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Lot 390
JOHN MICHAEL WRIGHT (1617 - 1694) Portrait of Sir Francis Wyndham, 1st Baronet of Trent Apparently signed, inscribed and dated verso 'Collonell [sic] Francis Wyndham/ of Trent in Somersett shire' 'Jo: Mich Wright Lord Pinxit. 1671' (please see restorer's photograph below, before canvas was lined, c. early 1980s) Oil on canvas, 126 x 105cm In a carved giltwood frameProvenance: Possibly by descent to Thomas Wyndham (1763-1814) Clearwell Court, Gloucestershire and Dunraven Castle, Glamorganshire; to his son-in-law Windham Wyndham-Quin, 2nd Earl of Dunraven (1782-1850), by descent to the 7th Earl of Dunraven and Mount-Earl, sold Christie's and Hamilton & Hamilton, Adare Manor, Co. Limerick, 9 and 10 June 1982, lot 87 (as Colonel Clark Wyndham of Orchard Wyndham); Private collection, IrelandLiterature: Guy Wilson, Greenwich Armour in the Portraits of John Michael Wright, The Connoisseur, February 1975, pp. 109-115, illus. (as portrait of an unidentified gentleman, Collection of the Earl of Dunraven) Robert O'Byrne ed., A Vanishing World, The Irish Country House Photographs of Father Brown, Dublin 2024, p. 20 (illustrated in the drawing room)Sir Francis Wyndham, 1st Baronet (1610-1676)Francis Wyndham was the son of Sir Thomas Wyndham (1570-1631) and his wife Elizabeth Coningsby. They descended from the Kentsford Wyndhams a cadet branch of the Orchard Wyndhams, who are based in Somerset. Wyndham began his early years spending time in Europe and graduating from the University of Padua in 1635. On his return to England, he was elected MP for Minehead in April 1640 for the Short Parliament. This Parliament was summoned by King Charles I for a short session of only three weeks. Wyndham became a Royalist colonel when the First English Civil War broke out. He was appointed governor of Dunster Castle, which was one of the last defences to hold out in southwest England. He had a reputation for being a good soldier and eventually surrendered on honourable terms. Shortly afterwards in 1646 he married an heiress Anne Gerard the daughter of Thomas Gerard of Trent (1593-1634). With the partition of the Gerard estates in 1651, Francis and Anne moved to Trent. The Gerard family had been recusants in a previous generation and their seat in Trent still maintained its priest-hole. It was this hiding place that enabled Wyndham to assist Charles II with his escape after the Battle of Worcester. The Wyndham family had a close connection with Charles II, therefore the future king could welcome the security for several days in Trent, Dorset. During the 1655 Penruddock uprising Wyndham was arrested in suspicion of involvement with intending to restore Charles II to the throne. He was subsequently released without charge. Wyndham was created a baronet on 18 November 1673, apparently by willing to forego a claim on the Exchequer for £10,800 granted to him by privy seal in 1670.John Michael Wright was an English painter, although born in London he apprenticed in 1636 to the Scottish painter George Jameson in Edinburgh. He remained in Scotland for five years before travelling to Rome in the early 1640’s. In Rome he established himself as a painter, copyist and collector. On his return to England in 1656 and following the restoration of 1660, he received several Royal commissions from King Charles II and subsequently King James II. It was during this time there became a fashion for portraits in which the sitter was dressed in what was then considered to be antique armour. Wright painted many works with the sitter wearing some form of Greenwich armour. There are noticeable similarities between each of the portraits. One could assume that the use of a single Greenwich armour or indeed a quantity could have been housed in his studio. It has been noted that the long tassels on the portrait of an unidentified gentleman (believed to be Sir Francis Wyndham) also appear in other portraits. Wright seems to have had an appreciation for antiquary, which could explain the accuracy seen in the details of this portrait and that of Murrough O’Brien, 1st Earl of Inchiquin. However, Murrough O’Brien who fought for many years in Ireland and further afield would probably have never worn such an armour. He had power and a reputation to uphold and therefore his appearance in this portrait expresses status. Wright’s portrait’s showcasing Greenwich armour imply they were painted in the 1660’s and display a detailed perspective on costume from a bygone era.Adare Manor, the magnificent architectural masterpiece that we see today within its natural setting overlooking the River Maigue became the seat of the Quin family in the 1600s. It was probably in the 1720’s when the first documented residence ‘Adare House’ was built by Valentine Quin (d.1744). Throughout the 18th century alterations and redesigning the parkland continued. It was in 1810 that Windham Henry Quin married Caroline Wyndham, the only surviving child of Thomas Wyndham MP of Clearwell Park, Gloucestershire and Dunraven Castle, Glamorganshire. It was following his death that Windam acquired by Royal license the double barrelled name of Wyndham-Quin. During this time, Windham’s father Valentine was living in England and was created Viscount Mount-Earl in 1816 and then created Viscount Adare and the 1st Earl of Dunraven in 1822. The title of Dunraven was chosen to honour his daughter-in- law, Caroline. Windham, who became the 2nd Earl and along with his wife Caroline decided to make monumental changes to Adare House. They had visited many grand houses in England and became influenced by the fashionable gothic style. Windham and Caroline developed a passion for cathedrals with their aspiring scale and magnificence. The architect brothers James and George Pain were commissioned to begin the process of redesigning the house into a manor. The Pain brothers lasting legacy at Adare is the spectacular gallery, which was considered to be the largest domestic room in Ireland. The gallery became the wonderful backdrop to display the Wyndham family portraits and exquisite old master paintings. The work on the new manor house continued for more than 30 years to complete. Adare Manor and the contents remained in the Wyndham-Quin family until the early 1980’s, when it was sold. Today, the manor and the grounds have been beautifully restored keeping intact the integral importance of an historic legacy in Ireland. Condition Report: In good condition overallOil on canvasAs stated in the cataloguing the painting was restored and lined probably in the early 1980s's after the purchase from Adare Manor sale in 1982On closer inspection there are a couple of small areas of retouching to the upper left backgroundThere is some minor rubbing and loss of definition to the hairThere is scattered craquelure e.g.. to the right cheek and to the armour of the upper right leg.Examination under UV light is difficult to read due to the murky varnish however reveals the aforementionedThe integrity of the impasto remains in particular in the tassels and beltThe frame is in good condition and has been re-gilt
![A group of Royal Worcester porcelain, comprising two Freda Doughty figures, The Parakeet [one damaged], a pair of butterfly h](https://cdn.globalauctionplatform.com/e43d68e7-4db9-4b2a-a7c6-b1df00f79c8a/3c6b2f8b-202e-4db1-b99a-b1f600d3eed8/468x382.jpg)
Lot 136
A group of four pieces of Royal Worcester porcelain comprising a ewer painted by W.H.Austin with peacocks in a landscape with pine branches, signed, puce mark and date code for 1913, 20cm; a Hadley vase painted by H.Martin with pheasants in a wooded landscape, signed, green mark and date code for 1908, 15cm; a vase painted with roses, puce mark and date code for 1908, 20cm [cover lacking]; and a two-handled pot-pourri vase and cover painted with roses, puce mark and date code for 1907, 20cm wide [4].
Lot 9
Royal Worcester white and gilt part dinner service, early 20th century, retailed by Aspreys, gilt with a broad band of flowerheads including soup cups, stands, dinner and luncheon plates and a 19th century English porcelain service in the Rockingham style with burnt orange and gilt rocaille borders, including teapot and cover, sugar bowl and cover, milk jug, teacups, saucers and plates Property of Dunkirk Manor, Theescombe, Stroud
Lot 411
Small Royal Worcester baluster form vase painted with blackberries by Kitty Blake, signed, 14cm high, together with a miniature jardiniere painted with pheasants by Mayberry, 7cm high and another painted with roses, signed M. Hunt, 10cm highSome restoration to one vase as shown in photos. Minor loss of gilding.
Lot 31
A LARGE ROYAL WORCESTER CUP AND SAUCER (2)Circa 1875 Attributed to John Hopewell, each painted with birds in branches inside gilt and white beaded borders, puce printed mark, retailer's mark for Richard Briggs, Boston, painted pattern 8292, saucer 16.5cm diameterA tiny amount of wear to the gilding on the rim of the saucer and to the handle of the cup. Very minor surface scratches
Lot 33
A LARGE ROYAL WORCESTER CUP AND SAUCER (4)Circa 1875 Attributed to John Hopewell, each painted with a bird amongst thistles and a gilt monogram within a thistle garland inside gilt and white beaded borders, impressed factory mark to saucer, saucer 16.5cm diameter; and a smaller Royal Worcester cup and saucer painted with birds attributed to Hopewell, circa 1885, puce printed marks, saucer 14cm diameterLarge cup and saucer- good conditionSmaller cup and saucer- some very fine overall glaze crazing the saucer, but otherwise in good condition
Lot 43
A GROUP OF ROYAL WORCESTER PORCELAIN ( 9)Circa 1880 Attributed to John Hopewell, comprising; a tusk ice jug, 20cm high; two cauldrons, 6.5cm high; a circular teapot stand, 15.5cm diameter; a cup and four saucers with beaded borders, saucers 14cm diameter, printed marksTusk ice jug- some wear to the gilding around the footTwo cauldrons- overall in good conditionTeapot stand- some wear to the gilding around the rim. Some light surface scratchesCup and saucers- Pattern B 575. Cup with glued breaks. Saucers with some fine crazing to the glaze
Lot 62
A ROYAL WORCESTER CUP AND SAUCER (4)Circa 1919 The interior of the cup and the saucer painted with sheep in a landscape by E.Barker, signed, puce printed marks, saucer 9.5cm diameter; and another Royal Worcester cup and saucer, circa 1912, painted with sheep in a landscape, the cup signed E.Barker, the saucer indistinctly signed , puce printed marks, saucer 9.5cm diameterFirst cup and saucer- saucer with fine glaze crack to the underside of the rim, approx. 3cm length. Not visible on the upper surface.The cup with very fine crazing to the glaze but overall in good condition.Minor surface scratches to the gilding.Second cup and saucer- the cup with overall crazing and some minor staining to the glaze. Minor surface scratches to the gilding.
Lot 38
A SMALL WORCESTER PORCELAIN PLATE (8)Late 18th century painted with the `Music' pattern, blue crescent mark, 19.5cm diameter; also a Worcester `Royal Lily' pattern teapot and cover; a small cup, 5.5cm high; two small bowls, 10cm diameter and a teabowl and saucer`Music' pattern plate- some wear around the rim. Minor wear to the gilding in the centreTeapot and cover- restoration to the handle and surrounding areaSmall cup- small chip to footrimTwo small bowls- overall in good conditionTeabowl and saucer- very minor wear to the gilding
Lot 49
A GROUP OF ROYAL WORCESTER PORCELAIN PAINTED BY WILLIAM POWELL (15)Circa 1922-36 Each painted with a bird study, the majority titled, inside gilt rims, all signed, comprising; three side plates 15cm diameter; a small plate, 12cm diameter; a cup and saucer; a bowl, 9.25cm diameter; a small square dish, 8cm wide; two small circular dishes, 10cm and 7cm diameter; a cup, saucer and plate with a gilt initials `JR', puce or blue printed factory marks; also two small plates painted with birds, probably by Powell, but unsigned, 11.5cm diameter, puce printed marksThree side plates ( swallow, jay and bullfinch) - the swallow plate with crack across the centre and around the well. The bullfinch with scratches to the centreSmall plate ( swallow) - overall in good conditionCup and saucer ( kingfisher)- repair to handle. Bowl ( goldfinch)- overall in good conditionSmall square dish ( chaffinch)- overall in good conditionTwo small circular dishes ( the larger one, bullfinch, the smaller dish untitled) - overall in good conditionmonogrammed cup, saucer and side plate ( all with a goldfinch, only the plate with title)- some wear to the gilt initials and to the rim.Two small plates ( one titled robin, the other untitled)- overall in good condition
Lot 22
A GROUP OF ENGLISH PORCELAIN CUPS AND SAUCERS ( 11)Circa 1820 and later Comprising; a Chamberlain's Worcester `767' chinoiserie pattern cup and saucer; a Chamberlain's flower painted cup and saucer; a blue-ground cup and saucer painted with flower panels; a blue ground cup reserved with flower panels; a Royal Worcester turquoise ground cup and saucer painted with birds and flowers, impressed mark and a Royal Worcester apricot ground cup an saucer, circa 1876, painted with birds and flowers possibly by John HopewellThe Chamberlain's `767' pattern cup and saucer has quite a lot of wear around the well of the saucer. Both with some crazing to the glazeThe second Chamberlain's cup and saucer has a rim chip to the saucer. Both with some wear to the gilding.The blue ground cup and saucer with some small wear to the gildingThe blue ground cup ( pattern 712) has minor wear to the gildingThe Royal Worcester turquoise ground cup and saucer has a haircrack to the rim of the cup, approx. 3cm length. Bothe with some losses to the white `jewelling' and some wear to the gildingThe apricot ground cup and saucer has some small wear to the gilding around the rims
Lot 45
A ROYAL WORCESTER POT POURRI VASE AND COVER (3)Circa 1922 Painted by H.Stinton, signed, with two Highland cattle in a mountainous landscape, puce printed mark, shape 279/H, 14cm high; also a small Royal Worcester slender ovoid vase, circa 1925, painted with roses between gilt-lined rims, green printed mark, 10.5cm highBoth in good condition
Lot 35
A PAIR OF ROYAL WORCESTER CUPS AND SAUCERS (4)Circa 1875 Attributed to John Hopewell, painted with birds in branches inside gilt and white beaded borders, impressed factory mark, painted pattern 8292, saucers 13.5cm diameterSome crazing to the glaze to one saucer. Fine haircrack to the rim of one cup, approx. 3cm length. Very minor wear to the enamels
Lot 59
A ROYAL WORCESTER COFFEE CUP AND A SAUCER (4)Circa 1910 and 1928 Each painted with Highland cattle by H. Stinton, signed, solid gilt interior to the cup, puce printed marks, date codes for 1910 and 1928, saucer 10cm diameter; also a Royal Worcester cup and saucer, circa 1928, each painted with Golden Pheasants by Sedgley, signed, puce printed marks, saucer 10cm diameterStinton cup and saucer-very fine haircrack to the rim of the saucer, approx. 3cm length.Sedgley cup and saucer- overall in good condition with some light surface scratches to the gilding in the centre of the saucer
Lot 37
A PAIR OF ROYAL WORCESTER TWO-HANDLED GLOBULAR VASES (3)Circa 1882 Attributed to John Hopewell, each painted on both sides with birds in branches, green printed marks, date code for 1882, 9cm high; and a slightly smaller similar example, circa 1875, 8.5cm highOne of the pair with a tiny amount of wear to the gilding around the rim. The smaller example with a small loss of gilding to one of the ball feet
Lot 36
A ROYAL WORCESTER PART DESSERT SERVICE (6)Circa 1875 Attributed to John Hopewell Each piece painted with birds in branches inside gilt and white beaded rims, comprising; a tall stand, 13cm high, a medium stand, 8cm high and four dessert plates, 23cm diameter, puce printed marks, date for 1875Overall minor wear to enamels and some light surface scratches to the glaze
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129934 item(s)/page