CELTIC F.C. & LISBON LIONS INTEREST, SIGNED ORIGINAL WORK OF ART, GRAEME WILCOX (SCOTTISH, b.1967), 1992 watercolour on paper, depicting Billy 'Caeser' McNeill leading the team out onto the pitch in Prague to face Dukla in the Semi-Final 2nd leg (12th April 1967), signed by the player and the artist, dated, with Hilton Art stamp, in mount with inscribed plaque, along with a Hilton Art promotional plaque (this with three further images of their night verso) 72cm x 53cm overall Qty: 2 Note: 1992 was of course the 25th Anniversary of Celtic's European Cup triumph in Lisbon. On the 25th May, a gala dinner was held for the team at Glasgow's Hospitality Inn. In association with this dinner, a series of works were commissioned by Hilton Art, a Paisley based firm. Two artists were chosen to create a series of works, Graeme Wilcox and Maggie Daly. From these originals, a limited edition run of 100 printed copies of each were made and signed by the players, later to be sold to fans (including one that was offered at Christie's Glasgow in October 1992). Six original commissions (comprising five relating to Lisbon, and another relating to the 1957 7-1 League Cup game) will be offered individually in this McTear's Sporting auction. Alongside these, provenance can be viewed in the form of Hilton Art promotional material and a Sun Newspaper clipping - five items in total, with one of each being offered alongside each Lisbon 25th Anniversary work.Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.
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CELTIC F.C. & LISBON LIONS INTEREST, SIGNED ORIGINAL WORK OF ART, GRAEME WILCOX (SCOTTISH, b.1967), 1992 watercolour on paper, depicting goalscorers Stevie Chalmers and Tommy Gemmell in the changing room post-match, signed by both players, dated, with Hilton Art stamp, in mount with inscribed plaque, along with a Hilton Art promotional plaque 71cm x 49cm overall Note: 1992 was of course the 25th Anniversary of Celtic's European Cup triumph in Lisbon. On the 25th May, a gala dinner was held for the team at Glasgow's Hospitality Inn. In association with this dinner, a series of works were commissioned by Hilton Art, a Paisley based firm. Two artists were chosen to create a series of works, Graeme Wilcox and Maggie Daly. From these originals, a limited edition run of 100 printed copies of each were made and signed by the players, later to be sold to fans (including one that was offered at Christie's Glasgow in October 1992). Six original commissions (comprising five relating to Lisbon, and another relating to the 1957 7-1 League Cup game) will be offered individually in this McTear's Sporting auction. Alongside these, provenance can be viewed in the form of Hilton Art promotional material and a Sun Newspaper clipping - five items in total, with one of each being offered alongside each Lisbon 25th Anniversary work.Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.
CELTIC F.C. & LISBON LIONS INTEREST, SIGNED ORIGINAL WORK OF ART, GRAEME WILCOX (SCOTTISH, b.1967), 1992 watercolour on paper, depicting Billy 'Caeser' McNeill leading the team out onto the pitch in Prague to face Dukla in the Semi-Final 2nd leg (12th April 1967), signed by the player and the artist, dated, with Hilton Art stamp, in mount with inscribed plaque, along with a Hilton Art promotional plaque 72cm x 53cm overall Qty: 2 Note: 1992 was of course the 25th Anniversary of Celtic's European Cup triumph in Lisbon. On the 25th May, a gala dinner was held for the team at Glasgow's Hospitality Inn. In association with this dinner, a series of works were commissioned by Hilton Art, a Paisley based firm. Two artists were chosen to create a series of works, Graeme Wilcox and Maggie Daly. From these originals, a limited edition run of 100 printed copies of each were made and signed by the players, later to be sold to fans (including one that was offered at Christie's Glasgow in October 1992). Six original commissions (comprising five relating to Lisbon, and another relating to the 1957 7-1 League Cup game) will be offered individually in this McTear's Sporting auction. Alongside these, provenance can be viewed in the form of Hilton Art promotional material and a Sun Newspaper clipping - five items in total, with one of each being offered alongside each Lisbon 25th Anniversary work.Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.
CELTIC F.C. & LISBON LIONS INTEREST, SIGNED ORIGINAL WORK OF ART, GRAEME WILCOX (SCOTTISH, b.1967), 1992 watercolour and pencil on paper, depicting Jock Stein, the players, and the pennants from each round of the match, signed by the artist, dated, with Hilton Art stamp, in mount with inscribed plaque, along with a Hilton Art promotional plaque 54cm x 70cm overall Qty: 2 Note: 1992 was of course the 25th Anniversary of Celtic's European Cup triumph in Lisbon. On the 25th May, a gala dinner was held for the team at Glasgow's Hospitality Inn. In association with this dinner, a series of works were commissioned by Hilton Art, a Paisley based firm. Two artists were chosen to create a series of works, Graeme Wilcox and Maggie Daly. From these originals, a limited edition run of 100 printed copies of each were made and signed by the players, later to be sold to fans (including one that was offered at Christie's Glasgow in October 1992). Six original commissions (comprising five relating to Lisbon, and another relating to the 1957 7-1 League Cup game) will be offered individually in this McTear's Sporting auction. Alongside these, provenance can be viewed in the form of Hilton Art promotional material and a Sun Newspaper clipping - five items in total, with one of each being offered alongside each Lisbon 25th Anniversary work.Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.
CELTIC F.C. INTEREST, SIGNED ORIGINAL WORK OF ART, GRAEME WILCOX (SCOTTISH, b.1967), 1992 watercolour on paper, depicting the team that defeated Rangers 7-1 in the Scottish League Cup final, 19th October 1957, signed by the artist, dated, with Hilton Art stamp, in mount with inscribed plaque 58cm x 60cm overall Note: 1992 was of course the 25th Anniversary of Celtic's European Cup triumph in Lisbon. On the 25th May, a gala dinner was held for the team at Glasgow's Hospitality Inn. In association with this dinner, a series of works were commissioned by Hilton Art, a Paisley based firm. Two artists were chosen to create a series of works, Graeme Wilcox and Maggie Daly. From these originals, a limited edition run of 100 printed copies of each were made and signed by the players, later to be sold to fans (including one that was offered at Christie's Glasgow in October 1992). Six original commissions (comprising five relating to Lisbon, and another relating to the 1957 7-1 League Cup game) will be offered individually in this McTear's Sporting auction. Alongside these, provenance can be viewed in the form of Hilton Art promotional material and a Sun Newspaper clipping - five items in total, with one of each being offered alongside each Lisbon 25th Anniversary work.Graeme Wilcox attended Glasgow School of Art 1989 - 93 and graduated with a BA (Hons). Since graduating, Graeme has continued to work from his studio in the East End of Glasgow. His work, technically traditional, has a powerful contemporary feel, depicting underlying tensions between animation and stillness. He is able to portray the transient, blurred image of one moving figure and at the same time, engage in precise photographic representation of another. Graeme has collaborated on a number of multi media projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. He exhibits regularly in London and throughout the UK, both in group and solo shows.
Josephine Ghilchik (British/Australian 1890-1981): 'Deirdre', pencil and chalk signed titled and dated 'Nov 9th 1937', 61cm x 42cm; Adrian George (British 1944-2021): 'Sleeping Girl', artists proof lithograph signed in pencil 59cm x 78cm; English School (Mid 20th century): Portrait of a Seated Gentleman, pencil indistinctly signed, with Examined South Kensington blindstamp 41cm x 24cm (3) (unframed)
BBC Monarch of the Glen Interest: Original set portrait of Hector Naysmith MacDonald, Laird of Glenbogle MC, from the BBC cult series Monarch of the Glen, played by the actor Richard Briers, the portrait being a set piece, having hung on the walls of the MacDonald family seat of "Glen Bogle" during the series,
Henry Bone R.A. (1755-1834)Henry Cecil, Marquess of Exeter (1754-1804), reclining in a red velvet chair, his hair cut fashionably short, wearing black silk breeches and stockings, waistcoat and coat, holding a pair of scissors and balancing a book on its spine. Enamel on copper, signed, dated and inscribed on the counter-enamel, The Most Noble the Marquis of Exeter. London March 1803. Painted by Henry Bone A.RA Enamel Painter to H.R.H. the Prince of Wales after a picture by M.A.Shee R.A. painted in 1802, gilt-wood frame. Rectangular, 190mm (7 1/2in) highProvenance: Georgian Frivolities: The Mort and Moira Lesser Collection of English Enamels, Bonhams London, 19 October 2011, lot 166;The Twinight CollectionFootnotes:Henry Bone's preliminary drawing, squared for transfer and inscribed, Marquis of Exeter after Shee 1803 is in the Collection of the National Portrait Gallery, no. NPG D17281.The inscription on the back of the original frame, possibly written by Henry Bone, refers to the subject as 'The late Marquis of Exeter', suggesting the piece was not delivered until after the Earl's death. Lord Exeter died in May 1804, aged 50.Henry Cecil (1754-1804) was the only son of Thomas Chambers Cecil, second son of Brownlow, 8th Earl of Exeter. Henry succeeded his uncle as 9th Earl in 1793. He was elevated to the title of Marquess in 1801. He married firstly Emma, daughter of Thomas Vernon, whom he divorced in 1791, following her elopement with the Rev. William Sneyd. The previous year, as 'John Jones of Great Bolas', he had bigamously married Sarah, daughter of Thomas Higgins. This marriage was legalized four months after his divorce. Tennyson's Lord of Burleigh proffered a rather romantic interpretation of the Earl courtship with the 'Peasant Countess'. After her death in 1797, he married in 1800, Elizabeth, the Dowager Duchess of Hamilton.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
John Haslem (British, 1808-1884)Self Portrait of the artist, wearing black coat, stock and white chemise. Enamel on copper, signed, dated and inscribed on the reverse, Portrait of John Haslem/ Painted by himself 1852, gilt-metal mount. OvalProvenance: Chiswick Auctions London, 20 March 2018, lot 65;The Twinight CollectionExhibited: South Kensington Museum, London, Special Exhibition of Portrait Miniatures, June 1865, no. 3028 (lent by the artist)Literature:D. Foskett, A Dictionary of British Miniature Painters, 2 vols, London, 1972, vol. 1. p. 314V. Remington, Victorian Miniatures in the Collection of Her Majesty the Queen, 2 vols, London, 2010, vol. 1. p. 273Footnotes:John Haslem was apprenticed to his uncle James Thomason, later manager of the Derby China Works, thereafter working for thirteen years as a porcelain painter specialising in flowers and figures. Encouraged by the Duke of Sussex he moved to London to study under Edward Thomas Parris. He continued to paint on porcelain but diversified to paint in enamel on metal and in watercolour on paper, exhibiting at the Royal Academy from 1836 to 1865. In the 1840s received extensive patronage from Queen Victoria - at the Great Exhibition of 1851 he exhibited a number of miniatures he had painted for the Queen and Prince Albert. For examples of his work in the Royal Collection see Remington op. cit., nos 509–539.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Meissen oval portrait plaque of Count Camillo Marcolini, early 19th centuryPainted in sepia to sinister, within a gilt-edged beaded border enclosing the inscription 'Graf v. Marcolini.' in black, pierced at the top of the rim for hanging, 11.5cm, crossed swords mark, asterix and II in blue, incised 60Footnotes:Provenance:The Twinight CollectionBased on the engraving by Friedrich Gregori after Johann Heinrich Schmidt. A similar plaque with a moulded foliate frame was sold by Christie's Paris, 27 April 2021, lot 97.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sophie Liénard (French, active 1842-1845)Queen Victoria (1819-1901), Queen of Great Britain and Ireland (1837-1901), standing in the Royal Box at the Drury Lane Theatre, wearing white dress, three-quarter-length sleeves trimmed with two tiers of white lace, white rosette to her corsage set with a diamond pendant jewel, blue sash of the Order of the Garter, black lace shawl, diamond pendent earrings and diamond tiara, the ruched trim of her white gloves decorated with black rosettes, a nosegay of pink roses held in a gold bouquet-holder (a gift from the Marquess of Coyngham) in her left hand, her right hand resting on the ermine stole draped over the ledge of her box, on which sits a programme held open by an ivory fan, the gilt-wood and red upholstered chair behind the Queen bearing her monogram VR. Painted on porcelain, signed on the reverse and dated, Queen Victoria/ copied by Sophie Lienard, of Paris,/ from the original by E. T. Parris/ London._1838., gilt-mounted on a suedette slip impressed with a gilt-metal crown and monogram VR, gilt-wood frame . Rectangular, 179mm (7 1/16in) highProvenance:Bonhams London, 28 June 2012, lot 151;The Twinight CollectionFootnotes:As indicated by the inscription verso, the present lot derives from a portrait by Edmund Thomas Parris (British, 1793-1873). On her first state visit to the Drury Lane Theatre in November 1837, Parris made a preliminary sketch of the Queen from his seat in the orchestra. Understandably, this image of the young Queen was immensely popular and was reproduced by a number of artists. A version by the miniaturist Sarah Biffin was sold in these rooms, 19 November 2008, lot 167. Versions in oil exist in the Royal Collection and the Forbes Magazine Collection, New York. The portrait was also engraved by Charles Edward Wagstaff and published by Hodgson & Graves on 5 April 1838, giving it an even wider circulation. Perhaps due to the success of this portrait, later the same year, Parris was commissioned by Hodgson & Graves to portray the Queen's coronation. He received sittings from the Queen and all of the key figures who were scheduled to attend the ceremony. A print of this painting, also by Wagstaff was later published in 1842.The whereabouts of Parris' prototype are somewhat elusive. It has been suggested that the original work is possibly that which formerly belonged to Queen Mary, exhibited in Queen Mary's Art Treasures at the Victoria and Albert Museum in 1954 (R. Ormond, Early Victorian Portraits, vol.I: Text, London, p.480).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)George Granville Leveson-Gower, Marquess of Stafford (1758–1833), later 1st Duke of Sutherland, three-quarter profile to the left, wearing double-breasted brown coat, white waistcoat, stock and cravat, blue sash and breast star of the Order of the Garter. Enamel on copper, inscribed, signed and dated on the counter-enamel, George Granville-Leveson/ Gower, Marquess of Stafford/ &c &c &c Born Jany 9. 1758/ London/ Jan 1821/ Painted by Henry Bone RA/ Enamel painter to His/ Majesty, after the Original/ by Thomas Philips RA, gilded composition frame. Rectangular, 122mm (4 13/16in) highFootnotes:Provenance: The Twinight CollectionThe original by Thomas Phillips, dated 1805 is in the collection of The National Portrait Gallery, London (no. 1298), as is Bone's related drawing (NPG D17717) which is inscribed Marquis of Stafford after/Philips [sic]- 1820 Sepber. (R. Walker, Henry Bone's Pencil Drawings, Walpole Society, 1999, Vol. LXI, no. 493). A further enamel version by Bone signed and dated 1820 is in the collection of the Duke of Norfolk at Arundel Castle and was probably the miniature exhibited at the Royal Academy, 1821, no. 476. Sutherland was the eldest son of Granville Leveson-Gower, 1st Marquess of Stafford, by his second wife, Lady Louisa, daughter of Scroop Egerton, 1st Duke of Bridgwater. In 1785, he married Elizabeth Gordon, suo jure Countess of Sutherland (1765-1839) being the only child of the 18th Earl of Sutherland. The couple had two sons and two daughters. He was a member of the Privy Council and Knight of the Garter. He was created Duke of Sutherland on 28th January 1833 and died on 19th July that same year.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)George IV (1762-1830), King of England (1820-1830), when Prince Regent, half length, wearing a Field Marshal's red uniform with gold lace and sash, with the badge of the Order of the Golden Fleece and stars of the Orders of the Garter, Holy Spirit, Black Eagle and St Andrew. Enamel on copper, inscribed on the counter-enamel, His Majesty George 4th and further signed and inscribed indistinctly, Painted by Henry Bone/ Enamel ..... His Majesty/ ....painting....the Duke of/ Thos. Lawrence R.A. ...., gilt-wood frame. Rectangular, 187mm (7 3/8in) highProvenance:Sotheby's London, 4 December 1985, lot 161;Sotheby's London, 11 November 2003, lot 69;The Twinight CollectionFootnotes:The present lot is based on Sir Thomas Lawrence's portrait, painted for Lord Charles Stuart and exhibited at the Royal Academy in 1815 (Garlick 325c). Following the exhibition Bone immediately began making copies in enamel, the earliest recorded being dated November 1815. The Prince Regent evidently found the portrait most pleasing, and in the ensuing years gave away numerous copies as presents, leading to it becoming one of the iconic images of him. The present work, dated 1826, was painted eleven years after Henry Bone's first work. For other examples in the Royal collection see R. Walker, Miniatures in the Collection of Her Majesty the Queen,, 1992, nos.757-765.George was the eldest son of George III and Queen Charlotte. In 1811, George became regent after his father was declared insane and king in 1820. Throughout his adult life, George was an important artistic patron, acquiring an impressive collection of art. In the last years of his life George spent his time in seclusion at Windsor Castle. His only child, Princess Charlotte having died in childbirth in 1817 meant the crown passed to George's brother who became William IV.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Pierce Bone (British, 1779-1855)A Gentleman, wearing black doublet, slashed to reveal white, white ruff collar and two gold chains. Enamel on copper, inscribed on the pale green counter-enamel, Sr Antonio More/ from a picture by himself/ Painted by Henry/ Pierce Bone/ March 1854, silver frame with glazed reverse. Rectangular, 89mm (3 1/2in) highProvenance:The Collection of Miss Locker-Lampson of Sussex Sotheby's, 13th December, 1943, lot 62Bonhams London, 18 November 2003, lot 35The Twinight CollectionFootnotes:The present lot is after a full-length portrait of a Gentleman with his hunting dog by Antonis Mor van Dashorst from 1569 in the collection of The National Gallery of Art, Washington DC. This painting is thought to have been in the collection of Sir Peter Lely (sale, London, 18 August 1682), before entering the collection at Althorp House, Northamptonshire, by 1822 until 1927. It was purchased February 1930 by Andrew W. Mellon and gifted to the National Gallery of Art in 1937.Henry Pierce Bone must have made the present detail copy whilst the painting was in the possession of the Spencer family at Althorp House, at which time, it was presumably considered to be a self portrait of Antonis Mor van Dashorst.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Ferdinando Paul Louis Quaglia (Italian, 1780-1853)Ignazio Degotti (d. 1824), celebrated scenographer at the Paris Opéra, wearing fur-trimmed coat, over embroidered red jacket and open-necked white chemise, seated in a gilded Empire fauteuil carved with lion heads. on ivory, signed and dated Quaglia f. 1812, gilt-bronze frame.. Rectangular, 217mm (8 9/16in) highProvenance: Helft Bensimon Collection, Paris With Leo R. Schidlof, from whom acquired by Ernst Holzscheiter in Paris, 5 May 1936 (inv. nos. MD/0682 and 465) Treasured Portraits from the Collection of Ernst Holzscheiter, Christie's London, 4 July 2018, lot 23The Twinight CollectionExhibited: Paris, Salon, 1812, no 750 (as a portrait of M. Degotti) Arenenberg, Napoleonmuseum, Miniaturen und Karikaturen, 1954, no. 33 (as a portrait of Talma) Geneva, Musée d'art et d'histoire, Chefs-d'Å“uvre de la miniature et de la gouache, 1956, no. 367, illustrated (as a presumed portrait of François-Joseph Talma) Zurich, Haus am Zurich, 1957-58 and 1961 Vienna, Albertina, Meisterwerke der Europäischen Miniaturmalerei von 1750-1850, 1965, no. 311 illustrated fig. 19 (as Talma) London, Royal Academy and Victoria & Albert Museum, The Age of Neoclassicism, 1972, no. 976 (as a portrait of Talma)Literature:Gabet 1831, p. 575Jeannerat 1922, p. 543, illustrated p. 545 (as a portrait of DegottiIsler-Hungerbühler 1961, pp. 32-33, illustrated fig. 4Schidlof 1964, II, pp. 657 (described as 'a masterpiece' and 'important'), and 1026, illustrated IV, pl. 468, fig. 962 (the sitter identified as the actor François Joseph Talma)Cavalli-Björkman 1981, p. 141, illustrated (as a portrait of Talma)Parisio 2012, pp. 35-36, illustrated (as Ignazio Degotti)Footnotes:Ignazio Degotti was born in Turin and was a celebrated painter and scenographer at the Paris Opéra specialising in perspective architecture and landscapes. Under the stewardship of Ignazio Galliari, he learnt the art of perspective painting at the Royal Academy of painting and sculpture in Turin. In 1796, he was appointed dessinateur des decorations at the Paris Opéra for the staging of Gluck's Alceste and he held this position until 1817. The present miniature was painted during this period and suitably positions the scenographer in a suitably theatrical fur lined cape sitting on an ornate gilded Empire fauteuil carved with lion heads.Ferdinando Quaglia was one of the most important miniature painters of the early 19th century. He studied in Parma, Florence and Milan before travelling to Paris in 1805 where he worked in Napoleon's court. There, he worked closely with Jean-Baptiste Isabey and was heavily influence by him. His portraits, much like the present work, are characterised by their level of detail and execution, expression and freshness of colour. The present lot is sold with a DEFRA Ivory Act 2018 certificate for a pre-1918 item of outstandingly high artistic, cultural or historic value. Certificate Number: YE3IML30Date of Issue: 16 November 2023We are grateful to Emma Rutherford of the Limner Company for her further research into the present lot.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Henry Pierce Bone (British, 1779-1855)The poet, John Milton (1608-1674), wearing black doublet and cloak, white collar. Enamel on copper, signed and inscribed on the counter-enamel, Milton/ London Novr 1847/ Painted by Henry Pierce Bone/ Enamel Painter to Her Majesty HRH/ Prince Albert &c &c From a picture/ in the possession of Mrs Dymoke/ Wells, ormulo mount with engraved floral and foliate detail, gilt-metal easel frame with blue enamel border. Oval, 120mm (4 3/4in) highFootnotes:Provenance: The Twinight CollectionAnother version of the present lot, signed by Henry Pierce Bone and dated 1845, was sold Christie's London, 2 December 2015 as lot 454. The counter-enamel of this earlier version describes the original portrait as a 'mutilated picture in the Possession Mrs Dymoke / Wells'. This version was slightly smaller and housed in a carved gilt-wood frame.Milton is regarded as one of the greatest English poets. Forceful and idealistic, he served the Commonwealth as Latin Secretary but was arrested upon the restoration of Charles II. He was a Puritan, and an opponent of the Catholics and of the Stuarts. His life followed a tragic path - an unhappy marriage, the premature death of his second wife and his eventual blindness in 1652. Milton is best known for his epics, Paradise Lost (1667), Paradise Regained and Samson Agonistes (1671). He died in London on November 12, 1674.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
English School, 17th CenturyCharles I, King of England, Scotland and Ireland (1600–1649), head and shoulders facing right, in ermine-trimmed robes, spreading lace collar, with the Garter collar and Great George. Black wash on vellum, original gold pendant with piecrust mount. Oval, 19mm (3/4in) highProvenance: D.S. Lavender Ltd, London, February 2013; The Twinight Collection; The Twinight CollectionFootnotes:After the death of King Charles I in 1649, commemorative jewels in the form of pendants, rings, lockets and slides, were produced in great numbers. These jewels were worn by Royalists in memory of Charles I. A few had concealing lids, as many supporters of the Royalist cause wished to keep their allegiance secret. Some were presented by the exiled Queen Henrietta Maria to Royalist supporters in appreciation of their continuing loyalty and financial backing.The tradition for wearing images of Stuart monarchs remained popular during times of political and religious uncertainty, periods of national mourning and also celebration, such as the Restoration of the Stuart monarchy in 1660 when they could be worn more openly. They were later used as a sign of Jacobite sympathies after the Glorious Revolution of 1688. These portrait miniatures were not painted from life but derived from earlier full-scale oil portraits. The present lot appears to derive from Sir Anthony Van Dyck's 1636 painting in the Royal Collection, showing Charles I in full ceremonial robes.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A documentary French porcelain plaque depicting Marie Clémence Isaure Boissy d'Anglas, dated 1837painted by Aimée Perlet, signed and dated on the reverse, the Vicomtesse de Nisas facing sinister in a black dress with ruffled sleeves, wearing a long gold chain, holding a book in her right hand and a quill in her left, her left arm resting on a table covered with a draped tapestry, a landscape in the background, set within a contemporary cast ormolu mount within black wooden frame, 14.5cm x 11.8cm unframed The reverse with the following inscription in black: Marie Clémence isaure Boissy d'Anglas, Vicontesse de Nisas, née le 4 Mars 1813, par Aimée Adrienne Perlet, an. 1837Footnotes:Exhibited: Salon de Paris, 1838Provenance: Christie's London, 22 Nov 1999, lot 138;The Twinight CollectionMarie Clemence Isaure Boissy d'Anglas, Viscountess of Nisas (Vichy, 4 March 1813-Paris, 30 June 1872) was painted aged 24 by the female Parisian painter Aimée Perlet. Perlet was a student with Marie Victorine Jaquotot (1772-1855), perhaps the most well known painter of plaques at Sèvres in the early 19th century, and herself a student of Leguay. Indeed Perlet was employed at Sèvres from 1825-1830, after which she continued her career as a portrait painter on porcelain. Like Jaquotot she exhibited frequently at the Paris Salons, and this work was entered in the Salon of 1838 as 'Portrait de Mme la viscomtesse de N. ...'. For further reading on both artists see: W. Neuwirth, Porzellanmaler-Lexicon, 1840-1914, Vol.I and II.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Mark Anthony (c.83-30 B.C.), wearing fur-trimmed black doublet over white chemise and black beret. Enamel on copper, enamel, signed on obverse, HBone, signed, date and fully inscribed on the counter-enamel, Marc Antonio/ London Jany 1802/ Painted by Henry Bone A.R.A. Enamel Painter to H.R.H. the/ Prince of Wales for Tho. Hope Esq/ after the original Picture by/ Raffaella in his Collection, gilt-metal frame. Circular, 86mm (3 3/8in) highProvenance:Bonhams London, 24 June 2004, lot 25;The Twinight CollectionFootnotes:Another version of the present lot was enamelled by Bone in 1805 for Admiral Lord Radstock. This enamel was sold Christie's, 13 May 1826, lot 3. cf. R. Walker, Henry Bone's Pencil Drawings in the National Portrait Gallery, LXI Vol. of the Walpole Society, 1999, p.335, no.340.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare group of sixteen large Sèvres biscuit portrait medallions depicting the Rulers of France, early 19th centuryMounted in two frames, depicting amongst others Henri IV, Louis XIV, Louis XV and Louis XVI, Marie Antoinette and two of her children, the Dauphins, Louis XVIII, Napoleon Bonaparte, and Charles X, all moulded en profil, all mounted in modern gilt-wood frames against a deep blue velvet, the medallions each varying very slightly in size and on average 8.5cm diam without their frames, the total size of the long vertical frames measuring 93cm x 15.5cm x 4cm, (16)Footnotes:Provenance:The Twinight CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Thomas Howard, 2nd Earl of Arundel (1585-1646), wearing black doublet and white ruff, seated before an embroidered curtain in a red chair, his right hand holding a paper, his left hand clasping the jewel of the Lesser George, the badge of the Garter, which is suspended from the blue ribbon of the Order around his neck. Enamel on copper, signed on the obverse, HBone, signed, dated and inscribed in full on the reverse, Thos Howard Earl of Arundel/ London/ April 1827/ Painted by Henry Bone RA/ Enamel painter to His Majesty &/ To His (late) RH the Duke of York/ &c &c after Van Dyke in the Marquis/ of Stafford's Collection Cleveland House/ London, gilded composition frame with scrolling acunthus leaf mouldings, the inner mount hinged and accompanied by a key. Rectangular, 191mm (7 1/2in) highProvenance:The Estate of Mrs. Charles W. Englehard, Christie's New York, 18 March, 2005, lot 132;The Twinight CollectionFootnotes:Thomas Howard, 2nd Earl of Arundel was prominent during the reigns of James I and Charles I and noted for his art collections of marbles and manuscripts. In 1604, he was restored to his father's Earldom of Arundel and to the Baronies of his grandfather, Thomas, 4th Duke of Norfolk. His fortunes fluctuated under James I and Charles I; he held many high offices and was more than once imprisoned. He is best remembered for his patronage of the arts and for his magnificent collections. These were dispersed after his death, most of the marbles and statues being given to Oxford University in 1667 to become known later as the Arundel (or Oxford) marbles. The library was given to the Royal Society and to the College of Heralds, the manuscript portion of the Royal Society's moiety being transferred to the British Museum in 1831 forming the present Arundel Collection.The present lot derives from Sir Anthony Van Dyck's portrait of the Earl painted circa 1620/1 and now in the J. Paul Getty Museum (86.PA.532). Bone's squared drawing for his enamel is in the Collection of the National Portrait Gallery, no. NPG D17392 (catalogued as Thomas Howard, 14th Earl of Arundel) bears the inscription Earl of Arundel for Earl Suffolk. Vandcyk/ June 1801/ In the Collection of Lord Gower.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Alessandro Farnese (1468-1549), Pope Paul III (1534-1549), seated three-quarter-length, in papal robes. Enamel on copper, signed on the obverse, 'HBone', inscribed in full on the counter-enamel and dated, Pope Paul the third / London / May 1810 / Pajnted by Henry Bone ARA. Enamel Painter/ in Ordinary to Hjs Majesty and Enamel Painter I to His R.H. the Prince ofWales after Titian, gilt-metal mount engraved Enamel HBone, gilded composition frame with rocaille, scroll and acanthus leaf mouldings. Rectangular, 198mm (7 13/16in) highProvenance: Christie's London, 10 June 2008, lot 117;The Twinight CollectionFootnotes:Richard Walker's Henry Bone's Pencil Drawings in the National Portrait Gallery, (Walpole Society, LXI. 1999, p. 339, no. 398) mentions the preparatory drawing which is in the collection of the National Portrait Gallery no. NPG D17423 and is inscribed, Pope Paul 3rd by- Titian. April 1810. /Original O. Humphry Esq' for George Bowles Esq.. The original portrait of Paul III without cap, painted by Titian in 1543 is in the collection of the Capodimonte Museum, Naples, Italy. It seems likely that Henry Bone worked from an oil copy (possibly by Ozias Humphry) of the original Titian which has been in its current location since 1734.Pope Paul III (1468-1549) was born Alessandro Farnese. He became Pope from 1534 until his death. He called the Council of Trent in 1545. He was one of the few Popes to have fathered children before his election. He was a patron of the arts, commissioning Michelangelo to paint The Last Judgement.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Royal Copenhagen portrait vase depicting Christian IX, King of Denmark, circa 1871The oval portrait of the King placed in a gilt cartouche with pearls and laurel wreath and crowned gilt border against a puce ground colour, the base of the vase with pearl and dart motifs in gilding, foot and neck of the vase with gilt and polychrome elements of orb and scepter and coat of arms, the reverse with the King's cypher of a crowned C9 within a gilt palm-leaf wreath, the double scroll handles picked out in gilding, 26cm high, triple wave mark for the Copenhagen factory to the base, pencil writing to the unglazed footrimFootnotes:Provenance:The Twinight CollectionThis portrait is likely based on a full-length portrait of Christian IX painted by H. Olrik in 1871 and now in Amalienborg Castle. He is wearing the symbols of the Orders of the Elephant and of the Garter on his uniform. In 1863 Christian IX succeeded the childless Frederik VII as king and was the first monarch from the House of Glücksburg line of the Royal family. In 1842 he married Princess Louise of Hesse-Kassel, with whom he had six children, four of whom later ascended European thrones.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Charles Boit (Swedish, 1663-1727)Anne, Queen of Great Britain and Ireland (1665–1714), seated three-quarter-length, in an ermine-lined crimson cape, lilac-coloured gown, white chemise, the lesser George on a blue ribbon at her corsage, crown and orb to dexter, interior and drapery background. Enamel on copper, signed on the obverse and dated, C: Boit pinx; / 1712, gilt-metal frame with pierced spiral cresting. Rectangular, 127mm (5in) highProvenance:with D.S. Lavender Ltd, London, 1993 Mrs T.S. Eliot, executor's sale 'A life's devotion: The Collection of The Late Mrs T.S. Eliot', Christie's London, 20 November 2013, lot 152;The Twinight CollectionExhibited:D. S. Lavender (Antiques) Ltd., London, The Monarchy in Portrait Miniatures from Elizabeth I to Queen Victoria, 1993, no. 63 (lent by D. S. Lavender (Antiques) Ltd.).Literature:C. Lloyd and V. Remington, exhibition catalogue Masterpieces in Little. Portrait Miniatures from the Collection of Queen Elizabeth II, London, 1996, p. 134Footnotes:Charles Boit, born in Stockholm to French parents, first trained as a goldsmith in his hometown before travelling to Paris to further his studies. He moved to London in 1687 where he benefitted from the protection of the Swedish portrait painter Michael Dahl. His 'very neat' work, as described by George Vertue, assured him patronage, the apogee of which was marked by his appointment as court enameller to King William III in 1696. Royal employment continued under Queen Anne, which included a commission to paint a large (40.5 x 61cm) commemorative enamel plaque celebrating the Battle of Blenheim. This highly ambitious project was abandoned due to a combination of technical, financial and political issues, ultimately forcing Boit to flee to France in 1714. In Paris he was able to re-establish his career, enjoying the patronage of the Regent, Philippe, Duc d'Orléans. In 1717 he was made an Agrée of the Académie Royale.A full-length portrait by Charles Boit of Queen Anne, depicted seated with her consort Prince George of Denmark standing to her right, is in the Royal Collection (RCIN 421497, signed and dated 1706).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An oval portrait plaque of Marie-Thérèse, Duchess of Angoulême, circa 1814 - 1817painted by Louise Bathilde Girard, Maria Theresa, Duchess of Angoulême (1778-1851) lavishly dressed with a tiara and with large ostrich feather, 9.5cm diam. high, 7.5cm diam wide (unframed) 12.7cm x 11.2cm wide (framed) 'L.Girard' in red to the reverse,Footnotes:Provenance: Christie's London, 17th April 2000, lot 132; The Twinight CollectionLouise Bathilde Girard was a Parisian painter based on the Rue Condé, she took part in the Salon de Paris for the first time in 1824 with three paintings after Gérard and after that took part in the Salons regularly until 1848. She was the wife of the engraver François Girard. (see: W. Neuwirth, Porzellanmaler-Lexicon, 1740-1914, p. 304).The eldest child of King Louis XVI and Queen Marie Antoinette of France, Princess Marie-Thérèse Charlotte (1178-1851) was born at Versailles. She was the ill-fated monarch's only child to reach adulthood. In 1799, she married her cousin, Louis Antoine, Duc d'Angoulême, the eldest son of Charles, Count of Artois, henceforth becoming the Duchesse d'Angoulême. She became the Dauphine of France upon the accession of her uncle and father-in-law, Charles X, to the French throne in 1824. She was herself briefly but unofficially Queen of France for all of twenty minutes, on 2nd August 1830 - between the time of her father-in-law signing his abdication and her husband, reluctantly, signing the same document, although this claim is often disputed.The diamond parure seen in the present lot was assembled for the Duchess in 1814. Upon the return of Louis XVIII after the Hundred Days of 1815, part of the diamond parure was returned to the Crown. The full parure consisted of the diadem, necklace and pendent earrings, all seen in the present portrait, a pair of bracelets, a comb, a bandeau and a belt-clasp. The necklace and earrings were retained by the Duchess together with the pair of matching bracelets because these jewels all belonged specifically to her. The remaining diadem, comb, bandeau and belt clasp were returned to the Crown via the Parisian jeweller, Gibert, with whom the Duchess had left them. The stones from the bandeau were later broken up for use in other jewels.In 1824, the Duchess naturally expressed her desire to keep the diadem as part of her personal collection of jewellery. This magnificent jewel can be seen with the matching necklace and pendent earrings in the Duchesse d'Angoulême's oil portrait of 1816 by Antoine-Jean Gros (French, 1771-1835), which forms part of the Louvre Collection at Versailles (inventory number. 5079). Louis XVIII had instructed that no further items were to be removed from the Crown Collection. He therefore agreed to buy new diamonds for the diadem. Papers from the Crown jeweller, Bapst, that are held by the Bibliothèque Nationale in Paris include a document from the Ministry of the King's Household, dated 4th May 1824 and described as a 'budget of 200,000 francs......to secure the return to the Crown Jewel House of the diamonds mounted on the diadem belonging to the Duchesse d'Angouleme, and to supply H.R.H. with a new diadem of a value equal to that of the first'. The total value of the diamonds acquired by Bapst to replace the original stones from the diadem was recorded as 333,962 francs with the largest diamond exceeding 13.00 carats (see Morel, B. The French Crown Jewels, 1988, p.303, on which an engraving of the present lot is also illustrated). Although the diamond diadem of 1814 tragically no longer exists in its original form, the original stones it consisted of were returned to the French Crown for mounting in different jewels and a new diamond diadem was constructed for the Duchess. The majority of the French Crown jewels were later sold in the Pavilion de Flore at the Louvre on 12th-23rd May 1887 by the Third Republic. The sale attracted worldwide attention from some of the wealthiest personalities of the Gilded Age and the greatest jewellery houses of the day including Bapst, Fabergé, Tiffany and Van Cleef & Arpels. Many of these jewels were deconstructed and broken up - a huge loss to the jewellery world - while others have remained intact and majestically resurface from time to time at auction.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Mrs. Robert Hawthorn, facing right in white dress, fringed yellow shawl and blue lined purple cloak, her fair hair dressed in ringlets, sky background. Enamel on copper, signed on the obverse HBone and inscribed, signed and dated on the counter-enamel (partly obscured by the frame) [...] Wells [...] [wi]fe of Rob:t Hawtho[rn] London Oct.r 1825. [pai]nted by Henry Bone [...] [...] painter to His Majest[y] painter to His R. H. [Du]ke of York &c&c [...] [afte]r a miniature [...] Robertson in [...], hinged gilt-metal mount with plaited hair reverse within hinged gilt-metal case with engine-turned covers. Oval, 83mm (3 1/4in) highProvenance: Christie's London, 22 November 1999, lot 31;The Twinight CollectionLiterature:D. Foskett, 'Many 19th Century Miniaturists are Still Undervalued', Antique Collecting, 1988, p. 31 ('It is the only enamel I know of which is after Robertson'), illustrated p. 29, fig. 5.Footnotes:Henry Bone's drawing for the present lot, inscribed Mrs. Hawthorn 1815 is in the collection of the National Portrait Gallery (NPG D17746).The present lot is an unusual example of Henry Bone creating a copy of a portrait miniature by one of his contemporaries. Andrew Robertson exhibited a miniature of R. Hawthorn at the Royal Academy in 1825.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)John Williams Hope (1757-1813), facing left in blue coat with gold buttons and black collar, white waistcoat and frilled cravat, powdered hair. Enamel on copper, signed on the obverse, HBone, inscribed, signed and dated in full on the counter-enamel, Williams Hope Esq. Painted by Henry Bone ARA. Enamel painter to His R.H. the Prince of Wales after a Miniature painted in 1795 by R Cosway R.A. April 1806., ormolu frame, fitted red leather travelling case. Oval, 88mm (3 7/16in) highProvenance:Maxime Hébert, Paris, no. 1391. Ernst Holzscheiter, Meilen; Sotheby's, London, 9 June 1986, lot 38 Christie's, 10 December 2002, lot 37Exhibited: Arenenberg, Napoleonmuseum, Miniaturen und Karikaturen, 1954, no. 5 (lent by Ernst Holzscheiter)Footnotes:A miniature of the sitter by Richard Cosway, signed and dated 1796, was sold from the di Portanova Collection, Christie's, New York, 20 October 2000, lot 37 and is illustrated in D. Foskett, Miniatures: Dictionary and Guide, Woodbridge, 1987, p. 360, pl. 104C.Henry Bone's drawing for the present lot, inscribed - Williams Hope Esqre after/ Cosway - for Sir F. Baring-/ Decr 1806 is illustrated in R. Walker, Henry Bone's Pencil Drawings, The Walpole Society, LX, 1999, p. 331, no.277; and is the collection of the National Portrait Gallery (NPG D17601). John Williams Hope was a banker and merchant, a partner in Hope & Co, a famous Dutch bank that spanned two and a half centuries. The son of William Williams, he assumed the name of Hope on his marriage to Ann, niece and heiress of Henry Hope. A banker in Amsterdam, he was one of the eight statesman of Holland 1794-1806.Sir Francis Baring, 1st Baronet (1740-1810) who commissioned the present lot was an English merchant banker.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Berlin portrait cup and saucer, circa 1800-10The bell-shaped cup applied with a biscuit relief profile bust of Alexius Friedrich Christian Duke of Anhalt-Bernburg (1767-1834) facing sinister, after Leonhard Posch, on an oval tooled gilt-ground medallion flanked by foliate scrollwork, the saucer with a similar border, the saucer: 14.8cm diam.; the cup: 11.4cm high, sceptre marks in underglaze-blue, impressed 10 (cup) and 28 (saucer), impressed II on the saucer (2)Footnotes:Provenance:Private collection, Berlin, sold by Lempertz Berlin, 27 May 2006, lot 83;The Twinight CollectionSee Anne Forschler-Tarrant, Leonhard Posch (2002), no. 1, for the medallion by Posch.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Sir William Ponsonby (1772-1815), wearing fur-trimmed brown cloak over armour. Enamel on copper, signed, dated and fully inscribed on the counter-enamel, London/ July 1807 / Painted by Henry Bone ARA/ Enamel Painter to HRH/ Prince of Wales/ Miniature, gilt-wood frame. Rectangular, 112mm (4 7/16in) highProvenance:By Family DescentPurchased from Philip Mould & Company, 23 May 2008 ;The Twinight CollectionFootnotes:Bone's preliminary drawing for the present lot, inscribed, after Saunders June 1807/ Col. Ponsonby., is in the Collection of the National Portrait Gallery, London, no. NPG D17594. Ponsonby was not, despite Bone's hurried note, made a full Colonel until 1810, but had been a Lieutenant Colonel since 1800. The enamel dates from the year of his marriage to the Hon. Georgiana Fitzroy, sixth daughter of the First Lord Southampton (described as a 'lady of very uncertain temper') and may have been a gift to her. Ponsonby, a member of an Irish aristocratic family, was a long-serving Guards officer. He won a seat in the Commons as a supporter of the Whig opposition, which was led by his uncle, George Ponsonby, but he was mostly away on military service. Ponsonby commanded the Union Cavalry Brigade at Waterloo, where he was killed in action after a charge in which his horse got stuck in the mud. In his Waterloo Dispatch, Wellington expressed his grief 'for the fate of an officer who had already rendered very brilliant and important services, and was an ornament to his profession'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A documentary Nymphenburg cabinet plate, circa 1821Painted by Louis-Socrate Fouquet with a portrait of a lady after Titian within a burnished gilt border tooled with formal borders around the well and foliate scrollwork around the rim, the reverse inscribed in black 'Copirt nach Georgion./ aus der Königl. Bildergallerie zu/ München./ den 20ten Janner 1821./ v. L. Fouget.', 23.5cm diam., impressed shield mark, VI and XIX (very minor wear)Footnotes:Provenance:The Twinight CollectionLiterature:K. Hantschmann, Nymphenburger Porzellan des Klassizismus 1797-1847 (1996), p. 314;S. Wittwer, Raffinesse & Eleganz Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection New York (2007), p. 77, ill. 88This plate was part of a commission of a dessert service for King Max I of Bavaria, which may have been inspired by the similarly-decorated Sèvres Service 'à marli d'or' for the Emperor Napoleon. The subjects on the Nymphenburg service are mostly after old master paintings and reflected the Bavarian king's preferences; like the Sèvres service, the gilt borders had various patterns. Twenty-seven plates were delivered to the court and were kept in the Silberkammer (now displayed in various museums). Eight plates recorded as having been painted by Fouquet for the service (including the present lot) were either not purchased by the court or have not survived. The explanation may lie in an ongoing dispute over payments between Fouquet, who trained at Sèvres and may have been engaged specifically for this service (possibly at the instigation of the king), and the chief painter, Anton Auer. The latter, who was responsible for evaluating the painters' work, felt that the quality of Fouquet's painting did not justify the price he asked, while Fouquet in turn blamed any deficiencies in his work on the poor quality of the colours supplied by Auer. As a consequence of this dispute Fouquet left the manufactory, and it is possible that the plates painted for him for the dessert service but not acquired by the court were subsequently sold. Others are in the Bäuml Collection (A, Ziffer, Nymphenburger Porzellan Sammlung Bäuml (1997), no. 1333; and in the Württembergisches Landesmuseum, inv. no. 11.255.After a painting depicting an allegory of vanity by Titian of around 1515 - previously attributed to Giorgione - that is now in the Bayerische Staatsgemäldesammlungen - Alte Pinakothek Munich, inv. no. 483.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Vienna blue-ground cabinet cup and saucer, circa 1808The cup painted with a gilt-edged rectangular panel depicting a half-length portrait of a young lady wearing an Empire dress with lace collar and green ribbon, reserved against a dark-blue-ground band reserved with gilt foliate scrollwork on a black band, above a broader pale-blue ground with a formal gilt foliate border, the saucer similarly decorated, the saucer: 13.5cm diam.; the cup: 6cm high, shield marks in underglaze-blue, impressed date codes 808 to both, 47 and 4 to the cup and 56 to the saucer, A 17 in puce to the saucer (2)Footnotes:Provenance:Anon. sale in these Rooms, 25 May 2011, lot 323; The Twinight CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Elizabeth Chamberlain Towry (d.1806), her upswept curling brown hair held with a peach bandeau and wrapped in a gauze scarf, wearing a high-necked, white silk dress with jewelled clasps. Enamel on copper, signed, dated and indistinctly inscribed on the counter-enamel [...][...] Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after/ [...][...]Lawrence RA/ July 1808, gilded composition frame with scrolling acorn leaf mouldings, within a laurel leaf and ribbon border. Rectangular, 95mm (3 3/4in) highProvenance:The Canterbury Auction Gallery, 23 June 2009, lot 371 (as Anne Lady Ellenborough) ;The Twinight CollectionFootnotes:Elizabeth was the wife of Captain George Henry Towry (1767-1809), a Royal Navy officer best known for his service as commander of the frigate HMS Dido, in the action of 24 June 1795 in the Western Mediterranean Sea during the French Revolutionary Wars. Elizabeth and George married in 1802, a marriage noted for its 'greatest harmony and most perfect happiness' until her untimely death in 1806 which left him grief-stricken.The original drawing (squared for transfer) for the present lot is in the collection of the National Portrait Gallery, no. NPG D17263 and inscribed The Late Mrs. Towry/ after Lawrence for Captn T./ May 1808. A further drawing relating to an oval version of the present lot, dated December 1807 is also in the collection of the National Portrait Gallery no. NPG D17336.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Pierce Bone (British, 1779-1855)John Charles Spencer, Viscount Althorp, 3rd Earl Spencer (1782-1845), as Chancellor of the Exchequer, full length in Chancellor's robes over black mourning suit, standing beside a George II giltwood console table from Spencer House draped with green cloth, his right hand resting on a document entitled 'Amendment of the Poor Laws', large leather-bound books and folio propped against table leg, inkwell, salt cellar and quill on silver stand on table, red curtain, pillar and curtain interior; landscape background. Enamel on copper, signed and dated on the spine of the largest leather-bound book 1835. HPBone, signed, dated and fully inscribed on the counter-enamel, John Charles Earl Spencer Viscount Althorp, later Chancellor of the Exchequer London Feby. 1835 Painted from Life by Henry Pierce Bone Enamel Painter to Her Majesty and their Royal Highnesses the Duchess of Kent & Princess Victoria, frosted ormolu mount engraved on lower edge ENAMEL. H.P. BONE., gilt-wood frame. Rectangular, 350mm (13 3/4in) highProvenance: Commissioned by John Charles, Viscount Althorp, later 3rd Earl Spencer (1782-1845) and thence by descentThe Spencer House Sale, Christie's London, 8 July 2010, lot 1065The Twinight CollectionExhibited:London, Royal Academy, 1835, no. 436, as Viscount Althorp (now Earl Spencer) Chancellor of the Exchequer, - enamel, from the life H.P. BoneLondon, South Kensington Museum, Special Exhibition of Portrait Miniatures, June 1865, no. 1336 (lent by the Earl Spencer).Footnotes:Unlike the majority of Henry Pierce Bone's works, in this instance, the drawing was taken from life, rather than from an existing portrait, probably at Spencer House in London, before a view of Green Park.A year before the present miniature was executed, John Charles, Viscount Spencer sat for Henry Pierce Bone in a plain black coat and without his robes of office. This smaller, head and shoulders, octagonal enamel dated August 1834 was sold anonymously at Sotheby's London, 6 November 1997, lot 267 (erroneously identified as having been exhibited at the Royal Academy in 1835, no. 436) and is now in the Spencer Collection at Althorp.John Charles Spencer, 3rd Earl Spencer, PC, DL, FRS, styled Viscount Althorp from 1783 to 1834, was a British statesman and abolitionist. He was Chancellor of the Exchequer under Lord Grey and Lord Melbourne from 1830 to 1834. Due to his reputation for integrity, he was nicknamed 'Honest Jack'.The George II gilt-wood console table next to which Viscount Althorp stands was designed by James 'Athenian' Stuart for the Great Room at Spencer House, St James's and is now at Althorp. The document on the table entitled 'Amendment of the Poor Laws' refers to the New Poor Law Amendment Act of 1834 which followed the Reform Act of 1832. Under the premiership of Lord Grey, Viscount Althorp was instrumental in bringing about these constitutional reforms considered, 'the great aim and object of his political life' (D. Le Marchant, Memoir of John Charles, Viscount Althorp, third Earl Spencer, ed. H. D. Le Marchant, 1876).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Sir Thomas Smythe (c.1558-1625), wearing black robes, cap and fur stole, his right hand resting on a globe, a ring on his left hand, which holds a pair of gloves. enamel on copper, signed, dated and inscribed in full on the counter-enamel: Aetis suce, 33__/ Sir Thos: Smythe Born March 28th 1512/ Died Augst 12th 1577__/ 1526__ Sent to Queens Coll: Cambridge__/ 1535__ Brought in a new manner of pronouncing/ Greek, which prevailed in the University/ 153*__ Made University Pastor__/ 1539__ Took the Degree of Dr of Civil Law at P[...]/ 1542__ Regi[...] Professor of Civil Law at Cambridge/ Preceptor to Edward 6th/ Master of Requests to the Duke of Somerset./ Steward of the Stanaries. Provost of Eaton./ Dean of Carlisle./ 1548__ Secretary of State & Knighted by Edward 6/ 1551__ Ambassador to France/ Allowed a Pension of £100 per annum in Marqis Reign/ 1558__ Employed by Elizabeth in the Settlement of Religion/ S[...] Ambassador to France/ 1571__ Made Chancellor of the Garter/ 1572__ Secretary of State - author of several Works/ & a Man of great Learning &c. &c./ London Decr 1814 Painted by Henry Bone R.A./ Enamel painter in Ordinary to His Majesty & Enamel/ painter to HRH the Prince Regent after the Original/ by Holbein in the Possession of Sir Willm Smythe [...]/ of Hill Hall Essex, gilt-metal slip engraved, ENAMEL HBONE, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon and Turnbull, 14 January 2015, lot 22;The Twinight CollectionFootnotes:Sir Thomas Smythe was an English merchant and politician. He was the first Governor of the East India Trading Company and was elected a Member of Parliament in 1614 and 1622. The present lot derives from a painting by Hans Holbein once at Hill Hall, Essex. A number of variants of Holbein's portrait exist, including one by Thomas Hudson in the Collection of Queen's College, Cambridge University and one from the Collection at Spains Hall, Finchingfield that was sold in these rooms on 24 October 2018 (lot 44).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)The Shipwreck of Aeneas. Enamel on copper, signed and dated, HBone/ Aug 1817, inscribed along the top edge, London, July 1817, Painted by Henry Bone R.A. Enamel painter in Ordinary to his Majesty and Enamel painter to H.R.H. the Prince Regent after the Original by Rubens in the Collection/ of Thomas Hope Esqr, pierced gilt-wood frame with rocaille and acunthus leaf detail. Rectangular, 231mm (9 1/8in) highProvenance: Bonhams London, 18 November 2003, lot 148;The Twinight CollectionFootnotes:The present lot is an unusual example of Bone's work in that it is not portrait based. Whilst he is recorded as having enamelled historical and mythological subjects, they are still predominantly figurative, whereas the present enamel is almost purely a landscape.The Shipwreck of Aeneas off the Carthaginian coast in 1176 BC forms the first book of Vigil's Aeneid. The original by Rubens, painted during his Italian stay circa 1605, is currently in the Berlin-Dahlem, Staatliche Museen. The landscape was identified in 1677 by Roger de Piles, secretary to the then owner, the Duke of Richlieu in Paris. It shows the Medieval Castle built by the Genoese in 1161, situated at the top of a point dominating the now called Grotto of Byron at Porto Venere. At the foot of the hill is the Church of San Lorenzo, built in 1116 in the Lombardian style. For an illustration of the prototype, cf. Michael Jaffé, Catalogo Completo Rubens, Milan, 1989, pp.92-3.This publication states that the painting was owned by a Lady Stuart, until 1841. However as the present lot indicates, the enamel was owned by Thomas Hope (1769-1831) by at least 1817. This is a good example of how important Nineteenth Century enamel copies, with their detailed inscriptions, are in confirming the ownership and provenance of Old Master paintings. After Thomas Hope, the Rubens painting (and presumably the present enamel) passed to Henry Thomas Hope (1808-1862) and thence to his nephew Lord Francis Pelham Clinton Hope (later 8th Duke of Newcastle under Lyne) (1866-1941) and then to Sir Alfred Beit Bart, who gave the painting to the Kaiser-Friedrich-Museums-Verein in 1899. Thomas Hope was in possession of a number of Old Master paintings belonging to his younger brother Henry Philip Hope (1774-1839), which had formed part of the Hope Collection, formed by their father John and great-uncle Adrian. However once the paintings had been inherited by Lord Francis, they were to leave the family as a result of his bankruptcy through gambling in 1894. At the same time, the famous 45.52 dark blue 'Hope' diamond (now in the Smithsonian Institute), which had also been passed down through two generations of the illustrious banking family, was sold. It is most probable that Francis owned the present lot in addition to his other heirlooms and that it too was sold to ease his debts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Charles Grey, 2nd Earl Grey, KG PC (1764-1845), facing left in blue coat, white waistcoat and tied cravat, powdered hair; red curtain, pillar and sky background. Enamel on copper, signed on the obverse, HBone and in full on the counter-enamel, Charles Grey Esq. M.P. Henry Bone pinxt Augst 1794, gilt-metal frame surmounted by a coronet. Oval, 92mm (3 5/8in) highProvenance: Christie's London, 10 December 2002, lot 38The Twinight CollectionFootnotes:Henry Bone's drawing for the present lot, inscribed Honble C. Grey/ 1794 is in the collection of the National Portrait Gallery (NPG D17551).Another version of this enamel, signed and dated September 1820, sold Christie's, London, 10 July 1991, lot 129, now forms part of the Draper Gift at Kenwood House (Miniatures at Kenwood. The Draper Gift, London, 1997, no. 67, illustrated p. 157). Both enamels are based on an oil portrait by Sir Thomas Lawrence known from a lithograph (Bridgeman Images no.XJF142407).Charles Grey was the eldest surviving son of General Sir Charles Grey, K.B. and Elizabeth, daughter of George Grey. In 1786 he was returned member for Northumberland. He was one of the managers of the impeachment of Warren Hastings and in 1792 he helped to found the Society of Friends of the People. He introduced the motion for the impeachment of Pitt and took a prominent part in the temporary session of the Whigs from parliament. He also denounced the union between England and Ireland. In 1806, he became First Lord of the Admirality and on the death of Fox, foreign secretary and leader of the House of Commons. He carried through the act abolishing the African slave trade. In 1831, he became Prime Minister and again in 1832-1834 when he successfully saw through the first Reform Act but dissensions sprang up and in consequence of his Irish difficulties he resigned in July 1834. He married Mary Elizabeth, daughter of William Brabazon Ponsonby, in 1794 and they had fifteen children but also had liasons with Georgiana, Duchess of Devonshire.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Peter Cross (British, circa 1650-1724)The Hon. Heneage Finch, later 5th Earl of Winchilsea (1657–1726), head and shoulders facing left, in a blue day-gown, lace cravat, full-bottomed brown wig. Watercolour and bodycolour on vellum laid down on card, the reverse signed with cipher, PC and inscribed, Collonell Finch (sic), later silver frame with scroll surmount. Oval, 82mm (3 1/4in) highProvenance: Sotheby's London, 4July 1989, lot 265 Judy & Brian Harden Ltd, June 2010;The Twinight CollectionFootnotes:Heneage Finch (1657–1726) inherited the earldom of Winchilsea in 1712 from his nephew Charles, 4th Earl, and with it legal and financial burdens that took years to resolve. Shortly after the Restoration, from 1661–1667, Finch acted as King Charles II's ambassador to the Sublime Porte. When James, Duke of York succeeded as King James II, Finch, already Groom of the Bedchamber, was commissioned a colonel - note the inscription on the reverse of this miniature- and was appointed a deputy lieutenant for Kent. Following the Glorious Revolution Finch's Jacobite sympathies led him to be arrested, although charges were later dropped. When he assumed the earldom he refused to take the Oath of Allegiance and did not take his seat in the House of Lords. His wife was the poet Anne Kingsmill (1661–1720), whose miniature portrait by Peter Cross is in the collection of the National Portrait Gallery, London (inv. no. NPG4692).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)Saint Cecilia, Patron Saint of Musicians, wearing a coronet of red and white roses in front of her halo, standing before Classical columns and arches, holding a palm – the symbol of her martyrdom – in one hand and a sheet of music in the other; to the left, a portable organ; to the right an angel leans on a harp. Enamel on copper, inscribed, signed and dated on the counter-enamel, London/ April 1811/ Painted by Henry Bone RA Enamel/ painter in Ordinary to His Majesty/ and Enamel painter to His RH the/ Prince Regent after the Original/ by Dominichino in the possession/ of William Wells Esq/ Original 3feet, 7in/ 4 - 9, gilded composition frame. Rectangular, 214mm (8 7/16in) highFootnotes:Provenance: Twinight CollectionHenry Bone's drawing for the present lot, inscribed St Cecelia after Dominichino June 1811 For Thos. Hope Esq.-/size of Picture H 3-7 1/2 by 4-8in is in the collection of the National Portrait Gallery (NPG D17419).The present lot was commissioned by Thomas Hope (1769-1831), an interior and Regency designer, traveler, author, philosopher, art collector, and partner in the banking firm Hope & Co. He is best known as an early promoter of Greek Revival architecture, opening his house as a museum and his novel Anastasius, a work which many experts considered a rival to the writings of Lord Byron.The original painting was previously thought to be by Domenichino (as borne out by the inscription on Henry Bone's drawing). This attribution goes back as far as the eighteenth century, when it was in the collection of a Scottish nobleman, Sir Robert Udny. The painting, now in the collection of the National Gallery, London (NG5284) was later considered to be by an unknown Roman painter, but is now correctly attributed to Pietro da Cortona. Pietro da Cortona was one of the most influential and prolific figures of the Roman Baroque who decorated many of Rome's churches and palaces. The painting is one of a small number of works stylistically linked with his frescoes in the Palazzo Mattei in Rome, datable to shortly before 1624–5. Cortona's early works include a profusion of classical architecture and other references, such as the temple seen in the background here.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A documentary porcelain plaque depicting Elizabeth Margaret Stuart (née Yorke), Lady Stuart de Rothesay, circa 1820painted by Adèle Hoguer, facing ahead with short curly brown hair, gray eyes and wearing a white dress and a dark blue hat with white feather plumes, in a gilt and tooled rectangular painted frame in turn set in a neoclassical ormolu frame, 18.3cm high by 14.7cm wide, the porcelain unmarked on the reverse and signed on the front: 'Adele hoguer 1820Footnotes:Provenance:The Twinight CollectionThis exquisitely painted porcelain miniature is likely a copy of a miniature on ivory by Frederic Millet. A mezzotint after the original, the whereabouts of which are unknown, by William Giller dating to 1827 is in the National Portrait Gallery (NPG D4329). It was made for publishing in La Belle Assemblée, a magazine published from 1806-1837, known for its fashion plates of Regency-era styles, but also for its original poetry, and articles of fiction and non-fiction. It typically contained five plates; one depicting a member of the court or fashionable society, two depicting the latest fashions, and a further two providing sheet music and a sewing pattern.Lady Stuart (1789-1867) was the wife of Charles Stuart, 1st Baron Stuart de Rothesay (1779-1845), who was twice Ambassador to France and also served as Ambassador to Russia between 1841-1844. Briefly Ambassador to the Netherlands between February and May 1815, it was during his posting as Ambassador in Spain that Stuart became indispensable to the Duke of Wellington. At the Generals' insistence, he was appointed British Ambassador to France. During Napoleon's Hundred Days, he left Paris and was in Brussels at the start of the Waterloo Campaign. After the fall of Napoleon, he escorted the exiled French King Louis XVIII back to Paris, and became British Ambassador there until 1824. Charles and Elizabeth Stuart's access to the latest fashion from continental Europe goes some way in explaining the very elegant and rich dress and hat she wears in this portrait, likely dating some time after their marriage in 1816.Elisabeth was also mother of Louisa, Marchioness of Waterford, and Charlotte, Viscountess Canning, who were both born in the Ambassador's Residence in Paris in 1817 and 1818 respectively. A painting of Elizabeth and her daughters is in the Government Art Collection and is on display at the British Ambassador's Residence in Paris.The painter Adèle Hoguer was listed in the Almanach du Commerce of 1846, under the listing of paiters, decoraters and gilders working on porcelain and by Chavagnac-Grollier (1906) as having worked in 1840 as a Marchande on 69, Rue du Bac (see: W. Neuwirth, Porzellanmaler-Lexicon, Vol I, p.372). She is possibly the same as Mmlle Hocquier, listed as a painter at Sèvres in 1824 and 1830, see M. Brunet, T.Préaud, Sèvres, des Origines à Nos Jours (1978) p.369.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres plaque depicting Anne d'Autriche after Rubens, circa 1814-1824Signed Arsène and C in black enamel, the Archduchess seated on a red velvet chair under a red baldachin, facing sinister and wearing elaborate jewellery, holding a bouquet of flowers, an elaborate baroque interior with Corinthian columns and enfilade of rooms behind her, ina modern giltwood frame, 22.7cm x 18.5cm unframed printed factory mark of interlaced double L enclosing fleur de lys and Sèvres, incised 9oU I and title inscription in green,Footnotes:Provenance: Christie's, Paris, 17th December 2009, lot 53;With Michel Vandermeersch; The Twinight CollectionPainted by Mlle Arsène Trouvé (1818-22; 1827) and Jean-Marie-Dominique Troyon (1802-1817). The portrait is titled on the reverse as 'Portrait d'Elisabeth de Bourbon, Peint d'après Rubens. This is erroneous however, as the painting is based on a copy after a lost original painted by Rubens dating to 1620-1625. Anne of Austria was the eldest daughter of King Philip III of Spain and his consort Margaret of Austria. She not only held the titles of Infanta of Spain and of Portugal but also that of Archduchess of Austria. She married Louis XIII in 1615 at the age of thirteen, and was the mother of Louis XIV (1643-1715) and Philippe I, Duke d'Orléans.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Christian Richter (Swedish, 1678-1732)John Lowther, 1st Viscount Lonsdale (1655–1700), head and shoulders facing right, in a blue day-gown, grey waistcoat, white chemise and cravat. Watercolour and bodycolour on vellum laid down on card, signed with cipher lower right, RC, the reverse signed, inscribed and dated, Lord Lonsdale/LCR (monogram)/ CR (cipher) 1700 (altered to 1710), later silver frame with scroll surmount. Oval, 73mm (2 7/8in) highProvenance: The Merchiston Collection of Fine Portrait Miniatures, The Property of Mrs Eleanor Hamilton, Bonhams London, lot 10;The Twinight CollectionExhibited: Portrait Miniatures from the Merchiston Collection, Scottish National Portrait Gallery, 23 September – 11 December 2005, no.10Literature: Stephen Lloyd, Exhibition Catalogue, 2005, p.58Footnotes:John Lowther, son of Col. John Lowther of Hackthorpe Hall, Lowther, was an English politician who at the time of the Glorious Revolution of 1688 assisted King William III in securing Cumberland and Westmorland. The following year he was appointed to the Privy Council and in 1690 First Lord of the Treasury. He was Lord Privy Seal from 1699 until his death the year after. In 1675 he inherited the baronetcy of his grandfather, Sir John Lowther, 1st Baronet (1605–1675), and in 1696 he was created viscount.This is a posthumous portrait. For the basic image Richter almost certainly referenced a portrait of the sitter by Hyacinthe Rigaud. formerly in the Lowther collection and now in the Government Art Collection (inv. no. 0/27). The painting technique employed, however, suggests he sought to emulate the work of Peter Cross - the soft sfumato closer to that used by Cross in his portrait of Lord Winchilsea (see example in this sale) than Richter's own more solid style seen in his portrait of Edward Bayly (see example in this sale).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Henry Bone R.A. (1755-1834)The sculptor, Sir Francis Leggatt Chantrey, RA. (1782-1841), in black morning suit, blue waistcoat with gold fob-seal, standing three-quarter length beside the bust of William Hyde Wollaston, F.R.S. (1766-1828) on a plinth. Enamel on copper, signed, dated and inscribed on the counter-enamel, Francis Chantrey Sculptor. RA./ London/ 1831 I Painted in Enamel by Henry Bone RA. / Enamel painter to His Majesty &c &c / after the Original by ).Jackson RA., frosted gilt-metal mount, engraved Sir Francis Chantrey RA/ Enamel HBone, RA., ormolu mount and gilded composition frame, the reverse with gilt-metal plaque engraved, Sir Francis Chantry RA/ THE SCULPTOR/ BY HENRY BONE RA/ THE GIFT OF HIS WIDOW/ Lady Chantry/ to A C BURDETT COUTTS, and a handwritten monogrammed note, With/ affectionate love/ from M.A.C./ to her ever kind friend/ Miss Burdett Coutts/ June 29th 1869. Rectangular, 242mm (9 1/2in) highProvenance: Lady Mary Chantrey (1787-1875), given in 1869 to Angela Georgina Burdett-Coutts, 1st Baroness Burdett-Coutts (1814-1902);The Rt. Hon. William Burdett-Coutts, M.P. (c. 1851-1921);Christie's London, 11 May 1922, lot 412 (40 gns. to Guerin);Leo R. Schidlof (1886-1966) Collection, Vienna, in 1924;Christie's London, 4 March 1992, lot 95;Christie's London, 10 June 2010, lot 135;The Twinight Collection Exhibited:London, Royal Academy, 1831, no.455London, New Gallery, Exhibition of the Royal House of Guelph, 1891 Vienna, Albertina, Internationale Miniaturen-Ausstellung in der Albertina Wien, 1924, no. 102 (lent by Leo R. Schidlof)Geneva, Musee d'Art et d'Histoire, Chefs-d'oeuvre de la Miniature et de la Gouache, 1956, no. 50. Literature:H. Clouzot, Dictionnaire des miniaturistes sur email, Paris, 1924, p. 31.L.R. Schidlof, The Miniature in Europe, Graz, 1964, I, p. 93.R. Walker, Regency Portraits, London, 1985, I, p. 105.R. Walker, 'Henry Bone's Pencil Drawings', The Walpole Society, LXI, 1999, p. 318, no. 99Footnotes:Sir Francis Leggatt Chantrey RA was the leading portrait sculptor in Regency era Britain, producing busts and statues of many notable figures of the time. His most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for St Paul's Cathedral, London.In 1807, William Hyde Wollaston patented his design of the camera lucida, the scientific instrument used by Sir Francis Chantrey to project an image onto a plate from which a tracing could be made. As well as a great inventor, Wollaston was regarded as the most skilful chemist and mineralogist of his day and was responsible for the discovery of palladium and rhodium. A plaster bust by Chantrey of Wollaston is in the Ashmolean Museum (inv. no. 664-152) and is incised Died 22 Dec 1828 / WILLIAM HYDE WOLLASTON / M.D. V.P.R.S. FC, and a marble bust made in 1829 for Mrs Seymour Bathurst and presented by Lord Bathurst to the Royal Institution in 1879, is incised WILLIAM HYDE WOLLASTON / CHANTREY SC / 1830. Henry Bone's preparatory drawing of the present enamel is illustrated in R. Walker, Regency Portraits, London, 1985, II, pl. 231. The drawing, inscribed, J. Jackson RA/ FL Chantrey - 183*/ for Mrs Chantrey 1831 and a sketch of Bone made by Chantrey, are in the collection of the National Portrait Gallery (nos. NPG D17472 and NPG 316a [13b], respectively). The present lot derives from a portrait by John Jackson R.A., a version of which is in the Tate Gallery, London (inv. no. 3672).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
FOUR PORTRAIT MINIATURES, GEORGIAN AND LATER the earliest depicting a young lady with raised hairstyle, the remaining three likely Edwardian depicting a single girl, two girls and a gentleman respectively, all watercolour on ivory, along with an embellished photographic miniature, all in gilt metal framesThis lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA group registration reference K9UB5HLZ. the first 6cm x 5cm
THREE PORTRAIT MINIATURES, LATE 19TH CENTURY comprising The Blue Boy after Thomas Gainsborough RA (British, 1727-1788), a portrait of a lady signed Fuger, and another portrait of a lady signed indistinctly, all watercolour on ivory, framed and under glass.This lot contains elephant ivory material. Several countries, including in the EU and USA, prohibit the importation of ivory items unless under specific conditions. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.Ivory Act 2018 (2022) compliant with APHA registration reference VBVMGGB3. the first 11cm x 10cm overall
A Roman marble male portrait head Circa 1st-2nd Century A.D.26cm highFootnotes:Provenance:Private collection, established in the 1950s. Anonymous sale; Pierre Bergé & Associés, Paris, 1 December 2011, lot 386.Property from a Princely Collection, acquired at the above sale.For further information on this lot please visit Bonhams.com
An Egyptian glass bead in the form of twin resting ducks New Kingdom, 18th Dynasty, circa 1550-1292 B.C.1.7cm wide, 1.9cm longFootnotes:Provenance:Professor Dr. Claude Dufourmentel (1915-2012) collection, Paris.Collection du Professeur et Madame Claude Dufourmentel; Artcurial, Paris, 2 June 2014, lot 94.W. Arnold Meijer collection, the Netherlands, acquired at the above sale.For the type, see the Brooklyn Museum, acc. no. 37.1444E, and another in the Metropolitan Museum of Art, New York, acc. no. 26.7.1145, excavated from the palace of Amenhotep III.Professor Dr. Claude Dufourmentel was a famous plastic surgeon in Paris, who in 1962 developed a method of skin transplantation using a rhomboid skin flap. This has since been commonly referred to as the 'Dufourmentel flap'. He was the son of Dr. Léon Dufourmentel (1884-1957), a leading French surgeon of reconstructive transplantation. During World War I he established a unit for facial and cheek surgery. In 1918 he devised the graft technique named for him, 'Greffe Dufourmentel'. Léon Dufourmentel was quoted in 1948, '...If I went to Picasso for my portrait, he would probably make me a monster and I should be pleased because it would be worth a million francs. But if Picasso came to me with a facial injury and I made him into a monster, aha, he might not be so pleased'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman marble bust of a patrician woman Julio-Claudian, circa mid 1st Century A.D.38.7cm high Footnotes:Provenance:Professor Elia Volpi (1858-1938) collection, Florence, prior to 1910.Vente de la Collection Elie Volpi; Hotel de Ventes Jandolo & Tavazzi, Florence, 25 April-3 May 1910, lot 53, pl. XCII (illustrated).Private collection, France, likely Château de Beaumesnil, near Rouen.Provenant du Château de Beaumesnil et du Château de T...Objets d'Art et de Bel Ameublement Principalement du XVIIIe, Palais des Congres, Rouen, 20 February 1983.Anonymous sale; Hindman, Chicago, 25 May 2023, lot 194.Acquired by the present owner at the above sale.Published:Illustrations du Catalogue des Précieuses Collections d'Objets d'Art Appartenant au Prof. Elie Volpi, exhibition catalogue, Florence, 1910, no. 53.La Gazette de L'Hôtel Drouot, edition 5 (Gazette), Paris, 4 February 1983, p. 36 (auction advertisement).B. Varkıvanç, Baki ÖÄŸün'e ArmaÄŸan - Melanges offerts a Baki ÖÄŸün - CALBIS, Ankara, 2007, p. 97-108.This portrait of a patrican woman calls to mind portraits of Agrippina Minor, specifically the example in the NY Carlsberg Glyptotek, Copenhagen, acc. no. 755, placing this otherwise unknown sitter in the first half of the 1st Century A.D..Elia Volpi (1858-1938) is acknowledged as one of the greatest Italian antiquarians of the early 20th Century. Beginning his career as a restorer and assistant to fellow Florentine Stefano Bardini, he began selling antiques in the mid-1890s. Initiating such a business in Florence at this time was highly auspicious and lucrative, as the market for antiques was flourishing with new material after the renovation of the historic centre of the city, beginnning in 1866. Innumerable notable works passed through Volpi's ownership, including the Annunciation by Botticelli currently in the Metropolitan Museum in New York, acc. no. 1975.1.74, and the Portrait of Cardinal Pietro Bembo by Titian, in the National Gallery in Washington, acc. no. 1952.5.28 (both originally in the Barberini collection in Rome).For further information on this lot please visit Bonhams.com
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