted with figures in a landscape in velvet case, 3.8cm high (3)
Lot 256
*Miniature. An early 19th century miniature portrait of a young officer of the Grenadier Guards, watercolour and gouache on paper, the officer in red scarlet coatee with gold collar and epaulettes, cream sash with brass cross belt plate, sword and black trousers, 10 x 7.5cm (4 x 3ins), oval gilt mount aperture in a later Henneman & Co ambrotype morocco case, approximately 15.5 x 13cm (6 x 5.25ins) (1)
Lot 18
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF ROBERT CUNNINGHAM GRAHAM OF GARTMORE AND FINLAYSTON Oil on canvas 75cm x 62cm (29.5in x 24.5in) Provenance:By descent in the Cunningham Graham family Exhibited:On extended loan from Lady Patricia Cunningham Graham to Culzean Castle (National Trust for Scotland) 1982-2016 Reference:David Mackie, Raeburn Life and Art (a complete catalogue of the artist's work in 6 volumes) unpublished Ph.d thesis, University of Edinburgh, no. 340B Note: Robert Cunningham Graham o' Gartmore and Finlayston (1735-1797) was the Receiver General for Jamaica and MP for Stirlingshire from 1794-1796 as well as being Rector of Glasgow University from 1785-7 and a noted poet. The sitter was a supporter of the French Revolution and a leading advocate for political reform. There is a primary version, near full-length, in the Scottish National Portrait Gallery. The portrait on offer is a smaller repetition by Raeburn, showing only the central part of the composition. The primary version of the painting was discussed in a letter of 17 November 1794 from Raeburn to the man who commissioned it, Cunningham Graham's friend, Hugh Innes of Balmacara, Ross-shire. The existence of this part-replica speaks for the success of the portrait with the sitter and his friends. Further evidence for this is suggested by the creation of an enamel copy in miniature of the "A" version by Henry Bone in the collection of the Hunterian Museum, Glasgow. The primary version came to light when included in the 1939 Exhibition of Scottish Art at the Royal Academy. The version offered here, became known when it was lent by the sitter's family to the National Trust for Scotland in 1982, to be hung at Culzean Castle. Neither work features in the Raeburn literature before Mackie's complete catalogue. The "A" version of the portrait was requested by Baroness Thatcher from the SNPG for display at 10 Downing Street, where it hung during her time as Prime Minister. The creation of the version offered here may have been occasioned by the sitter's death in 1797. The extensive use of bitumen suggest that it was painted c.1800 when the artist had developed a new and darker style of painting. Raeburn may have used the original version as his model. This version is just over half the size of the primary version and the reduction in scale has caused some essential changes to the composition: the sitter's left arm is lowered out of sight and the book now appears on the table. Studio assistants working for Raeburn at that early date are not known, and although the involvement of assistants in Raeburn's practice is poorly understood, it seems always to have been limited. In the primary version the leading eye of the portrait has a cast and there is also disparity between the two sides of the sitter's face, created by shadow. Many consider Raeburn's portraits of the 1790s to be his finest. They communicate appearance, character, psychological and emotional state, and mental force. Their skilled and inventive use of pose and lighting give an enduring sense of human presence and human uniqueness. The portrait offered here has been examined by Dr David Mackie and will be included in his forthcoming complete catalogue of Raeburn. We would like to acknowledge the assistance of Dr. David Mackie, St Catharine's College, Cambridge in cataloguing this picture.
Lot 222
A 19th century brooch with Indian portrait miniature of Maharaja Ranjit Singh, the oval portrait on ivory is finely painted in watercolour with gold detailing, and portrays the leader and unifier of the Sikh Empire with white moustache and beard, dressed in a pink and colourfully embroidered coat and turban with fur collar and jewelled aigrette, with a ceremonial arrow, bow and shield; it is collet set and mounted with a tubular edging that ties at the bottom like a stylised Q, verso with glazed panel enclosing a thick plait of brunette hair; width 4.9cm Other Notes: Ranjit Singh was born in 1780, and despite losing his sight in one eye as a result of childhood smallpox, he distinguished himself on the battlefield from his late teens onwards, beginning the conquest of the whole of central Punjab, driving the invading Afghans out of Lahore and back to Kabul, and unifying the various Sikh misls and factions into a functioning empire - eventually holding sway from the bounds of British India in the east to the Durrani Empire in the west, encompassing Kashmir in the north and parts of the Himalayas to Tibet, Multan in the south, Peshawar, Khyber and Jammu. Although this Empire was Sikh, Ranjit Singh was renowned for his reconciling ways: Muslims, Hindus and Christians as well as Sikhs held high political and military positions; all religions were equally respected, and the places of worship of conquered enemies were not destroyed. He is famous for the decoration of the Harmandir Sahib (the Golden Temple) in Amritsar, and for owning the Koh-i-Noor diamond. He died in 1839, being succeeded briefly by his first born son Kharak Singh, and then, after a short time of political turmoil, by his youngest son, Duleep Singh, aged only five. (The British soon swept him and his regent mother from power and exiled him to Britain, where he spent most of the rest of his life, a protégé of Queen Victoria, member of high society and owner of the Elvedon estate near Thetford.) Ranjit Singh thus created and presided over the Sikh Empire which dissolved within a decade of his death. His reputation was and remains remarkable. He was known as Sher-e-Punjab (Lion of the Punjab), one of only three awarded the title 'Lion' in the modern history of the Indian subcontinent. He has been compared to Napoleon for military prowess and leadership, but notably without ferocity or blood-thirstiness, nor punishing criminals with death. His foreign minister, Fakir Azizuddin, when asked by the Governor-General of India, Lord Auckland, which of Ranjit Singh's eyes was blind, replied, "the Maharaja is like the sun, and the sun has only one eye. The splendour and luminosity of his single eye is so much that I have never dared look at his other eye".
Lot 658
Attributed to Sir Thomas Lawrence, PRA (British, 1769-1830) Portrait miniature of John, Marquis of Granby (1721-1770), head and shoulders inscribed lower left "T Lawrence, aged 10 years / Fecit" (therefore dateable to 1779) plumbago on vellum, in a verre eglomise frame 6 x 5cm (2 x 2in) Provenance: From the collection of Eila Grahame of Claverhouse Other Notes: If indeed, as traditionally believed, this drawing is by Thomas Lawrence aged 10, it cannot be from life but is possibly after an engraving. Image good but frame distressed. Inventory number 12 on verso
Lot 663
After Hippolyte Paul Delaroche (French, 1797-1856) A bust portrait of Napoleon I in three-quarter profile, wearing the uniform of Colonel of the Grenadiers of the Guard, bearing the Legion of Honour and the Iron Crown signed lower right "Léry" watercolour on porcelain plaque, circular; in a square wood frame 4½ x 4½cm (2 x 2in) Other Notes: The present miniature portrait of Napoleon appears to be based on the Emperor's portrait by Hippolyte Paul Delaroche, 'Portrait of Emperor Napoleon the First in his Office', currently in the collection of Pierre-Jean Chalençon. Unlike Delaroche's original, the miniature depicts the sitter in a landscape setting. Indistinctly inscribed on vellum to verso. A scuff on the left, between the sitter's head and the margin.
Lot 664
Jeremiah Meyer, R.A. (Anglo-German, 1735-1789) Portrait of Mrs Elizabeth Theobald (c.1725-1796), wearing a grey dress with white lace trim and a white bonnet inscribed "E Theobald Died 9 November 1796 aged 71" to the reverse watercolour on ivory, oval; in an engine-turned gold locket frame with hinged lid 7½ x 6cm (3 x 2in) This portrait miniature was executed when Jeremiah Meyer resided at Kew Green from 1774 until his death. Mrs Elizabeth Theobald was the artist's neighbour who lived at the north side of Kew Green, at Hanover House, now known as Kew Garden's Herbarium. A small scratch to the glass left of the sitter's shoulder.
Lot 113
A rare and well preserved Arctic exploration sledge flag for Admiral George Richards KCB, Commander of HMS Assistance in Sir Edward Belcher's expedition of 1852/3/4 in search of HMS Erebus and HMS Terror of Sir John Franklin's Lost Expedition of 1845:, the flag with Admiral Richard's personal heraldry comprising a lamb and flag crest with motto 'Laus Deo' (Praise God) in white silk on a blue reserve, 46cm x77cm, mounted on a glazed frame with inscription,* Notes 'This Banner was carried to the Arctic Regions by Admiral Richards CB. when Commander of HMS Assistance, in Sir E Belcher's Expedition 1852.3.4 in search of the Erebus and Terror, under Sir J Franklin. After wintering at the Head of Wellington Channel in 76°55' N. Lat., it was taken, in the Spring of 1853 to Melville Island and floated on every conspicuous height discovered, and having accomplished near 1000 miles, it was returned to HMS Assistance. Passing a second Winter it was again carried on a Sledge journey down the Channel westward and through Barrow Straits and again returned after a sojourn of 73 days on the Sledge. On reaching England in 1854 it was presented to Mr Barrow. When the late Expedition of 1875 was fitted out under Capt now Sir George Nares KCB it was carried up Smith's Sound and hoisted on Cape Joseph Henry in Lat 83° N. On its return to England it was restored to Mr Barrow who bequeaths it to the family of Adml Richards.together with group of related items comprising an 18ct gold Royal navy Exhibition 1891' fob pendant containing a section of timber from HMS Victory engraved 'Timber from the 'Victory' 1805' and also named 'Admiral Sir George H Richards KCB' to rim, a gilt and enamel badge of Admiral Richard's family crest together with a 19th century wool work of HMS Assistance in the Arctic ice with men rigging sledges to the foreground, 44cm x67cm, a pastel portrait of Admiral Richards seated at a table with a copy of Arctic Regions, 36cm x30cm, two 19th century oval miniature portraits of Naval officers, one possibly of Francis Leopold McClintock (1819-1907), the other of Admiral Richards, a monochrome print of Admiral Richards and a copy of 'Aclands-And-The Sea' .Admiral George Henry Richards was captain of HMS Assistance under the command of Sir Edward Belcher on the Admiralty's last and largest Expedition to search for survivors of Sir John Franklin's Expedition of the Northwest Passage in 1845. In the early winter of 1850 the Assistance and the steam tender Pioneer became frozen in the ice off Northumberland Sound in the Wellington Channel forcing much of the searching to be undertaken by sledge. As sledges were hauled at this time by the men themselves, they were treated in some degree as boats and each sledge named. The idea originated with Captain Horatio Austin who whilst leading a similar search in 1850 intended that sledge flags would "...retain esprit de corps, and a naval atmosphere,..' .The flags were usually the personal badge of the commanding officer who led the team on foot, carrying a gun ahead of the crew for protection. A similar sledge flag for Lieutenant Bedford Pim by Lady Franklin is held in the National Maritime Museum. A sledge flag used by Scott on his first Expedition of 1900-1904 made by his mother hangs in Exeter Cathedral.
Lot 603
Victorian portrait miniature of a lady, seated in a blue dress and white bonnet, circa 1840, unsigned watercolour on paper, in an ebonised rectangular frame, 9cm x 7cm; also a German porcelain oval plaque, hand decorated with a gentleman in traditional Bavarian costume, 8.5cm x 6.5cm, mounted within a carved wooden ivy leaf frame with folding bracket to the reverse, 15cm (2)
Lot 695
Early Victorian portrait miniature of a soldier in a red tunic, oval, 6.5cm x 5.5cm, mounted in a white metal rope twist frame, 9cm; also a French portrait miniature of a young lady in a blue dress, indistinctly signed 'Harris', 5cm square, mounted in a cast brass frame with ribbon floral garland surmount, 20.5cm x 9cm; and a portrait miniature of a young man in a brown smock and hat, 7.5cm x 6cm (3)
Lot 356
*Plimer (Andrew & Nathaniel). A scrap book of letters, biographical notes and reproductions of illustrations relating to the miniature painters Andrew and Nathaniel Plimer, compiled by a biographer, George Charles Williamson, Mount Manor House, Guildford, circa 1900-1903, comprising approximately 100 leaves with tipped-in letters to Williamson concerning his project, captions for reproductions of portraits, further notes, etc., a total of approximately 100 leaves (versos blank), bookplate of George Charles Williamson to front pastedown, contemporary quarter buckram over marbled boards, slightly rubbed, some spotting and soiling, 4to, together with a small group of other autograph letters and related concerning art and collecting, including autograph letters signed from John Sheepshanks (1784-1863), Sir Francis Grant (1803-1878), Dawson Turner (to the portrait painter, Thomas Phillips), George James Welbore Agar Ellis, Sir Francis Chantrey, Edward Hodges Baily, Linley Sambourne, Francis Schenk, Sir John Fleming Leicester, Felix Topolski (postcard), James Wyatt (signature), etc., plus a quantity of engraved portraits and prints Provenance: Major Anthony R. Tavener. (a carton)
Lot 642
O'Connor (Francis Valentine & Thaw, Eugene Victor, editors). Jackson Pollock, A Catalogue Raisonn‚ of Paintings, Drawings, and Other Works, volumes 1-4, Yale University Press, 1978, numerous black and white illustrations, uniform original grey cloth in slipcase, spines slightly rubbed, large 4to, together with Foster (J.J.), Miniature Painters, British and Foreign..., volumes 1 & 2, 1903, limited deluxe edition, 159/570, numerous monochrome plates, some light toning, uniform publisher's original vellum, boards and spines marked, folio, and Spielmann (M.H.), British Portrait Painting to the Opening of the Nineteenth Century, volumes 1 & 2, 1910, limited edition of 350 copies, numerous monochrome plates with tissue guards, some watermarks and light spotting, uniform original half vellum, boards and spines slightly rubbed to head and foot, folio, plus other mostly late 19th and early 20th century large format art reference, some leather bindings, mostly contemporary cloth, all ex library with associated stamps and marks, condition is generally good, 8vo/folio (3 shelves)
Lot 150
Georgian gold brooch with miniature portrait of a woman wearing a black bonnet in a border of pearls. Condition Report This is 27mm x 19mm. The yellow mark is a stain or perhaps lacquer that has got behind the glass - best left alone. It isn't too visible. The glass would need to be removed (difficult), also there a chip in the glass at the bottom.
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31365 item(s)/page