Circle of the Master of the Countess of Warwick (active c.1560-1570)Portrait of a noble woman, with lace ruff, black and white ruched sleeves, black wimple, and a knotted gold chain, oil on panel, 45 x 33.5cmProv: Enid Boulting (1928-2001) Fashion model, former wife of Roy Boulting, film director 1915-2001 and later wife of the 9th Earl of Hardwicke Some overpainting throughout - please see additional images of UV inspection to be uploaded shortly. The panel has a very slight convex bow. The paint surface appears quite flat, the face and decolletage area look reasonably good but some of the background, in particular the sleeves, appears quite crudely painted. New images uploaded - please see the condition report tab via this link - Lot 153 - Circle of the Master of the Countess of (mallams.co.uk)
We found 56276 price guide item(s) matching your search
There are 56276 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
56276 item(s)/page
A mixed lot of ceramics and pictures to include a 19th century Royal Copenhagen blue fluted full lace 23cm soup plate, Minton pearlware blue and white toothbrush tray, Victorian wash bowl, Sally Winter - Spray Chrysanths limited edition still life print of a jug of flowers, signed, and other items Location:If there is no condition report shown, please request
Miscellaneous ceramics, 20th c, including a Royal Doulton Newsboy figure, a Derby teacup and saucer, seven Dresden lace figures and groups, and a Royal Crown Derby pin tray, the Doulton figure 21.5cm h Minor damage to lace to one lace figure and chip to flower on another, Crown Derby dish with glued repair
English School, 19th c - Portrait of Clara Swinfen, nee Bickham, bust length in lace trimmed black dress and pearls, oil on canvas, 73.5 x 59cm Provenance: By descent in the family of the sitter to the present vendor Clara Bickham (b.1833), the sister of Eliza Bickham married Gerald Swinfen Paint with extensive crackled bitumen, lined and re-touched, varnish dirty, original stretchers, frame with loss
TWO BOXES, FIVE SUITCASES AND LOOSE VINTAGE CLOTHING, comprising a Victorian satin and lace shoulder cape, ladies' jackets, skirts and dresses, a three of gentlemen's suits, UK size 44'' chest short, six vintage suitcases, a bowler hat, boots, neck ties and belts, etc. (s.d/a.f) (2 boxes + 5 suitcases + loose) PLEASE NOTE RAIL IS NOT INCLUDED IN SALE - DISPLAY PURPOSE ONLY.
A GROUP OF CERAMICS AND SUNDRY ITEMS, to include a Royal Worcester 'child that is born on the Sabbath day' figure, a Beatrix Potter Royal Albert Hunca Munca figure, a Nao Truly in Love figurine no 1450, a Nao shepherd boy table lamp (missing flute, untested), a WR Dresden figure of a seated woman playing a harp with lace skirt (some losses), Poole Pottery bisque busts of the then Prince Charles and Princess Diana, a plastic shop display stand for jewellery, etc (21) (Condition Report: most pieces appear in good condition, sd and as stated)
EIGHT PORCELAIN DOLLS BY THE LEONARDO COLLECTION, to include, Eskimo Boy, dressed in a fur edged parka and trousers, a girl Hia Ling and boy Hei Lee, dressed in oriental style clothes, girl Olivia, dressed in pink and lace dress with pearl button detail, boy Andrew, dressed in check jacket, blue cord trousers and cap, carrying a satchel, girl Joanne, dressed in emerald green dress and hat, girl sitting with long curly hair, pink dress and hat, Baby doll pink knitted jacket and booties and white fleece baby grow, (8) (Condition Report: all dolls are in good clean condition, four dolls have their certificate of authenticity, three dolls have boxes with them, and Eskimo Boy comes with a stand)
Female doll with a bisque head and forearms wearing silk costume, carrying a baby with bisque arms, (left hand a/f), with a lace shawl, a child by her left side, H.17.5cm; smaller doll, and a set of 28 children's educational wood building blocks with alphabet, numerals, and images, in a wood tray, W.33.5cm, (play-worn ). (a lot)
A Victorian or slightly later blue spotted velvet dress. The boned bodice is trimmed with white lace and ribbons at the cuffs and neck, and lined with tan silk. The skirt is pleated in front with a long striped fabric insertion widening to the bottom edge and trimmed with pink and blue satin ribbons. H150cm, W90cm (entire bodice circumference) Condition Report: Wear, minor discolouration and a few spots to under skirt. One sleeve lining torn. Two printed shield labels to inside armpits reading: Made in USA, Kleinert, The Gem, Japanese Silk, H48.
ROYAL COPENHAGEN, Kaffee- und Teeservice "Musselmalet" 20.Jh. Porzellan, am Boden mit Wellenmarke und Königskrone in Unterglasur versehen, Musselmalet Dekor in blau, unterglasur staffiert, Vollspitze, Halbspitze und Gerippt, 8 Teetassen, 10 Kaffeetassen, 14 Untertassen, 17 Kuchenteller, Teekanne, Kaffeekanne, Sahnegießer, Zuckerschale, Kernzenhalter, Vase, Muschelschale, Tafelausatz, rechteckige Schale, ovale Schale und Fussschale, Min. Alters-und Gebrauchsspuren.| ROYAL COPENHAGEN, coffee and tea service ‘Musselmalet’ 20th centuryPorcelain, the base with wave mark and royal crown in underglaze, Musselmalet decoration in blue, underglaze painted, full lace, half lace and ribbed, 8 teacups, 10 coffee cups, 14 saucers, 17 cake plates, teapot, coffee pot, cream jug, sugar bowl, candle holder, vase, shell bowl, centrepiece, rectangular bowl, oval bowl and foot bowl, minor signs of age and wear.
6 x sakrale Objekte Hinterglasbilder und Klosterarbeiten, 18./ 19. Jh., Altersspuren, Farbverluste: Collage mit dem Jesusknaben, Stoff, Goldband, Papier, etc., bezeichnet: Grab Jesu, oval mit Rahmen 24 x 22 cm; Madonna in ovalem Rahmen, 10 x 8,5 cm; Hinterglas mit Maria und dem Jesulein, 14 x 10 cm; Christus am Kreuz, von Ranken umgeben, Spitzenbild, Papierarbeit, ausgeschnitten, rückseitig gewidmet Pfingsten 1911, 12 x 9,5 cm; Hinterglasbilder mit der Fußwaschung Jesu im Kreis der Jünger sowie dem Heiligen Joseph, 18 x 23,5 sowie 24 x 17,5 cm. / 6 x sacred objects, reverse glass paintings and monastic works, 18th/19th century, traces of age, loss of colour: Collage with the boy Jesus, fabric, gold band, paper, etc., inscribed: Tomb of Jesus, oval with frame 24 x 22 cm; Madonna in oval frame, 10 x 8.5 cm; reverse glass with Mary and the Infant Jesus, 14 x 10 cm; Christ on the cross, surrounded by tendrils, lace picture, paper work, cut out, dedicated on the reverse Pentecost 1911, 12 x 9.5 cm; reverse glass pictures with the washing of Jesus' feet in the circle of disciples and St Joseph, 18 x 23.5 and 24 x 17.5 cm.
Konvolut Miniaturen: Rokoko-Szene mit höfischen Damen und einer Katze im Garten, sign. "Jeis?", 9,7 x 7,7 cm; Portrait einer Rokoko-Dame in rosa Kleid und mit aufwändiger Hochsteckfrisur, sign. "Jeis?", 9,7 x 7,7 cm; Kniestück einer Dame im Dreiviertelprofil mit feinem Spitzenschleier, sign. "Ferd. Hardt", diagonaler Riss, 6,9 x 5,1 cm; Damenporträt in Barockkostüm mit Federschmuck auf dem Kopf, 8,2 x 6,3 cm; Höfische Damen mit Hühnern, 6 x 7,6 cm; Brustbild einer Dame in schlichtem dunkelgrünen Gewand, 8 x 6,2 cm; Nach Hans Holbein, der Mann mit dem Schlapphut, sign. "K. Müller?", 10 x 7,8 cm; Kopie nach Hans Holbein, Porträt von Bonifacius Amerbach, 10 x 8,5 cm. / Group of miniatures: Rococo scene with courtly ladies and a cat in the garden, sign. ‘Jeis?’, 9.7 x 7.7 cm; Portrait of a Rococo lady in a pink dress and with an elaborate pinned-up hairstyle, sign. ‘Jeis?’, 9.7 x 7.7 cm; Knee-length portrait of a lady in three-quarter profile with fine lace veil, sign. ‘Ferd. Hardt’, diagonal tear, 6.9 x 5.1 cm; Portrait of a lady in baroque costume with feather ornaments on her head, 8.2 x 6.3 cm; Courtly ladies with chickens, 6 x 7.6 cm; Ladies in simple dark green robes; 8 x 6.2 cm; After Hans Holbein, the man with the floppy hat, sign. ‘K. Müller?’, 10 x 7.8 cm; Copy after Hans Holbein, Portrait of Bonifacius Amerbach, 10 x 8.5 cm.
Barockportrait, 18. Jh., Dame in aufwändigem blauen Kleid, rotem Umhang, einer Spitzenhaube sowie großem Ohrschmuck, Öl/Lwd. 90.5 x 71 cm, Altersspuren, teils Farbabplatzungen, teils rest. / Baroque portrait, 18th century, lady in an elaborate blue dress, red cloak, a lace hood and large ear ornaments, oil on canvas 90.5 x 71 cm, traces of age, partly chipped paint, partly rest.
George V, 16th Queens Lancers Officers Lance Cap, black leather body with gilt braid lace and gilt wire braiding to the peak, officers silver gilt helmet plate to the front, the black cloth mortar board top with thick bullion wire, the bullion socket holder with embroidered GR cipher to the centre, lion head side bosses with velvet backed linked chinstrap, interior with leather sweatband and cloth lining, marked Carter & Co Pall Mall, the helmet is housed in its original japanned storage tin with brass plaque engraved “Lieu H L Evans, 16th Lancers'
Blood and Black Lace (1964), British Quad, 40 x 30 inches, bi-folded Director Mario Bava Stars Cameron Mitchell, Eva Bartok Provenance The Jack Hubbard artwork poster Archive. Jack Hubbard (1913 1985) was a British poster artist who worked from the 1950s to the 1980s producing artwork for 20th Century Fox, Gala, Eros, Mondial, New Realm, British Lion and Embassy. He started his career as a cartographer in the Royal Artillery, and was stationed in India where he achieved the rank of Conductor, a position held by a very small handful of selected Warrant Officers Class 1. After the war, he began painting for the British Studios, predominantly 20th Century Fox, but was not allowed to sign his work as he was freelance. He worked on almost every major Fox release for over 25 years. Jack would journey into Londons Soho Square on a Monday to pick up the film work folder which had stills , synopsis or a story description and other information about the film, and he had to return to the Fox offices on Thursday with usually 3 versions of a poster. Changes to the poster would be made during a meeting to be green lit by the studios publicity manager. Jack came up with the CinemaScope logo which became a registered trademark for Fox. This poster was part of his personal collection of printed works which he worked on. They all came to him direct from the printers and the quads and double crowns were all bi-folded. Condition Report: Excellent condition, minor creasing
Blood and Black Lace (1964), British Quad, 40 x 30 inches, bi-folded Director Mario Bava Stars Cameron Mitchell, Eva Bartok Provenance The Jack Hubbard artwork poster Archive. Jack Hubbard (1913 1985) was a British poster artist who worked from the 1950s to the 1980s producing artwork for 20th Century Fox, Gala, Eros, Mondial, New Realm, British Lion and Embassy. He started his career as a cartographer in the Royal Artillery, and was stationed in India where he achieved the rank of Conductor, a position held by a very small handful of selected Warrant Officers Class 1. After the war, he began painting for the British Studios, predominantly 20th Century Fox, but was not allowed to sign his work as he was freelance. He worked on almost every major Fox release for over 25 years. Jack would journey into Londons Soho Square on a Monday to pick up the film work folder which had stills , synopsis or a story description and other information about the film, and he had to return to the Fox offices on Thursday with usually 3 versions of a poster. Changes to the poster would be made during a meeting to be green lit by the studios publicity manager. Jack came up with the CinemaScope logo which became a registered trademark for Fox. This poster was part of his personal collection of printed works which he worked on. They all came to him direct from the printers and the quads and double crowns were all bi-folded. Condition Report: Excellent condition, minor edge nicks top left hand corner, light staining, tiny paper loss top right hand corner, full black and white image printed to reverse
Assorted Mainly Early 20th Century Lace, comprising an Irish crochet lace collar, length of similar edging lace 3cm by 850cm,net stole with floral appliqué and ribbon garland decoration 23cm by 205cm,silk pleated modesty panel with Brussels lace trims, another on white net with Honiton lace mount, another with boteh shaped leaves,(6)
Early 20th Century Cream Silk Wedding Dress, with elbow length lace mounted bodice and sleeves, v-neckline, wax corsage to the waist, small train to the reverse,Baby Costume comprising white cotton baby robes with lace insertions and embroidery, white cotton blanket, white cotton bed cover with tape lace insertions, two embroidered cream wool capes, white net christening robe, two baby bonnets, cream wool and silk mounted cape with cream silk fringing, white silk short sleeve robe etc,(one box and dress)
German Bisque Socket Head Jutta Doll, inscribed '1914' '10.5' to the reverse, with original ginger wig, sleeping blue eyes, two front teeth, on a bent limb composition body, wearing a cream lace dress 45cm, Another Jutta Bisque Socket Head Doll, inscribed '1914' '10.5' to the reverse, with short brown wig, sleeping blue eyes, quivering tongue, on a bent limb composition body, wearing a white cotton dress and bonnet, 45cm, a German Bisque Head Doll, impressed 'KW' '13' wiht sleeping brown eyes, brown wig, open mouth on a bent limb composition body. wearing a white knitted cardigan and bootees, 61cm, (3) Jutta ginger wig doll - scuffing to the face and wear, replacement hands, scuffing and wear to the body, crack to one heel.Jutta brown wig doll - scuffing and wear to the face, tongue possibly repainted/altered. One finger missing, another reglued and some of body repainted.
Decorative 20th Century Fans comprising an Art Nouveau floral stylised paper fan, wooden fan with painted sticks and guards with gauze mount decorated with figures in 18th century dress, another similar on paper, Hotel Knickerbocker advertising paper fan stamped Eventails Duvelleroy Paris, gold painted pierced wooden fan wiht blue silk mount (a.f.), small brisee faux tortoiseshell fan, mother of pearl fan with lace mount, white embossed card brisee fan with mirror insert,(8 fans)
British School (19th Century)Half length portrait of a lady, wearing a blue silk dress with white lace cap and collarOil on panel; together with a 20th century oil depicting a man smoking a pipe and a pencil and watercolour portrait miniature of a child, indistinctly signed and dated 1843, 20.5cm by 17cm, 18cm by 14cm and 15cm by 11cm respectively (3)
Henry Bone R.A. (1755-1834)Sir Walter Raleigh, wearing black cut silk doublet with a high lace collar and cuffs, a gold braid belt and sword, his right hand resting on a globe. Enamel on copper, signed and dated on the obverse, HBone 1808, signed, dated and inscribed in full on the counter-enamel, Sir Walter Raleigh/ London Novr 1808/ Painted by Henry Bone ARA/ Enamel painter to HRH the/ Prince of Wales after the/ Original by C Jansen [...]/ [...] Possession of [Rev] J. Sanford, gilt-wood frame. Rectangular, 175mm (6 7/8in) highProvenance: The Collection of Lady Lanesborough, previously at Swithland Hall, LeicestershireLyon & Turnbull, 14 January 2015, lot 23;The Twinight CollectionFootnotes:Sir Walter Raleigh was one of the most famous explorers of Elizabeth I's reign. His courage and good looks made him a favourite of the Queen's, and she rewarded him handsomely. Raleigh was also a scholar and a poet, but he is usually remembered for introducing the essential potato, and tobacco. However, his reckless nature eventually made him unpopular at court. He managed to displease both the Queen and her successor James I, and so found himself a prisoner of the Tower of London – no less than three times. As a gentleman, he was deprived of his liberty, but not his comforts: his family could visit, he grew exotic plants and started his book 'The Historie of the World'. However, on his release, Raleigh angered the King once again. He was charged with treason and executed outside the Palace of Westminster in 1618.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 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
James Ferguson (Scottish, 1710-1776)Margaret 'Peg' Woffington (c.1720-1760), wearing dress with ribbon bows to the bodice, lace slip, double stranded pearl choker, lace bonnet. Plumbago, gilt-metal frame. Oval, 73mm (2 7/8in) highProvenance: Christie's, London, 12 May 1993, lot 90 Bloomsbury, New York, 6 May 2009, lot 61Bonhams London, 25 May 2011, lot 3Footnotes:Peg Woffington was born in Dublin and began a very early career as a street singer before making her stage debut at ten years of age as Polly Peachum in the 'Beggars' Opera'. She played Ophelia in Shakespeare's 'Hamlet' in 1737, quickly making a name for herself as an actress across Dublin until 1740, when her success as Sir Harry Wildair in 'The Constant Couple' led to her London debut in Covent Garden. There she met and fell in love with the actor, David Garrick (1717–1779).Woffington performed at Drury Lane for several years and later returned to Dublin, appearing in a number of plays. Her most well-received performances were in comic roles, portraying elegant women of fashion such as, Lady Betty Modish and Lady Townley, as well as 'breeches roles'.She lived openly with Garrick, the foremost actor of his day. Her other love affairs (including liaisons with Edward Bligh, 2nd Earl of Darnley and the MP, Charles Hanbury Williams) were numerous and notorious. She became friend and mentor to the socialite and actress sisters, Elizabeth and Maria Gunning, and also shared the stage with the likes of Charles Macklin, Kitty Clive, and the tragedienne Susannah Maria 'Cibber' Arne. Woffington also educated her sister Mary (usually known as Polly) and pensioned their mother. For a miniature of her niece, Lady Hester Bellingham see lot 38.Woffington left Garrick in 1744 and moved to Teddington. On the 3rd May 1757, she was playing the part of Rosalind in 'As You Like It' when she collapsed on stage. Her illness prevented her from acting for the rest of her life but she used the time to build and endow some almshouses in Teddington. She is buried there at St. Mary's Church.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 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
Follower of Noah Seaman (British, active 1721-1731)William Dolliffe, wearing lilac-coloured coat with white braiding over lace chemise and tied stock, powdered bag wig. Enamel on copper, turned wood frame, the reverse bearing paper label inscribed, Wm Dolliffe's/ Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. Oval, 42mm (1 5/8in) highProvenance:Bonhams London, 19 November 2008, lot 12; The Twinight CollectionFootnotes:The backing paper is inscribed in a later hand Mr Dolliffe's /Picture, for/ Wm Hanbury from/ the Honb Mrs Bateman. The three families were related: Anne Bateman (1692–1773), daughter of Sir James Bateman, married, as her second husband James Doliffe. Her daughter Sarah, from her first marriage to William Weston, married William Hanbury.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
A large Meissen female Nodding Pagoda figure, late 19th centurySeated with her legs crossed, wearing a loose fitting jacket or kimono decorated with flowers held together with a wide jewelled band, a lace collar with glue ribbon around her neck, yellow slippers on her feet, head, tongue and hands gently bobbing when touched, 31cm high, faint blue crossed swords mark to the unglazed rim of the base (some restoration) (4)For further information on this lot please visit Bonhams.com
Loading...-
56276 item(s)/page