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Click here to subscribeAN OAK RELIEF CARVED MYTHOLOGICAL PANEL LATE 16TH CENTURY after a woodcut engraving of Ovid's Metamorphoses by Virgil Solis (German 1514-1562), depicting Orpheus playing his lyre charming the wild beasts, accompanied by a unicorn, a lion, a bull, a squirrel, birds, cherubs, a monkey, a ram, a fox, a bear and a deer in a wooded landscape, with a lozenge and stylised scroll work three-quarter border 40 x 76.8cm Provenance The Estate of the late Jane Sumner.
A EUROPEAN STAINED GLASS CIRCULAR PANEL PROBABLY FRENCH, 13TH CENTURY AND LATER depicting Joachim and Anna at the Golden Gate, inscribed 'AUREA PORTA', with later painted glass replacements, 42.5cm diameter, in a modern grey painted wood frame Catalogue Note This panel depicts Joachim and Anna meeting at the Golden Gate of Jerusalem. In style the panel compares favourably to the stained glass of the great cathedrals of the early 13th century, in particularly to a similar panel of Joachim and Anna at Chartres Cathedral.
Chief Zacheus Olowonubi Oloruntoba (Nigerian, 1934-2014)'My Village is Money and Protection' (Prt-2) handwoven panel50 x 51cmA prominent African artist known for his colourful herbal-dyed, cotton-cord tapestries depicting African life. He showed in Lagos, Nigeria and in London. His US representative, Dorothy Rogers of Dorothy Rogers Fine Art, Santa Fe, staged many one-man exhibits including 1999 and 2000 at the Wichita Center for the Arts, Kansas. Rogers curated a major exhibit for the Bruce Museum, Greenwich, Conn. in 2002. The Museum of Modern Art, New York, chose a work from this exhibit for their permanent collection. His work is also in the collections of Queen Elizabeth II, David Rockefeller and Muhammad Ali.Condition report: The glue has browned and there are spots and dabs of brown glue visible throughout. The canvas is a little uneven. There are a few short frayed strands of thread visible in places. A little surface dust and dirt, including what appear to be flecks of red paint upper left.
An Important set of carved oak armorial panels, from The Queen Regent's House, Blythe's Close, Edinburgh.Three probably 16/17th century, the fourth 18th centuryCarved in low relief and showing (clockwise from top right), the arms of the King of France, the arms of the Duke of Hamilton and the arms of the King of Scotland impaling those of Mary of Guise and the arms of the City of Edinburgh.The first panel shows the arms of the King of France and the monogram HR (Henricus Rex) is likely to refer to King Henry II 1547-1559. This armorial has a paper label pasted to the reverse which reads 'From the roof of a staircase in the Queen Regent's House, Blythe's Close, left hand side'The second panel shows the arms of the Duke of Hamilton and are accompanied by the monogram JH, they are likely to be the arms of James Hamilton (1606-1649) and from 1643 1st Duke of Hamilton and Earl of Cambridge. This armorial has a label pasted to the reverse which reads 'From the roof of a room in the Queen Regent's house, Blythe Close, Edinburgh, left hand side of the close, The Arms of Hamilton' The third panel shows the impaled arms of the King of Scotland, specifically King James V (1512-1542) and Mary Guise Duchesse of Longville and the daughter of Claude Duke of Guise by Antionette Bourbon. They were married 1538 at Notre Dame. Their daughter Mary Queen of Scots (1542-1587) would have displayed the same arms but after her death they would have ceased to be used, so the arms were in use for the period 1538-1587. This armorial has a paper label pasted to the reverse inscribed 'From the roof of a room in the Queen Regent's House, Blythe's Close, it was not in its original condition when last taken down, being fixed (to) a plaster ceiling, the Queen Regents arms, g.d with those of Scotland'The fourth roundel showing the Arms of The City of Edinburgh is clearly in different style to the remainder and was probably never intended to part of the set. The date of the patent is 1732 and they were registered at the Lyon Court in 1774. There is no image of these arms in the register and for this reason slight variations are found in early depictions. They have been viewed by a number of officers who consider them to be unusual and likely to be of the earliest date. We are grateful to Roger Whitworth for his assistance in cataloguing this lot. 52cm wide, (20in wide, (4)Footnotes:Queen Regent's House was situated at the top of the Mound in Edinburgh, just below the castle and was built immediately after the burning of Holyrood Palace and the city by the English in 1544. James Grant writing in his 19th Century book Old and New Edinburgh, described how the widowed queen, whose husband died in 1542, 'would naturally seek a more secure habitation within the walls of the city, and close to the Castle guns.' Following the death of James V, the couple's infant daughter became Mary Queen of Scots with her mother Mary of Guise ruling Scotland as Queen Regent on the child's behalf from 1554 to 1560. Mary was the second wife of James V and it is thought that she probably lived in Queen Regent's House from 1542 to 1554. From 1557 the house was occupied by Alexander Acheson of Gosford, a merchant and local landowner, and his wife Helen Reid. Their coats of arms were added to the door. Accounts of the later years of the building detailed large handsome fireplaces, clustered pillars, high ceilings, fine stucco and elaborate recesses. A carved oak door is in the collections of the National Museum of Scotland. Robert Chambers, in his 1802 book Traditions of Edinburgh, said: 'It was interesting to wander through the dusky mazes of this ancient building, and reflect that they had been occupied three centuries ago by a sovereign princess, and of the most illustrious lineage.. Grant wrote: 'Since then it shared the fate of all the patrician dwellings in old Edinburgh, and became the squalid abode of a host of families in the most humble ranks of life.' The house and the close was demolished in 1845-46 to provide a site for the Assembly Hall and New College.For further information on this lot please visit Bonhams.com
Jan Anthonisz. van Ravesteyn (Dutch, circa 1570-1657)Portrait of a gentleman, traditionally identified asAugustus II, Herzog zu Braunschweig-Lűneburg (1579-1666), bust-length, in armour, wearing a flat lace collar and embroidered red sashsigned with monogram and dated 'Anno. 1635/JVR' (upper left) oil on panel 68.5 x 58.2cm (26 15/16 x 22 15/16in).Footnotes:Provenance: By descent in the Sutherland Collection, at Trentham, Staffordshire, and subsequently at Lilleshall Staffordshire, and Dunrobin Castle until the presentLiterature: Catalogue of Pictures at Trentham (1896) page 5, number 2, when hanging in the entrance hall; (as by Mirevelt (sic))Catalogue of Pictures at Lilleshall (1909) page 17 number 51, when hanging in the Duchess's sitting-room.The present portrait, which can be dated to circa 1635, has traditionally been identified as Augustus II, Herzog zu Braunschweig-Lűneburg, who is best remembered today as a scholar who developed Wolfenbüttel into an intellectual and cultural centre after the devastations of the Thirty Years War had concluded with the Peace of Westphalia in 1648.A follower of the Delft portrait painter, Michiel van Mierevelt, Jan van Ravesteyn is mentioned in the archives of that city in 1598, but his career was largely conducted in the city of his birth, The Hague, where he competed with Mierevelt in particular to obtain commissions for portraits of the royal House of Nassau. Since the present sitter is depicted wearing what appears to be the sash of the dynastic Order of Orange-Nassau, he might be more likely identified as a member of the royal house of The Netherlands. For further information on this lot please visit Bonhams.com
Follower of Etienne Dumonstier (French, 1540-1603)Portrait of Henry III of France, bust-length, with a pearl earring and fur hat oil on panel30.5 x 20cm (12 x 7 13/16in).Footnotes:The present work is derived from Dumonstier's portrait in National Museum, Poznań, Poland.For further information on this lot please visit Bonhams.com
A large 19th century painted display panel written with five of the ten commandmentsTitled: Honour thy Father and thy Mother, that thy dayes may be long in the Land, which the Lord thy God giveth thee, followed by lines 6, 7, 8, 9 and 10 of the commandments within a floral and scallop shell carved frame, 219cm wide, 9.5cm deep, 131cm high (86in wide, 3 1/2in deep, 51 1/2in high) For further information on this lot please visit Bonhams.com
George III Oak and Mahogany Longcase Clock with boxwood and ebony inlay, having painted round arch dial with moonphase and subsidiary dials, striking movement the hood having swan neck pediment and cluster column forecorners the truck having quintuple arch top panel door and cluster column pilasters, panelled base on bracket feet 7'4 inch High
A tapestry wall panel in a mediaeval style, together with a small mediaeval style casket with tapestry panels, a continental box and cover, square tapered paper basket, small amount of hand worked table linen including a substantial white table cloth 2.5 x 2.6m with lace edging and lace inserts etc (more photos available on request)
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