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Lot 405
* Delaune (Etienne, 1518/19-1595). Apollo and The Muses on Mount Parnassus, after Niccolo dell'Abbate, 1569, copper engraving on laid paper, plate size 40 x 55 mm (1.6 x 2.2 ins), sheet size 50 x 65 mm (2 x 2.5 ins), together with Narcissus, after Rosso Fiorentino, 1569, copper engraving on laid paper, plate size 56 x 40 mm (2.25 x 1.6 ins), sheet size 65 x 50 mm (2.5 x 2 ins), plus Grandhomme (or Granthomme, Jacques, active circa 1550), Venus and Adonis & Death of Adonis, two copper engravings on laid paper, numbered 2 and 3 below the image respectively, each with four lines of latin text to lower margin, plate size 77 x 61 mm (3.1 x 2.4 ins), sheet size 85 x 66 mm (3.3 x 2.6 ins) and similar, and Delaune (Etienne, 1518/19-1595), Histoire de Jonas, 1569, the set of four miniature engraved illustrations to the story of Jonah and the Whale, each with latin title dated 1569 to top margin, trimmed just inside the plate mark, one (Conservatus Jonas e vomitur a pisce) with slight loss to lower left corner, sheet size 38 x 55 mm (1.5 x 2.2 ins) and similar, and two other similar 16th century small-scale copper engravings on laid paper, depicting the Birth of Christ, and the Crucifixion, each within an elaborate oval decorative border, all hinge-mountedQty: (10)NOTESRobert-Dumesnil, Le Peintre-Graveur Francais IX, 41, 100, for the first work.
Lot 438
* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).
Lot 454
* After John Henning (1771-1851). Parthenon Frieze, mid 19th century, copper electrotype relief panel, with 2 hanging chains on verso, 33.9 x 132.3 cm (13.25 x 52 ins)Qty: (1)NOTESDuring the 18th and 19th centuries interest in classical sculpture was at its height, and the famous Parthenon frieze was part of Lord Elgin's collection of Greek sculpture, displayed at his London home from 1808 to privileged guests. Scottish artist John Henning was one of the first to access the collection and he embarked on a project of making models of the Parthenon frieze, first in ivory and subsequently in plaster, which were widely copied and reproduced, usually on a much smaller scale than the present work.
Lot 660
* Maclagan (Dorothea Frances, 1895-1982). Dawn, oil on canvas, depicting a semi-nude sculptural female figure, seated before a masonry wall, with two cavorting putti on her lap, and two owls beside, against star-spangled dark blue drapery revealing a cockerel on a plinth against a dawning sky, slightly rubbed upper right (and loss of a few small flakes of paint), 30.5 x 22.5 cm (12 x 8.75 ins), framed, with artist's handwritten label to versoQty: (1)NOTESDorothea Maclagan studied at the Byam Shaw School of Art in London between 1914 and 1917, subsequently spending 5 years at the Royal Academy Schools where she was tutored by Sir George Clausen and Ernest Jackson, amongst others, and won a number of medals. She kept a studio in London throughout the 1920s, later moving to Meadle in the Vale of Aylesbury in the 1930s. She moved in artistic circles, counting Glyn Philpot, Vivian Forbes and John Nash amongst her friends, and she exhibited widely, particularly at the Royal Academy. She married the painter Philip Douglas Maclagan (1901-1972). This piece is typical of Dorothea's work in small scale figure composition, with its subtle air of introspection and intimacy.
Lot 19
A SOUTHEAST ASIAN DAGGER (KRIS), 20TH CENTURY with pattern-welded wavy blade chiselled and encrusted with gold scale pattern along a medial ridge on each face, the belahi gajah formed as a deity and encrusted with gold, carved wooden grip formed as a stylised figure, in its carved wooden scabbard with wrangka formed as a horse and the pendak decorated with a vertical panel of foliage on the front 37.7 cm; 14 7/8 in blade
Lot 197
A RARE GERMAN COMBINED HUNTING SWORD AND 120 BORE FLINTLOCK PISTOL, THIRD QUARTER OF THE 18TH CENTURY with tapering blade double-edged towards the point, etched with a stag on one face at the forte (worn), the outer face fitted with two-stage brass barrel, iron action behind with bevelled cock and folding trigger, brass hilt, comprising down-turned openwork shell-guard, a pair of slightly recurved quillons with globular terminals, cap pommel, and associated stained bone grip, in its wooden scabbard with later green fishskin covering, with chased brass locket and chape decorated with rococo scrolls together with a matching chased brass baldrick and later belt, formed of leather faced with numerous brass plaques embossed with a contrasting scale pattern with a ropework border top and bottom 49.5 cm; 19 1/2 in blade (2)
Lot 211
Property from the Estate of Patrick Kelly A BRONZE NOON CANNON DIAL SIGNED CHEVALLIER, 19TH/20TH CENTURY with stone base engraved with hour dial divided 5-12-7, inscribed ~Chevallier, Ingr. Opti.en de SM Le Roi de Westphalie a Paris~, brass mounts including gnomon set for 47 North, arc inscribed with monthly calendar scale, and burning glass retained by two shaped arms 22.0 cm; 8 5/8 in diameter Provenance Christie~s South Kensington, 4th October 1995, lot 97
Lot 250
ËœAN ELABORATE PAIR OF 32 BORE CONTINENTAL SILVER-MOUNTED RIFLED PISTOLS SIGNED BOUTET A VERSAILLES, CIRCA 1820 AND LATER with octagonal swamped sighted polygroove rifled barrels later decorated with gold on a blued ground including minute stars, foliage and neo-classical panels, the breeches stamped with imitation Versailles manufactory marks and incorporating the back-sights, engraved tangs, engraved burnished stepped locks later inscribed ~Boutet à Versailles~ , fitted with rollers, semi-rainproof pans and later engraved cocks and steels, set triggers, full stocks later inlaid with numerous engraved silver panels including trophies-of-arms, and foliage, angular butts carved with scale pattern inset with minute silver nails, later full silver mounts cast and chased in low relief, including openwork side-plates formed of two swans feeding from a central urn, trigger-guards with neo-classical urn finials and engraved with a crowned coat-of-arms on the bow, marine trophy butt-caps, a pair of ramrod-pipes, the rearmost formed as a river god, and each with silver-tipped ramrod: in lined and fitted case veneered in rosewood, the lid finely inlaid in engraved brass with a crowned mantled coat-of-arms en suite in the centre, a griffin in each corner and border lines, the interior lined in plum velvet and with a full compliment of accessories including priming-flask engraved with a coat-of-arms en suite, bullet mould, turn-screw and mallet 24.8 cm; 9 ¾ in barrels (2) The arms are those of the Austrian field marshal and diplomat Karl Philipp, Prince Schwarzenberg, (1771-1820), one of the most successful Allied commanders in the Napoleonic Wars.
Lot 23
Y A silver melon shaped four piece tea service by The Goldsmiths & Silversmiths Co. Ltd, London 1934 (Jubilee mark), the tea and hot water pots with ivory button finial and handles, the shoulders engraved with a band of cartouches against scale panels, on moulded circular bases, the tea pot 26 (10 1/4in) long, the hot water pot 20cm (8in) high, 2004g (64.4 oz) grossCondition Report: There is rubbing to the hallmarks, the bases are initialled W.R.D.M. There are cracks to the ivory. No noticeable dents or damage.Condition Report Disclaimer
Lot 781
First World War officers Glengarry to the Cameronians ( Scottish Rifles), the Glengarry is dark blue with a dark blue tourie to the top, the headband is bound in faux silk, the tails are intact though a little tatty in places, the badge is in unmarked silver and is heavily tarnished backed by a black silk cockade/ribbon, inside there is a makers label to Wm. Anderson & Sons Ltd. Edinburgh & Glasgow, a well known military outfitters who had a premises at 14 George Street, Edinburgh,the Glengarry is unusual in that the Cameronians wore a dark ( rifle) green Glengarry with black tourie,the only explanation we can think of for this discrepancy is that late in 1914 three types of plain utility pattern Glengarries were introduced to simplify manufacture, the blue with blue tourie was one such pattern and although a green pattern was also manufactured it could have been a case of 'take what you can' due to the scale of demand by newly raised battalions at this time, the Glengarry was among the possessions of Colonel Godfrey Edward Tallents D.S.O. whose other uniform items are also in this auction, the Glengarry is well worn and the badge has been in situ for a very long time the cotter pin holding the badge in place leaving an imprint and verdigris on the liner opposite, it is unknown why Col. Tallents had this item in his possession but presumably it belonged to an army friend or aquaintance. (Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 139
Brumm Serie Revival 1:43 scale cyclecar models including R1 1923 Morgan, blue body, tan seats, R2 1923 Morgan, red body, tan seats, black roof, R3 1929 Darmount, white body,red seats, black roof, R4 1929 Darmount, green body, tan seats, R7 1922 Sanford gold body, black wings, black seats, R8 1922 Sanford silver body, blue wings, black seats, black roof; a Solidop 4411 Ambulance; a Vanguards Limited Edition VA 03811 Vauxhall Victor, Empress Blue; Corgi Trackside CR1003 3 Car Set, boxed;
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216134 item(s)/page