Circle of Richard Cosway (1742-1821, British) Portrait of a young lady holding a bouquet of flowers, circa 1800, pencil, pastel and watercolour on paper, framed in an oval gilt frame, 26 x 21cmBorn in Tiverton, Devon, the son of a schoolmaster, he was initially educated at Blundell's School but allowed to travel to London aged just 12 to take lessons in learning. He won a prize from the Society of Artists in 1754 and by 1760 had established his own business. He exhibited his first works aged just 20 in 1762 and was soon in demand. Such was his success, that still not 30, Cosway was elected one of the founder members of the Royal Academy (he is included in a group portrait of the 1768 founders, though some accounts suggest he was appointed an Academician three years later, in 1771. He painted the future King George IV in 1780 and was appointed Painter to the Prince of Wales[1] in 1785-the only time this title was ever awarded. His subjects included the Prince's first wife, Maria Anne Fitzherbert, and various English and French aristocrats, including Madame du Barry, mistress of King Louis XV of France. Cosway's pupils included Andrew Plimer (1763-1837). From 1995 to 1996, the National Portrait Gallery in London held an exhibition entitled Richard and Maria Cosway: Regency Artists of Taste and Fashion, with 250 works on display. On 18 January 1781, Cosway married the Anglo-Italian artist Maria Hadfield. Maria was a composer, musician and authority on girls' education and was much admired by Thomas Jefferson, who wrote letters to her decrying her marriage to another man and kept an engraving made from one of Cosway's paintings of Maria at Monticello. The Cosways' marriage is thought to be an arranged marriage and later a marriage of convenience due to his being 20 years her senior. Richard was "well known as a libertine and commonly described as resembling a monkey." The film Jefferson in Paris depicts Maria Cosway's romance with Thomas Jefferson and also depicts Richard Cosway as effeminate, something which is not certain historically. Richard realized his wife's talent and helped her to develop it.In 1784, the Cosways moved into Schomberg House, Pall Mall, which became a fashionable salon for London society.[1] In 1791 they moved to a larger house in Stratford Place. However, the marriage did not last, eventually being annulled. In later life, Cosway also suffered from mental disorders and spent some time in various institutions. He died in London in 1821 and was buried at Marylebone New Church. Sir John Soane bought more than 30 objects put up for sale at auction after Cosway's death
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![[§] JOSÉ NAVARRO VIVES (SPANISH B.1931)STILL-LIFE Signed and dated '85, oil on canvas110cm x 110cm (43.25in x 43.25in)](https://cdn.globalauctionplatform.com/08081b3a-248f-439b-95ff-a88d00b6bdc9/975f4caf-961b-470d-add1-9fd99250ea37/468x382.jpg)
![[§] MARY GALLAGHER (SCOTTISH B.1953)STILL-LIFE WITH FRUIT Signed, acrylic on board27.5cm x 36cm (10.75in x 14.25in)](https://cdn.globalauctionplatform.com/08081b3a-248f-439b-95ff-a88d00b6bdc9/a4eecc13-7012-4b0a-9982-840ae0fb2591/468x382.jpg)
![[§] MARY GALLAGHER (SCOTTISH B.1953)STILL-LIFE WITH TULIPS Signed, acrylic on board55cm x 31.5cm (21.5in x 12.5in)](https://cdn.globalauctionplatform.com/08081b3a-248f-439b-95ff-a88d00b6bdc9/1ca9b6d8-79aa-4a03-d58f-cbeb37965550/468x382.jpg)
Coalport fruit decorated lidded pedestal vase, by F H Chivers, circa 1920-26, shape no. 130, pattern no. V7540, having a pine cone finial on the domed cover, the base of urn shape with rams mask handles, richly decorated with a still life vignette of grapes and peaches, signed, within tooled gilt borders against a rich cobalt blue ground, the reverse also richly gilded, raised on a short waisted stem with canted square foot, printed and painted marks, height 42cm
Four Pocket Diaries (1940, 1941, 1943 and 1944), A R Ward of Boscombe, nr Bournemouth, Provide Fascinating Insight into Home Front life on the south coast of England during the war – in the summer of 1940 suffering from regular German air raids. Almost daily comment on the war with headline entries - ‘Hitler invades Holland & Belgium’, ‘some BEF surrounded.’, ‘Good news from Bardia, great success against Italy.’, ‘Hess in hospital suffering from a broken ankle.’, ‘HMS Hood blown up & sunk’, ‘RAF bomb Berlin…Germans very angry’, ‘RAF bomb and burst 2 water dams in Germany’, ‘Russians still holding Germans – nearly 1800 German tank lost [Kursk], ‘our troops have a tough job at Cassino’, ‘D day announced by Mr Churchill.’, ‘Gerry’s Pilotless planes over day and night.’, ‘German break through into Belgium to a depth of 20 miles’, and of personal impact - ‘German aeroplanes come over during night…bombs shake door.’, ‘spend morning in garden, dug-out ready for boarding up.’, ‘German planes keep us up from 10.30 to 2.30 in night’, ‘have a full night in bed…very grateful.’, ‘970 clothes coupons for the week’.
A Stuart period crystal momento mori pendant of oval form, simple gold mount, the facetted crystal enclosing a bullion wire work monogram with a pair of flying cupids in white holding a crown, other symbols include an anchor, hour glass, sceptre, heart pierced with an arrow, all symbols of mortality and earthly power, the rear with plaited hair, later gold chain Width: 20mm It is said that the fashion for this type of jewellery began after the execution of King Charles I in 1649 when adherents to the Stuart cause wished to wear, concealed about their person, a token of remembrance to their martyred monarch. After the restoration of the monarchy in 1660 such Stuart ‘death jewels’ were openly worn. These adornments acted as a catalyst for the popularity of the wearing of such pendants and other memento mori jewellery to commemorate the life of a deceased loved one or conversely to act as a reminder to the living of the frailty and uncertainly of life at a time when death stalked the land through the agency of pestilence and other ills. Very often these ‘death jewels’ enclosed a macabre souvenir of the deceased – generally a lock of hair. The mat or cushion here is encircled by gold or gilt wire or thread in which is found the cypher or monogram of the deceased; the cypher or monogram as set within this pendant could possibly be read as ‘RAAR’ reversed and entwined and therefore maybe referring to the last Stuart monarch of Great Britain and Ireland, Queen Anne? Anne died on the 1st August 1714. This crystal has been painted with various devices or symbols of mortality and erstwhile earthly power. On the table is depicted a crown, sceptre, and hourglass. Beside the table to the right is an overturned orb, whilst in the front of the table is shown a skull and its accompanying crossbones and, finally, above the cypher or monogram are two putti holding aloft a crown, perhaps as an illusion to the deceased’s soul being carried to the dominion of death. All the devices and symbols portrayed here were commonly employed upon all manner of items and objects that were considered memento mori ranging from jewellery, together with seal fobs, paintings both in portraiture and still life as well as sculpture. They were, of course, liberally carved upon grave or tomb stones and displayed upon the entablature of funerary monuments and mausolea as a reminder of the transitory condition of life
Vinyl Records - 12"Lps, The Rolling Stone, Aftermath, LK4786 mono; Gimme Shelter SKL5101; Rolled Gold, Rost 1/2; Still Life 1981 American concert, CUN 39115; Story of the Stones, double disc Ne 1201 etc; The Kinks, Sunny Afternoon; The Beatles, Elvis, Cliff Richards, Neil Young, Mike Oldfield, Pink Floyd, etc (30)
*Charles Ginner (1878-1952)STILL LIFE WITH A STAFFORDSHIRE ORNAMENT OF A DEER Signed l.r., oil on canvas 62 x 51cmProvenance:Arthur Crossland Sale;Anonymous sale; Christie’s London, 3 February 1956, lot 139;T W Spurr, Sir Alec and Lady Martin, Fine Art Society, London, no.1277.*Artist's Resale Right may apply to this lot.
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