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Lot 462
A SMALL QUANTITY OF PICTURES AND PRINTS ETC, comprising six open edition William Russell Flint prints, a Martin Poole watercolour landscape depicting an open field through a gate with windmill to the distance, two Lucy Dawson prints, miniature portrait print and Kingsmill shop display banner advertising a Wallace and Gromit preserves dispenser, approximate size 106cm x 282cm
Lot 48
A Slade, Hampton & Sons, collection of Birmingham silver enamelled miniature portrait panels in Renaissance and later styles, complete with original presentation box (each panel: 4cm x 3cm), an American Bicentenial First Day cover containing a sterling silver proof of the Official Bicentenary Day commemorative medal, combined with the Official United States Postal Service Bicentenial commemorative stamp, issued on the 4th July 1976, in original presentation pack, a Michelangelo First Day cover containing a sterling silver commemorative coin and three commemorative stamps issued by the Italian Post Office and a limited edition sterling silver proof of the medal in Commemoration of the Apollo-Soyuz space mission with commemorative stamps (a lot)
Lot 322
Miniature almanack. Schloss's English Bijou Almanack for 1841, Poetically Illustrated by the Hon. Mrs Norton, London: A. Schloss, [1840], five engraved portraits and one engraved view, close trimmed at head (cropping most page numbers), one portrait close trimmed at foredge (partly cropping the name Taglioni), all edges gilt, original gilt-tooled wrappers, lightly rubbed in places, front cover lghtly marked, spine worn (the worn areas sometime painted green), 20 x 14 mm, within original gilt-tooled paper slipcase, worn with losses and sometime lined with green painted paper, with tortoishell magnifying glass, contained together in original buff velvet fitted case, covered in dark brown straight-grained morocco, some wear to sides, the re-hinged lid with gilt lettering and decoration, brass clasp, 37 x 45 x 15 mm, together with, two Miniature Books with hall-marked silver front covers, both circa 1900: A blank notepad, all edges gilt, amber watered silk pocket inside front cover, brown leather cover with pencil in holder, front cover with art-deco design in German silver, 60 x 42 mm; The Book of Common Prayer, Oxford: University Press & London: Henry Frowde, early ink ownership inscription to front free endpaper verso, black morocco with silver front cover showing 5 angels' heads surrounded by clouds, 54 x 45 mm, plus a part-used miniature notebook in maroon velvet binding, front cover with silver-coloured metal horseshoe and decorative corner pieces, 61 x 42 mm, and a 19th century miniature treen wooden box with sliding lid, carved to look like a book, 57 x 37 mmQTY: (5)NOTE:First item: Bondy, pp.42-44: 'They are true miracles of engraving, illustration, binding and presentation'. See also p.165. Welsh 2660.
Lot 44
French school of the late 18th century."Portrait of a lady as Hebe".Gouache on vellum.It presents faults on the pictorial surface.It has an early 19th century frame with faults.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 10,5 x 9 cm; 26,5 x 24 cm (frame).Miniature in which a lady is represented carrying a cup, in such a way that she is identified with the goddess Hebe. This type of depiction of ladies adopting attributes of classical divinities became widely popular during the 18th century and later. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century onwards, in parallel with the development of photography.The most common type of work of this type in the 19th century were historicist representations, often set in the preceding century. However, the portrait we present here takes up the spirit of the eighteenth-century portrait-jewel and applies it to modern times, capturing the image of a real woman of her time, no longer an ideal recreation of the Romantic type.
Lot 46
Dutch school; circa 1600."Portrait of a gentleman.Oil on copper.It has a 19th century gilt frame.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 7,3 x 5,8 cm; 9,6 x 6,1 cm (frame).Since the Renaissance, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, being mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Lot 47
Dutch school; circa 1600."Portrait of a lady.Oil on copper.It has a gilt frame from the 19th century.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 6,5 x 5,1 cm; 8,6 x 5,4 cm (frame).Portrait of a young woman in miniature, which represents the bust of the protagonist who is in the centre of the composition, turned slightly in three quarters, dressed in black clothes that make the light of her pearly skin stand out even more. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Lot 152
A 19th century oval portrait photograph of Mrs Owen Pell, grand-daughter of Zachary Bayly Edwards (brother of historian Bryan Edwards), inset to a silver-plated trowel with turned maple handle (the photo 3” x 2”); another of Robert Huish (b. Huyshe, 1811, author) in glazed oak frame, 10½” x 8¾” over-all; & a small portrait miniature of an elderly, 1¼” x 1”.
Lot 43
A small collection of jewellery, to include an early 19th century gilt metal mounted oval mourning pendant, the front with watercolour on paper portrait miniature of a gentleman, the verso with panel of hair and applied yellow metal initials, height ex. bail 53mm, together with two West African slave bangles, three other bangles, a pair of gilt metal cuff links and others. (condition varies). (qty)
Lot 192
Collection of miscellaneous items comprising of: a pair of Victorian mother-of-pearl silver mounted baskets or salts, 8cm wide x 7cm high including the handle, a papier-mâché box, a small tortoiseshell box with mother of pearl panels on turned bone bun feet, a pair of blue glass salts with white metal tops, a portrait miniature of the Holy family in brass frame, 6.5cm x 7cm overall and a horn tobacco pipe, 23cm overall, a Victorian beadwork pincushion etcAll pieces with overall wear, scratches, scuffs, signs of wear and use etc. Pipe damaged, mouthpiece has been broken off but is present so could be restored. Miniature tortoiseshell box with damage and losses. Panels loose.
Lot 135
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 2 pounds, 2017. Royal Mint. Proof. Commemorating 200 years since the death of Georgian-era British author Jane Austen. World-famous today, for works such as Pride and Prejudice, she was all but famous during her own lifetime. She rose to fame over 50 years after her death, in 1870, when her nephew, James Edward Austen-Leigh, released "A Memoir of Jane Austen" in 1870 which hit the spot with a Victorian public.Fifth crowned bust of Elizabeth II facing right; ELIZABETH II · DEI · GRA · REG · FID · DEF · 2017 ·. Design by Jody Clark. / Silhouette of Jane Austen facing right, her hand-written signature across, set within several concentric lines creating the impression of a Regency style miniature portrait with hanger above, outer circle with vertical textured stripes, 'TWO POUNDS' below, 'JANE AUSTEN' above left, anniversary dates '1817 - 2017' above right. Design by Dominique Evans. Edge milled and inscribed (incuse lettering); THERE IS NO DOING WITHOUT MONEY.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 2817590-006. NGC Census in this grade: 11, equal-finest graded.Total NGC Census: 24Reference: S-K45Mintage: 295.Diameter: 28.4 mm.Thickness: 2.5 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 201
A 28cm high bronze figure of man, together with a miniature oval portrait CONDITION REPORTPainting on copperCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
Lot 47
Circle of Cornelis Jonson Van Ceulen (1593-1661) 17th Century Portrait Miniature, George Villiers, 1st Duke of Buckingham (1592-1628)Oil on copper, 5.5X4cm.Provenance: Important Portrait Miniatures Including the Walter and Gertrude Rappolt Collection - Christie’s 14th October 1998 (lot 117)Not examined out of the frame and glazing.There are a few small marks and scratches, a couple of which reveal the copper beneath, some light craquelure and a small spot of white paint? on his cheek.There is a tiny chip/flake on the edge of the glass and a few dings on the reverse of the mount.
Lot 345
An early 19th century rectangular portrait miniature on ivory, possibly the widow of Thomas Coutts (aka Harriet Mellon). The lady with white lace cap, long gold chain over her black silk dress, and a pink scarf. Unsigned. (9.5 x 7.5 cm). The black-leather fitted case with gilt-metal frame and and red-velvet lining.Ivory Exemption Submission reference RMKTBPD3.
Lot 353
An early 19th century silver vinaigrette and a late 18th century portrait miniature: 1. the vinaigrette's lid engraved with the monogram of Andrew Dickie and the underside 'Melville House - 27th Dec. 1811'; maker's mark S&S, assayed Birmingham (21g)2. a portrait miniature in watercolour on card (5 x 3.7 cm). Green-velvet case with gilt slip.Provenance: The vinaigrette - a 56th birthday present to Andrew Dickie (1755-1834) of Coutts bank. The portrait miniature - believed to be of Andrew Dickie. Both pieces by descent through the family of his sister, Mary Kershaw.(The lot relates to lots 160, 368, 495, 548, 555, 558 and 560)
Lot 362
An unsigned early 19th century portrait miniature on ivory - lady in white lace headdress, black ringlets, lace-trimmed black dress and red scarf (9.5 x 7.5 cm). Red Morocco leather fitted case with red-velvet lining and engraved gilt-metal frame. Ivory Exemption Submission reference RMKTBPD3
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31365 item(s)/page