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Lot 13
Attributed to John Riley (British 1646-1691) A portrait of Edward Turnour in a red cloak; A portrait of his wife Oil on canvas, a pair Each 128 x 101.5cm (50¼ x 39¾ in.) (2) Provenance: Shillinglee Park, Sussex Private Collection, thence by descent to the present owner Shillinglee was the family seat of the Winterton family. The name of Turnour is a family name associated with the Winterton title. The Turnours were originally from Little Parndon in Essex. The present portrait is most likely Edward Turnour (1646-1721), MP for Orford in Suffolk and great grandfather of Edward Garth Turnour, 1st Earl Winterton (1734-1788)
Lot 20
Circle of Michael Dahl (Swedish 1659-1743) Portrait of Mrs Rebecca Curson née Clark and her son John Curson from Kirby Hall Oil on canvas Bears inscription to stretcher verso 127 x 102cm (50 x 40 in.) Provenance: Meysey Thompson family, previously of Kirby Hall Thence by descent The mother and son depicted in the present lot are distantly related to the Curzon of Kedleston family through George Curzon, younger brother of John Curzon of Kedleston who inherited the family title. George Curzon of Kedleston (b.c1560) to Francis and Eleanor Curzon of Kedleston. Without the benefit of the title, his son Francis (1580-1658) divided from Kedleston circa 1610 and settled in Mursley, Buckinghamshire. Francis Curzon's second son was Samuel Curson (b. 1625) who married Elizabeth Stevens in the parish in 1648. It is at this point that the Curzon name changes spelling to Curson. Their son Samuel II (1659-1709) moved to St Dunstans in London and became a successful Inn Keeper. Samuel II married in 1682 and his eldest son, Samuel III was the husband of the female sitter in this portrait. In 1707, Samuel Curson III (b.1684-d.) married Rebecca Clark in St. Dunstans in the West Church. After they were wedded the couple moved to Aldgate and Samuel became a successful wine merchant in London. The couple later moved to Chelmsford where Rebecca is recorded in 1753 as buried in St. Matthew's church. Little is known about Rebecca Curson née Clark but it can be assumed that she was a lady of some standing to have married the wealthy Samuel Curson III. It is likely that this portrait was created during their time in Aldgate as a celebration of the couples' first born son John Curson, later John Curson, Esquire of Ipswich. The headdress and finery worn by the little boy was common practice in portraiture of the period in order to show off wealth and denote that he is the successor to the family dynasty. Like his father, John Curson, grew up to become a wine merchant and was the main beneficiary of not only his father's will but also his uncle, Richard Curson of Richmond. As a result, he owned numerous properties in Essex and London. Curson married twice but died without a successor in Blandford Dorset in 1793. Upon Curson's death, his brother Richard who had settle in America in 1759 was the main beneficiary of John Curson's wealth. The surviving female Curson line are still represented by the prominent Curzon Hoffman & Poultney families in the USA. Following the death of Richard's son Samuel, the two surviving sisters, Elizabeth Rebecca Becker Curson & Ellin Moale Curson worked to reclaim part of the will left in England upon the death of their uncle John Curson (the child sitter) and were successful in their claim to numerous London properties and funds.This painting was directly purchased from the Meysey Thompson family previously of Kirby Hall in Yorkshire. John Curzon's niece Mary Spence married Henry Thompson who was heir to the Thompson's of Kirby Hall. Unfortunately, the title became extinct in the early 20th century following the death of Henry Meysey Thompson and the family seat at Kirby Hall was demolished. The painting would have been sited at Kirby Hall from the death of John Curson until its eventual demise. Thereafter, the painting has been in family hands.
Lot 78
Thomas Butler (British fl. 1750-1759) and studio Bucephulus a Hunter of Sir John Frederick's Baronet. Taken from the Life at Hampton 1756; Syphax a Horse of Sir John Frederick's Baronet, Taken from the life at His seat in Hampton 1756 Oil on canvas, a pair Each signed, titled and and inscribed Thos Butler, Pall Mall, London along the lower edge Each 62 x 74cm (24¼ x 29 in.) (2) Painted at Thomas Butler, Pall Mall, London, 1756. Thomas Butler was a reputable businessman who owned a shop in Pall Mall selling prints and books. He stated in his advertisements that he and his assistants would paint, 'Horses, dogs, living and dead game, views of hunting, etc., in order to compose sporting pieces for curious furniture in a more elegant and newer taste than has been yet'. It is not known how many of the paintings were painted solely by Butler as he worked closely with his studio and assistants. It is believed that Thomas Spencer (1700-1763) possible pupil of James Seymour, worked for Butler as one of his assistants. Between 1751 and 1755 Thomas Butler published a number of Spencer's works. Thomas Butler is known to have painted a view of Sir John Frederick's stable of hunters in 1756. The work came up for sale at auction on 10th July 1990 at Phillips London, Lot 73.
Lot 92
Richard Clack (British 1804-1875) after Richard Cosway Lucy, Harriet and Caroline, daughters of William Courtenay Oil on canvas 183 x 132cm (72 x 51¾ in.) Provenance: Property of the Morland Family, Court Lodge, Kent The original painting by Richard Cosway dates from 1798 and is held at Powderham Castle, the seat of the Courtenay family, in Devon. It depicts Lady Caroline Courtenay, the future wife of Colonel Charles Morland, along with two of her older sisters, Lucy and Harriet (Caroline is in the centre). Cosway was a frequent visitor to Powderham and painted many members of the Courtenay family. William was good friends with the Prince Regent and Cosway was the miniaturist at the Royal Court as well as being originally from Devon. Richard Clack who painted this version was undoubtedly a relative of the girls' mother, Frances Clack. The vast majority of the men who entered into the Courtenay family by way of marriage, ended up in some way receiving an allowance or in paid employment. In true family spirit, Colonel Charles Morland, Caroline's husband, received an amount of £1,000 a year merely for being her husband. In this second version, the original mischievous putti are replaced by a dog which was perhaps seen as more appropriate.
Lot 93
After Reverend Matthew William Peters R.A. (1741-1814) William, Viscount Courtenay (1742-1888), 8th Earl of Devon and his family Oil on canvas Approx. 240 x 300cm (94¼ x 118 in.) Provenance: Property of the Morland Family, Court Lodge, Kent The Courtenay family originated in France and came to England with Eleanor of Aquitaine, wife of Henry II, in 1152. They became one of the most eminent families in Devon. William Courtenay, the 9th Earl, married Frances Clack in 1762 and they had twelve children. Lady Caroline-Eustatia (1775-1851) became the wife Colonel Charles Morland in June 1812. As with other paintings from Court Lodge, this present version is a copy of the original purportedly from 1779, which is held at Powderham Castle, the seat of the Courtenay family. According to the catalogue raisonne written by Lady Victoria Manners, the original was exhibited at the Royal Academy in 1780. The painting depicts William and Frances with all twelve of their children. It is highly probable that the copies made for Court Lodge were commissioned directly by Caroline and the Courtenay family, on the occasion of her marriage to Charles Morland.
Lot 47
Strafford, William, 2nd Earl MSS accounts for ?1647, written under the direction of (and likely by) the Earl for the management of his estates, 6th May 1648. One sheet, folded in half (and smaller), MSS on two sides, faded but legible. The estates in question were restored to the 2nd Earl with Charles I's overturning of the forfeiture which has resulted with the 1st Earl (''Black Tom'')'s attainder for treason. William came into his majority in 1647, but fled to France after the Civil War. With two large mounted prints of the family seat, Wentworth Castle, and a later strike after Fisk's Trial of Strafford from the Thomas Ross Collection. [4]
Lot 80
Anon The Hampstead Congress: or, the Happy Pair. Printed: And sold by M. Cooper, A. Dodd, and G. Woodfal, 1745. 8vo, half calf over marbled boards in a period style; pp. 23, blank; provenance: North Library (bookplate upper pastedown) -- J.O. Edwards (book label upper pastedown). First ed. A scarce item (we have only traced on copy at auction in 1997). This light-hearted poem traces an argument between newly-weds about where is best to live - town or country. The argument going nowhere, Sir John retires to his country seat, from whence the news is brought to his wife of his death from a broken heart. She races to his side and weeps, at which he ups with a start and they are re-affirm their love for each other, conveniently just after she has pledged to bow to his Will in all things, if only he will be restored to her... ESTC T35963; Foxon H30
Lot 132
Wentworth Woodhouse Copper engraved plate for ''Yorkshire the seat of the Rt. Honble. Thos. Lord Malton Baron Malton'', showing front view of house. This view formed the central section of a larger panorama of the house ''The Design of the Principal Front of Wentworth House in Yorkshire, the seat of the Rt. Hon. Thomas Lord Malton, Baron Malton''. Together with ten other prints of views of the house, various mediums and dates, and three other items relating to the family. [14]
Lot 215
A Victorian mahogany miniature centre table, moulded circular top, turned pillar and draught-turned base, scroll feet; An Arts and Crafts oak occasional table, hexagonal top, pierced outswept legs, incurve triangular undertier, 68cm high; A 19th century oak framed country kitchen child's side chair, rush seat; A 19th century oak framed country kitchen side chair, rush seat
Lot 311
A large George III mahogany tripod occasional table, circular top, turned baluster column applied with stiff leaves, cabriole legs, pointed pad feet, 96cm diameter; two 18th century mahogany bar back dining chairs, upholstered seats, sabre legs; A 19th century oak framed country kitchen side chair, rush seat
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216995 item(s)/page