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Lot 579
* ANGELA REILLY (SCOTTISH), REVIVAL oil on board, signed with initials 46cm x 62cm (approximately 18 x 24 inches) Framed. Label verso: Thompson's Gallery, 76 Marylebone High Street, London with sold price of £1900. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.
Lot 577
A collection of late 19th Century / early 20th Century Charles Dickens novels published by Chapman & Hall to include 'The Old Curiosity Shop', 'Little Dorrit', 'A Child's History of England', 'Dealing with the Firm of Dombey and Son', 'Bleak House', 'Master Humphrey's Clock', 'Our Mutual Friend', 'Sketches by Boz' etc.
Lot 241
C. Mamilius C.f. Limetanus. Silver Denarius (3.74 g), 82 BC. Rome. Draped bust of Mercury right, wearing winged petasus; behind, A above caduceus. Reverse: MAMIL LIME(TA)N, Ulysses advancing right, holding staff and extending hand to his dog Argus come to greet him. Crawford 362/1; Sydenham 741; Mamilia 6. Nice old collection toning. Choice Very Fine. The types on this coin allude to the moneyer's claim to descent from Telegonus, son of Ulysses and Circe, and hence from the god Mercury. The reverse features a sadly endearing scene from the Odyssey, when Odyseeus returns home after twenty years disguised as a beggar and his old dog, who had been neglected, recognizes him: "So they spoke. And a dog, lying there, lifted its head and pricked up its ears. Argus was the hound of noble Odysseus, who had bred him himself, though he sailed to sacred Ilium before he could enjoy his company. Once the young men used to take the dog out after wild goat, deer and hare, but with his master gone he lay neglected by the gate, among the heaps of mule and cattle dung that Odysseus' men would later use to manure the fields. There, plagued by ticks, lay Argus the hound. But suddenly aware of Odysseus' presence, he wagged his tail and flattened his ears, though no longer strong enough to crawl to his master. Odysseus turned his face aside and hiding it from Eumaeus wiped away a tear then quickly said: 'Eumaeus, it's strange indeed to see this dog lying in the dung. He's finely built, but I can't tell if he had speed to match or was only a dog fed from the table, kept by his master for show.'"Then, Eumaeus, the swineherd, you replied: 'Yes this dog belongs to a man who has died far away. If he had the form and vigour he had when Odysseus left for Troy you'd be amazed by the speed and power. He was keen-scented on the trail, and no creature he started in the depths of the densest wood escaped him. But now he is in a sad state, and his master has died far from his own country, and the thoughtless women neglect him. When their masters aren't there to command them, servants don't care about the quality of their work. Far-voiced Zeus takes half the good out of them, the day they become slaves.'"With this he entered the stately house and walking straight into the hall joined the crowd of noble suitors. As for Argus, seeing Odysseus again in this twentieth year, the hand of dark death seized him."(Homer, Od. XVII.290-327).
Lot 244
Mark Antony and Cleopatra. Silver Tetradrachm (14.97 g), 36 BC. Antioch in Syria. BACI?ICCA K?EO?ATPA ?EA NE?TEPA, diademed and draped bust of Cleopatra right. Rev. ANT?NIOC AY[TOKPAT?P T]PITON TPI?N AN?P?N, bare head of Mark Antony right. McAlee 174; Prieur 27; RPC I 4094. Huge flan on fine metal with complete legends. Toned. An incredible coin! Possibly the finest known specimen. Extremely Fine. From the S. Moussaieff Collection, This lot has been officially exported from Israel through the Israel Antiquities Authority. Cleopatra VII, the last queen of the Ptolemaic kingdom, remains to this day a colossal figure of legend as much as history. Her life and tragic end have been immortalized and popularized by poets, playwrights, and screen actors over the centuries since her death. While the average person is not likely to know the various preceding Cleopatras, Arsinoes, and Berenikes of the Ptolemaic dynasty, almost everyone knows of Cleopatra VII, if only in her latter day guise as Elizabeth Taylor. She remains ever an icon of ancient female power and this remarkable silver tetradrachm features one of her most iconic portraits to survive from antiquity. The most famous Ptolemaic queen is shown here in rich royal dress and wearing the diadem — a long standing symbol of royal authority in the Hellenistic age, but most commonly worn by kings rather than queens. It serves as a sign that Cleopatra sought to rule entirely in her own right without accepting the second place of power behind a husband, as was customary in the Greek cultural tradition. She had rejected her brother, Ptolemy XIII, as co-ruler (probably also as husband) by the summer of 51 BC, sparking a civil war in Egypt that eventually drew the attention of Julius Caesar who was waging his own civil war (49-45 BC) against Pompey and his senatorial adherents. She initiated a romance with the Roman leader as a means of using his power to defend her position. A son born to them became a new potential tool for guaranteeing the security of Cleopatra's kingdom, but after Caesar was assassinated in 44 BC, his adopted nephew, Octavian was recognized as his legitimate heir.In 41 BC, the triumvir Mark Antony invited Cleopatra to meet him at Tarsus. A romantic relationship developed between the two, but this was in part predicated on the burning desire that each had for power. Antony's grandiose military ambitions would surely benefit from the wealth of Ptolemaic Egypt to underwrite them while Cleopatra might convince the triumvir to restore old Ptolemaic possessions detached by the Romans. Even more, children by Antony, a man deemed by many at the time to be the most powerful of the triumvirs, might even offer Cleopatra a chance to parlay her position as queen of Egypt into that of queen of the entire Roman world. The potential opportunities were far too great for either of them to ignore.In 40 BC, Cleopatra provided Antony with a fleet and support for his Parthian campaign in return for the restoration of former Ptolemaic territories in Cilicia and Cyprus that had been annexed by the Romans. By the end of the year, she had also given birth to twins, a boy and a girl, both of whom Antony recognized as his own. Despite the arrival of these children, Antony concluded a marriage alliance with Octavia in order to preserve the triumviral arrangement that recognized Antony as master in the East. He returned to the arms of Cleopatra in 36 BC, gaining her financial support for a new and ultimately failed Parthian campaign, and granting her large parts of Phoenicia and Coele Syria, as well as Jericho and parts of the Nabataean kingdom. This tetradrachm was struck at the time of this renewal of the relationship between Antony and Cleopatra and may perhaps represent part of the monies provided to support the Parthian war. The Greek legend surrounding the portrait of Cleopatra names her as Thea Neotera ("the Younger [or Newer] Goddess") which may have provided some cover of legitimacy for Antony's grants to Cleopatra of territories annexed by Rome. It has been suggested that she is described as Thea Neotera in order to connect her to her ancestor, Cleopatra Thea (i.e. the "Elder Goddess"), the daughter of Ptolemy VI Philometor who ruled as the powerful queen of the Seleukid Empire in 150-126 BC. This Seleukid connection was used to give the impression that Cleopatra was really the rightful ruler of the Levantine territories granted by Antony. On the other hand, Thea Neotera, has also been understood to describe Cleopatra as a living manifestation of Isis-Aphrodite, the goddess with whom Ptolemaic queens were traditionally identified. This title would match that of Neos Dionysos ("New Dionysos") that is known from literary sources to have been received by Antony in the East. However, the legend associated with the portrait of Antony on this coin does not provide him with divine epithets to match Cleopatra, but instead gives the Greek version of his Latin titulature naming him as "Triumvir holding the consulship for the third time." Antony's grants of territory to Cleopatra in 36 BC and further proposed grants to her and her children (the "Donations of Alexandria") in 34 BC became a propaganda weapon for Octavian, who used them as evidence that his former colleague intended to subvert the Roman Republic and impose an eastern queen on the city of Romulus. While this may have been Cleopatra's true hope it came to nothing once the triumvirate expired in 33 BC and Octavian and Antony prepared for a showdown. Cleopatra provided Antony with a new fleet to wage the war, but cost Antony many Roman allies when she insisted on being present during the campaign. The two were defeated at the battle of Actium in 31 BC and fled to Egypt, where they both committed suicide. Antony killed himself in the mistaken belief that the queen had already done so, but Cleopatra ended her life by poison in order to deny Octavian the chance to parade her in his triumph. In life and in her depiction on this coin juxtaposed with Antony, Cleopatra ruled as an equal to her male lovers and rivals. So too did she choose the death of a king when all hope was finally lost.
Lot 1047
Edward IV, second reign (1471-83). Gold Angel of six shillings and eight pence, final issue of reign issued at juncture with reign of Edward V, St Michael slaying dragon right, Latin legend and beaded border surrounding on both sides, initial mark halved sun and rose (1483) both sides, saltire stops, EDWArdxx Deixx Graxx Rexxx AnGlxx Z Fran' xx, Rev. ship sailing right, quartered shield at centre, E and rose above with cross, PER CRVCE'. TVA. SALVA' nOS. XPC' REDEMPT', weight 5.14g (Schneider 469; N.1626; S.2144; Fr.139/141). Struck short of flan and therefore quite thick and of full prescribed weight, with good detail especially on St Michael, good very fine and extremely rare. Ex M W Peace, Sotheby, 18th June 1894, lot 105. Ex Col. L P Dawnay, Sotheby, 1st March 1922, lot 50. Ex Glendining, 18th November 1970, lot 159. Ex Bonhams, 4th June 1998. Lot 256. The abbreviated Latin legends translate as on the obverse "Edward by the Grace of God, King of England and France"; and on the reverse "By Thy cross, save us, O Christ, our Redeemer". The final issue of gold in the reign of Edward IV carries the halved sun and rose mint mark and was indentured with the new Master, Bartholomew Reed on the 12th February 1483, then issued as such until the King's death in April. This three month issue was very small as an account survives showing just over a mere 141lb weight of gold being struck into gold Angels and their halves. Therefore rendering the few surviving coins extremely rare. The mint mark continues into the very short reign of the 12 year old Edward V with only a change in the obverse legend signifying the issue with DEI spelt as DI and the reverse die shared between them. This mint mark even continues into the reign of Richard III from late June of 1483, with the first coin indenture issued with Robert Brackenbury on 20th July 1483.
Lot 84
An Aberlour bottle of Single Malt Whisky, contained within a wooden box in the form of three books inscribed to the spines "Whisky Galore", 'Macbeth" and "The Master of Aberlour", opening to reveal a single bottle of 10 year Old Aberlour, a set of four branded glass, gaming pieces, plain paper.
Lot 2574
Henry Bright (1814-1873) - Landscape with a ravine and waterfall, oil on milled board, signed and dated 1853 lower right, 57 x 54.5cm Provenance; Purchased from William R. Drown Old Master Paintings of St James', London, February 1971Board good, no splits.Paint excellent, no crazing or losses.Lightly varnished.UV shows no apparent overpainting.
Lot 71
Essex & East Anglia.- Buckley (Reginald, husband of Helen Buckley, of Buckhurst Hill, Essex, fl. 1928-72) Diary of cycling tours and holidays in Essex, Hertfordshire, Suffolk and Norfolk 1928-29, 2 vol., autograph manuscript, 370pp., lined throughout, original limp morocco, vol. I small tear at tail of spine, sm. 4to, 1928-29; and 2 others, 2 juvenile diaries of tours to Switzerland, sm. 4to (4).⁂ The diary of a young man living on the outskirts of London who spends his free time cycling through the Roding Valley, St Albans and Cambridge, and taking holidays in Thetford, the Brecklands and Norfolk. Buckley is an astute observer of the countryside as it transitions from the inter war period to the modern age. He cycles long distances, noting old manor houses, such as Guisnes Hall, falling into decay and the ever increasing building of new houses swallowing up the countryside. Also mentions the death of the conductor Henry Riding, "the sudden tragedy overwhelmed me... a Worshipful Master, and worshipping pupil..."; W. &.C French Ltd, a civil engineering company based at Buckhurst Hill in south-west Essex.[Essex]. "Had an evening ride to Loughton, Epping, North Weald and the Talbot where I turned left to North Weald Church and Weald Hall. This was unoccupied, Mr. Tabor having sold out and left the district, as all those in the vicinity that can do are doing, to obtain relief from the incessant droning of aeoplanes from the nearby aerodrome, and the ever twinkling lights on the wireless poles, not to mention the influx of hordes of undesirable men attached to the two concerns. I walked round the house and deserted gardens, everything very neglected and gone back to Nature."
Lot 20
Ilario Spolverini (Italy, 1657-1734) Large Old Master Battle Scene. Sight size: 28.5 x 53 inches. Provenance: Private Italian collection. Painting comes with letter from Dr. Atanasio Cecchini attributing painting to Spolverini. Unsigned. The influence of Mercanti?s master Francesco Monti, known as Brescianino, is evident in his choice of subjects, including the battles, knights and scenes characterised by movement. After a trip to Venice together with Brescianino, his painting displayed a new approach to colour that made it fully original. His work for various noble families in the area of Parma and Piacenza included a series of paintings celebrating the deeds of the Farnese dynasty commissioned by the family in 1714 and repeated three times for residences in Parma, Piacenza and Colorno. Spolverini painted battle scenes for the Duke. His religious artwork was placed in the Certosa and the Cathedral of Parma. Among the pupils were Francesco Simonini, Antonio Fratacci, Clemente Ruta and Giuseppe Peroni.
Lot 46
SPEYSIDE 30 YEAR OLD - JOHN CRABBIE & CO. DISTILLERY ACTIVE bottle number 224 of 330, with presentation case and certificate of authenticity 70cl/ 48.6% Note: The name of John Crabbie has its roots in the earliest incarnations of the Scottish whisky industry. The whisky brand has recently been revived and the true spirit of the company brought to a new generation of connoisseurs. Not in a small part due to this award-winning Speyside 30 year old. John Crabbie was a titan of the whisky industry in the early 19th century who built his substantial business through sourcing and selling exceptional whiskies from some of the best known distilleries across Scotland including Laphroaig, Bunnahabhain, Dalmore, Bowmore, Oban and Macallan. From his bonded warehouses in Leith, Crabbie exported whisky throughout the world, developing a reputation for outstanding quality and consistency. He distilled single malt whisky in Leith and Haddington, and in 1885 he, along with Andrew Usher and William Sanderson, founded the North British Distilling Company to produce grain whisky for his revolutionary new blend. By 1897 their new distillery was producing over 13 million litres of grain whisky each year. Like many family whisky brands the Crabbie name disappeared during a period of market consolidation, living on only in the 'ginger wine' created by his wife. However he really must be remembered as a visionary in the whisky trade. His commitment to fine whisky is honoured in the recent bottlings released in his name. The new team behind the reborn John Crabbie & Co have their roots in many of the big names in the Scottish whisky industry including Managing Director David Brown (formerly Dalmore) and have the support of influential figures such as Bob Dalgarno (the former Master Whisky Maker at Macallan). Following in John Crabbies footsteps they have been sourcing exceptional whisky from around Scotland. This 30-year-old Speyside was the first rare cask release under the Crabbie name and is from an 'unknown' Speyside distillery. Although never revealed by the tight lips at John Crabbie & Co, the distinct quality and character of the whisky clearly points to one distillery. Described by David Brown as a "unicorn whisky" which has not been produced since 1988, the Crabbie 30 has found favour with the judges in international competition scooping double gold at the 2018 San Francisco world spirits challenge and Master at the Hong Kong whisky masters the highest possible award.
Lot 40
Cookery.- Rose (Giles) A Perfect School of Instructions for the Officers of the Mouth: shewing the Whole Art of a Master of the Houshold [sic], a Master Carver, a Master Butler, a Master Confectioner, a Master Cook, a Master Pastryman..., first edition in English, woodcut illustrations, with contemporary ink inscriptions "Diana Dormer her book [?]1691" & "Mrs Eliz. Holford her book" on front free endpaper and date "1719" in margin of title, rather browned and a little damp-stained, tears to I1 & 2 but no loss (second repaired), one or two leaves slightly frayed at fore-edge, hole to front free endpaper repaired, contemporary calf, rubbed, rebacked, corners repaired, new endpapers, preserving old inscribed endpaper, [Bitting p. 407; Cagle 970; Oxford p.42; Wing R1933], 12mo, printed for R. Bentley and M. Magnes,1682. ⁂ Rare; the first work in English to demonstrate carving techniques. A translation of L'Escole Parfaite des Officiers de Bouches of 1662, Bitting notes that the "translation is much scarcer than the original". ESTC lists 5 copies in the UK and 6 in America; we can trace only 4 copies at auction, one of which was defective. In addition to the woodcuts of table settings and carving guides it includes directions for folding napkins and cutting fruits into decorative and animal shapes.
Lot 222
ANTWERP. A PAIR OF NETHERLANDISH SILVER ARMORIAL ALTAR CANDLESTICKS the leafy baluster with compressed upper and ovoid lower knops with cherubs' heads in almost full relief between chased wings and festoons, on stepped triangular base, each of the concave sides with repousse oval medallion of the sacred monogram IHS, MR (conjoined) of the Queen of Heaven and arms, the last separately worked and let in between acanthus clad, boldly scrolling volutes, on three cast paw and ball feet, steel pricket, 41cm h, Antwerp, probably 1625-6, 44ozsProvenance: The arms are those of Goubau. These Baroque altar candlesticks would have been commissioned, possibly as part of a larger service of communion plate for the domestic chapel of one of the houses of the important family of Antwerp merchants, the Goubau Their residences included den Wolsack in Antwerp and Cortewalle and Ten Dorpe Castles in the country By the early 17th century, through trade and intermarriage with other leading families, their wealth and civic status was enhanced still further when in 1633 they were elevated to the nobility by Philip IV of Spain (1605-1665) The widow of Alexander-Jean I Goubau (1545-1614) commissioned Rubens' Virgin and Child (1608-1621)as an ex-voto for the Masons Chapel of Antwerp Cathedral, where the couple are buried Given the date of 1625-6 the candlesticks were presumably ordered by a son of this marriage, presumably Joannes III Goubau or one of his sons, Alexander III or Francois The former was Burgemeester of Antwerp four times between 1649 and 1666 An interest in the fine and applied arts that extended over at least four generations of the family is manifest in gifts made to the church at Dendermonde and nearby Mespelare, both of which are notable for their rich array of altar plate The artist Anton Goubau (1616-1698) was associated with the Dutch and Flemish Baroque painters working in Rome He was Master of the Guild of St Luke in 1637Later in the century A son of Alexander IV Goubau was to marry a granddaughter of Rubens' son, Nicolaes++Fine condition, uniformly crisp and with no significant wear, splits or loss, no repair, the marks slightly weak; covered in an old and now discoloured lacquer, various sections somewhat loose, the central steel bolt and iron nut rusty, entirely original and unrestored
Lot 106
Master of San Miniato (active Florence, circa 1460-1480) The Madonna and Child, seated beneath a curtain before an extensive landscape tempera and gold on panel, in an apparently contemporary or near contemporary tabernacle style frame, later repainted and regilded 56 x 37cm (22 x 14in) Provenance: Probably acquired by either a member of the Fownes or Haythorne families in the 19th Century, Thence by family descent to Mrs Winifred S Parsons (nee Haythorne) died in 1977; Anonymous (her Deceased) Sale, Christie's, London, 12th October 1979, lot 50, when withdrawn prior to sale; Thence to her son, Sir Richard Edmund Clement Fownes Parsons (1928-2016), the late owner Other Notes: The Master of San Miniato is named after a group of altarpieces by an as yet unidentified painter in the Church of San Miniato al Monte, Florence. The attribution is due to the late Everett Fahy from photographic images which he was first shown post the 1979 Christie's sale by the late owner and again in 2016. Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the present lot and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Tempera on panel which has been reinforced at the reverse with a wooden cradle. The paint layer has some areas of raised and vulnerable paint, mainly following the vertical woodgrain of the panel. There is a loss at the top edge. There are areas of retouching mainly localised in the Madonna's blue robe. The varnish is very yellowed and thick. There is some wear and retouching to teh sight edge of the frame, otherwise it is in a good condition.The loss top left is an old repair which has flaked and can be repaired. The varnish has yellowed. The painting needs consolidation as there are numerous areas of raised blistering.
Lot 130
Circle of Edward Pritchett (British, fl. 1828–1864) Scuola di San Rocco, Venice oil on canvas 47 x 59cm (18 x 23in) Provenance: From the collection of the late Sir Richard Parsons Other Notes: Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Old Christie's stencil - AJ 569. Oil on canvas which has been lined. The paint layer is stable and secure. There are retouchings across the lower half of the painting which appear matte. The varnish is very yellowed and uneven. There is some wear and losses to the gilding, The glazing is dirty.
Lot 161
Isaac Oliver (Anglo-French, c. 1565-1617) Portrait miniature of Thomas Fones (d. 1638) (later Fownes), Mayor of Plymouth watercolour on vellum, oval, 5cm (2in) high Provenance: The sitter Thomas Fones (died 1638) Mayor of Plymouth 1612 and 1619, who married secondly Joanne Hele, By direct descent to the Reverend Thomas Fownes (died 1808) who married secondly Ann Vannam Somerville (died 1812) Their third son John Yarde Fownes (1772-1839) who married secondly in 1805, Hannah (died 1814) elder daughter and co heir of Edward Curtis of Mardyke House, Clifton, Bristol, Their elder son, Edward Curtis Fownes (1806-1892) who married in 1848 Mary Margaret Haythorne, Thence by descent to Mrs Winifred S Parsons (nee Haythorne) mother of the late owner, Sir Richard Edmund Clement Fownes Parsons (1928-2016) Other Notes: Born in Rouen, Isaac Oliver came to London in 1568 with his Huguenot parents Peter and Epiphany Oliver to escape the Wars of Religion in France. He then studied miniature painting under Nicholas Hilliard. In 1602 he married, as his second wife, Sara, daughter of the portrait painter Marcus Gheeraerts the Elder (c.1520-c.1590) and his wife Susannah de Critz. His work is at Windsor Castle. The sitter in the present miniature, Thomas Fones, was Mayor of Plymouth in 1620, the year the Mayflower sailed. Judging by the shape and style of the sitter's collar, this work could be dated to circa 1612-1615. The vellum support may have been mounted on a playing card, such as a suit of hearts, for instance. Heart cards were popular whereas the suit of spades was avoided as it was deemed negative. Elizabethan Treasures: Miniatures by Hilliard and Oliver, 21 February - 19 May 2019, is the first major exhibition on Tudor and Jacobean portrait miniatures in the UK for over 35 years. The exhibition will bring together key works from the National Portrait Gallery and major loans from public and private collections, including miniatures that haven't been seen in public in the UK since the early 1980s, to showcase the careers of the most skilled artists of the period, Nicholas Hilliard (1547? - 1619) and French born Isaac Oliver (c.1565 - 1617). Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the present lot and the wonderful Madonna and Child by the Master of San Miniato (lot 106). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Unframed - there is foxing on the left side of his face and also some discolouring at the tip of his nose- possibly old restoration. The loss on the left margin is self evident. Overall, however, it is in fair condition considering its age.
Lot 62
Attributed to Richard Parkes Bonington (British, 1802-1828) Barges under sail pencil 10 x 15cm (4 x 6in) Provenance: Thos. Agnew & Sons Ltd., 43 Old Bond Street, Piccadilly, London, W1; Thence by descent to the late Sir Richard Parsons Other Notes: Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Some discolouration to the cream background.
Lot 65
David Cox (British, 1783-1859) View of Beaumaris, Anglesey, 1840 signed lower left "D Cox 1840" watercolour 22 x 31cm (9 x 12in) Provenance: From the collection of the late Sir Richard Parsons Exhibited: Japan British Exhibition, British Fine Art Section, 1910, no. 294 Other Notes: Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Old Christie's stencil 726 HD. In a Bourlet frame.
Lot 99
Manner of Meindert Hobbema (Dutch, 1638-1709) Landscape with walkers on a wooded track oil on panel 35 x 43cm (14 x 17in) Provenance: Mrs R A Parsons and by descent to the late Sir Richard Parsons Other Notes: Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the wonderful Madonna and Child by the Master of San Miniato (lot 106) and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Under glass. Cradled. Old Christie's stencils - 346 GT and AJ 569. Oil on panel which has been reinforced on the reverse with a cradle. There is flaking and loss along the top edge of the panel following the woodgrain of the panel. There is extensive retouching in the darker paint passages which covers areas of abrasion and drying cracks. The varnish has yellowed and is patchy and uneven. The frame is in a good condition, the glazing is very dusty both inside and out.
Lot 77
A Russian silver vodka set by Vasily Toknyev, Moscow 1890, assay master A. Romanov, 84 zolotniki, comprising: a carafe and stopper, a circular tray and six goblets, engraved in old Russian style with borders derived from embroidery and central elaborate cartouches, presentation engraved for a ten year anniversary and dated 1880-1890, the carafe and stopper 23.5cm (9 1/4in) high, the tray 22cm (8 1/2in) diameter, 744g (23.9 oz)
Lot 272
DAVID BOWIE UNRELEASED TRACK MASTER TAPE. A boxed reel of 2" Scotch tape, with Trident Studios labels on box indicating that the contents of tape include a 30th July 1971 recording session at Trident, with David Bowie listed as a producer for recordings of Fill Your Heart and Changes. The tape is an incredible listening experience and includes the solo recordings of the instruments and Bowie’s vocals on the 16 audio channels which culminates in 5 takes of Changes and 3 takes of Fill Your Heart With Love.There are 4 instrumental takes of Changes with Bowie stopping recording and speaking to musicians and engineers in between takes. His explanations as to how he would like it played are fascinating and he was obviously in good spirits with quips such as “Good Luck Chaps!” prior to counting down the start. At one point he also loses a little patience being heard saying “Do another one!” followed by swearing at the response of one of the musicians/engineers.When listening to his vocal solos for both Changes and Fill Your Heart he can be heard breathing softly and humming tunes before breaking into the vocals. The sound quality is that good that it almost feels like you are there in the studio with him.Much of this tape contains previously unheard recordings of two significant Bowie tracks making it an incredible opportunity for a Bowie fan and collector to hear this amazing recording.The tape has been professionally transferred to digital and a USB data stick with the recording on will be provided with the lot.A detailed history of the provenance of the tape has been provided courtesy of the vendor. What follows is an abridged account, recounted by the vendor:"In the 1970s Bowie’s management rented a studio in what Brian Eno describes as “palatial Gunter Grove in Chelsea”. Bryan Wharton, internationally renowned photo journalist and award-winning photographer, was a neighbour in an adjacent unit at Gunter Studios and remembers, “They were there for about six years. He remembers that when they vacated the offices in the late 70s that there were skip loads of stuff left behind. Tania had been visiting Bryan at Gunter studios since 1968 when she met him as a 17-year-old actress wannabe. She had a white convertible but only a provisional licence and Bryan was one of the friends she would call on to sit with her when she wanted to go for a drive. Their friendship with the L-plate chaperone endured even after she passed her test and, over a decade later, in 1981, Bryan introduced her to his new neighbour Mike Norris, a photographer who had recently bought the old Church hall, the largest of the studios.Within 18 months, Bryan was the Best Man at Mike and Tania’s wedding in the Boltons. By 1985, the couple also had a weekend cottage in Wiltshire and Tania was spending more and more time there with their young children. One weekend, Mike arrived with a battered carrier bag and handed it to Tania. “Inside was this old box containing a Bowie master tape. I had no idea what to do with it so I put it in an un-used cupboard with my mother’s mink.” “He had found it in Gunter Hall when he moved in, covered in plaster dust and cobwebs at the back of an alcove piled with junk from the previous owner,” said Tania. “He was not somebody in the bit of giving me anything valuable! I didn’t quite know what to do with this strange gift and assumed it was another of his white elephants and had little value.” “But I kept hold of it through various house moves and it’s been under my bed for years now. It was only when I read a recent article in the Guardian about another discovered recording of Bowie’s that I realised I might be sleeping on a gold nugget!” "**Please note that the tape and its contents are being sold as an artefact only. No copyright is included with the sale and any reproduction of the material is strictly forbidden under UK Copyright Law.**
Lot 610
ROUGET DE LISLE AMEDEE: (1807-1887) French reputed Engineer and Man of letters. Mayor of Mandé. Co-writer of the Dictionary of Arts. Nephew of Claude Rouget de Lisle, author of the French Anthem La Marseillaise. A.L.S., `A. Rouget de Lisle, Engineer & Man of Letters´, three pages, 8vo, Saint Mandé, 27th December 1864, to the curator of Saint Omer, in French. An extremely interesting letter related to the authorship of the French Anthem La Marseillaise. Amédée Rouget de Lisle has sued François Fétis because of his book Universal Biography of Musicians, published in 1864, where he questions the authorship of the French anthem, indicating that the authentic composer was Guillaume Navoigille. Rouget de Lisle requests information regarding an oratorio and a Chapel Master named Grison, in order to help him to prove the defamation stating in part `..They say that Grison composed and performed the oratorio Esther during Spring 1792. They say that the Marseillaise musical pattern can be found all along the oratorio. You must have read about this controversy on newspapers and about my lawsuit against Fétis who has fabricated two false apocryphal works and states that Navoigille is the real composer..´ further saying `Short before going to court he made a public retraction and full confession to me about his lies and imposture. He confessed he did not have such works.. But this crazy old man regrets having said so and tries again to prove what he published..´. Rouget concludes requesting the maximum information asking his correspondent `Allow me to ask you for details about Grison, Chapel Master of one of your churches. At what period time did he live? When did he composed the oratorio Esther? Was this oratorio performed at Saint-Omer? When did Grison passed away?..´ A letter of excellent content. Very small overall age wear. Folded. VG £150-200 François-Joseph Fétis (1784-1871) Belgian Composer and musical Critic. Director of the Royal conservatory of Brussels. Author of Biographie Universelle des Musiciens published in 1864. Fétis attributes in his work that the authentic composer of the Marseilleise is Guillaume Navoigille. Guillaume Navoigille (1749-1811) French Musician.
Lot 210
Thirteen Islay malt whisky miniatures including ARDBEG twenty four year old, The Old Malt Cask 50% vol., LAGAVULIN twelve year old White Horse 43% vol., BOWMORE ten year old RAF benevolent fund 40% vol., BOWMORE ten year old Forth Bridge Centennial 40% vol., LAPHROAIG ten year old pre Royal Warrant 43% vol., ASKAIG 1978 fifteen year old Master of malt number 240 of 480 from cask 1040 43% vol., BRUICHLADDICH ten year old 46% vol., etc. (13)
Lot 1011
Original vintage advertising poster promoting Eugene Tompkins production of The Black Crook featuring an illustration of a woman dancing with a tambourine next to a man in a suit with a bowler hat and a monocle. Jules Cheret (31 May 1836 – 23 September 1932) was a French painter and lithographer who became a master of Belle Époque poster art. He has been called the father of the modern poster. The Black Crook is a work of musical theatre first produced, with great success, in New York in 1866 based on a book by Charles M. Barras (1826–1873). The music, selected and arranged by Thomas Baker, consists mostly of adaptations, but it included some new songs composed for the piece, notably "You Naughty, Naughty Men". The story is a Faustian melodramatic romantic comedy, but the production became famous for its spectacular special effects and skimpy costumes. Lithograph printed by The Strobridge Lith Co. Fair condition, fold marks , several tears and creases, paper losses and punched holes in margin, several stains, backed on old linen. Country: USA Designer: Jules Cheret Year: 1872 Size (cm) 98x72
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