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Click here to subscribe'Pinky', colour mezzotint signed in pencil by Sydney E. Wilson after Sir Thomas Lawrence pub. Vicars Brothers 1927 and 'The Blue Boy', colour mezzotint signed in pencil by T Hamilton Crawford after Thomas Gainsborough pub. Frost and Reed 1922 max 54cm x 38cm (2) Condition Report Click here for further images, condition, auction times & delivery costs
After Archibald Thorburn (1860-1935) Eagles' Nest Signed by the artist in ink, a colour reproduction, together with an interesting collection of further prints and engravings to include: a mezzotint signed T Hamilton Crawford, four black and white prints after George Cuitt - ''Exterior of the Church Rievaulx Abbey, Yorkshire'', ''Transition Arches, Rievaulx Abbey, Yorkshire'', ''East Window, Rievaulx Abbey, Yorkshire'' ''The Refectory, Rievaulx Abbey, Yorkshire'', Jones after Joshua Reynolds depicting ''Charles James Fox'' and ''His Grace the Duke of Portland'' and another, a hand coloured engraving: ''A Perspective View of the Royal Palace of Somerset next ye River'' and a black and white en grisaille depiction of ''The North Prospect of the Ruins of Byland Abbey Nr Thirsk'', 45cm by 34cm and various other sizes (11)
WILLIAM HOARE OF BATH, RA (c.1707-1792) PORTRAIT OF THOMAS PELHAM-HOLLES, 1st DUKE OF NEWCASTLE UNDER LYNE (1693-1768) Seated, three quarter length, wearing Garter robes, oil on canvas 120.5 x 95cm. *The sitter was the eldest son of Thomas Pelham, 1st Baron Pelham, and Lady Grace Holles. He studied at Westminster and at Cambridge before inheriting vast estates upon the death of his uncle. The newly ennobled young man adopted the name Holles and became a Whig politician with forthright and strident views. He was appointed Lord Chamberlain at the age of just 23 and rose to Prime Minister in 1754, succeeding his younger brother, Henry (d.1754), to the position. He served two terms (1754-1756, 1757-1762) and then served in Opposition for a time but became frail after a stroke in 1767. He died in 1768 and, as he and his wife Lady Harriet (nee Godolphin) had no issue, the title passed to his nephew, the 9th Earl of Lincoln from whom Newcastle became latterly estranged. Horace Walpole was brisk in his assessment of Newcastle: "A borrowed importance and real insignificance gave him the perpetual air of a solicitor... He had no pride, though infinite self-love. He loved business immoderately; yet was only always doing it, never did it. When left to himself, he always plunged into difficulties, and then shuddered for the consequences." Another version of this portrait is in the Government Art Collection, Westminster. The subject was engraved in mezzotint by James MacArdell. ++ Lined; some retouching over some minor, old and scattered damages. Slightly flat. Needs a light clean.
SIR THOMAS LAWRENCE, PRA (1769-1830) PORTRAIT OF A GENTLEMAN, BELIEVED TO BE PHILIP JOHN MILES, MP (1773-1845) Bust length, wearing a dark coat, white neckcloth and winged stock, oil on canvas 74.5 x 62cm. * Miles was a notable Bristol figure, a very wealthy businessman and parliamentarian who was apparently Bristol's first recorded millionaire and a partner in the Miles Bank (that later merged with Nat West). Miles owned Leigh Court and Kings Weston estates on both banks of the River Avon in Bristol and also the Manor or Walton in Gordano, Clevedon as well as many more lands in the Bristol area. Lawrence himself was born in Bristol in 1769: the family lived in Redcross Street until Thomas Lawrence Senior took over the running of a coffee house and inn on Broad Street. This portrait may be dated to c.1815-1820. The sitter would appear perhaps to be in his forties. The only other known image of Miles is believed to be a small unascribed mezzotint portrait, published in 1822. Miles was a great friend of Richard Hart Davis (1766-1842), another Bristol born merchant and banker, who was also painted by Lawrence in 1815. Philip John Miles was also a friend of Richard Hart Davis and in 1813 he purchased his famous Old Masters art collection which became the nucleus of the celebrated Leigh Court Collection, dispersed in 1899. Provenance: By descent in the family of the sitter until sold with other family portraits at auction in 2014, where purchased by the present owner. ++ Old lining; a little scattered retouching
George Finch Mason (1850-1915)watercolourRacehorse with jockey up, signed, 11 x 14.5in. a watercolour of Partridges, initialled F.M, 16 x 13.5in. a photograph of Polyonelus, 1916 and a mezzotint of Mr Crewe's Hunter.https://www.gorringes.co.uk/news/west-horsley-place-attic-sale-8th-january-2018
After Joseph Mallord William Turner RA (British, 1775-1851): 'The Temple of Minerva Medica', engraved by R. Dunkarton, from Liber Studiorum, publ. Jan.1811, Queen Ann Street West, mezzotint with etching printed in sepia, label verso, together with two similar mezzotints titled 'Marine Dabblers', engraved by W. Say, and 'From a Picture in the Possession of J.M.W. Turner R.A.', 22 by 30cm, framed, 33 by 40cm. (3)
Sydney E.Wilson (20th century) - Georgian interior scenes with children and other figures, signed artists proofs, each 16.5" x 21" (a pair), together with various other pictures including a black & white mezzotint after Thomas Gainsborough, cottage with children, two large prints of American Indians on horseback, a large pastel of a partially draped figure seated in a chair, indistinctly signed, an oil painting of a nude female signed Barton and another of a saxophonist. (a collection)
The masterwork engraved by Thomas Simon with his Petition to King Charles II in two lines on the edge, laureate and draped bust right, signed Simon below, Latin legend and toothed border surrounding, CAROLVS II. DEI. GRA, rev. crowned cruciform emblematic shields, pairs of interlinked Cs in angles, St. George and dragon in buckled garter in centre in garter with French motto HONI. SOIT. QVI. MAL. Y. PENSE, date either side of top crown, Latin legend and toothed border surrounding.MAG BRI.FR ET.HIB REX. Edge inscribed in small raised letters in two lines except for double sized italic word “Majesty” witness line at start with pair of crowned interlinked Cs over pair of palm branches, THOMAS SIMON . MOST . HVMBLY . PRAYS .YOVR . MAJESTY TO . COMPARE . THIS . HIS . TRYALL . PIECE . WITH . THE . DVTCH . AND . IF . MORE / TRVLY . DRAWN . & EMBOSS'D . MORE . GRACE: FVLLY . ORDER'D . AND . MORE . ACCURATELY . ENGRAVEN . TO . RELIEVE . HIM., raised rim above and below, all lettering, drapery and neck, frosted in a mezzotint style, weight 34.73g. (S 3354A; ESC 429 (72); L&S 6, and p.10, this piece listed; Bergne, NC 1854, p.137, no.7, this coin; Hocking 1360; KM PnB33). Some hairlines & buffing in obverse field in antiquity, otherwise a superb example of the most famous coin in the entire British series. Only two others, both inferior examples, sold at auction in the USA in the past 100 years, Wormser in 1992 and Jenks in 1921. Only sixteen believed to be extant, of which only five examples auctioned worldwide in the past 25 years, including this example, remain in private hands. Beautifully toned & this piece in the top three best preserved examples in extremely fine condition. A highly desirable extremely rare piece celebrated as the finest in numismatic artistry, in PCGS holder graded SP 53, Pop 1; the only example graded at PCGS. Only 1 example graded higher in MS-63 at NGC. Ex: Bought 'for a trifle' casually by coin-dealer Abraham Edmonds from a silversmith in the Strand. Ex Thomas Dimsdale, Sotheby, 18th June 1824, lot 1788 sold for £30. Ex Thomas Thomas, Sotheby, 23rd February 1844, lot 387 sold for £48 to dealer Cureton. Ex James Dodsley Cuff, Sotheby, 8th June 1854, lot 1373, sold for £56/10 to dealer Webster. Ex Major-General William York Moore, Sotheby, 21st April 1879, lot 255, sold for £86. Ex The Hon. Robert W. Marsham, Sotheby, 19th November 1888, lot 731, sold for £290 to dealer Verity. Ex Arthur Doveton Clarke, Christies, 15th June 1891, lot 364. Ex Henry Webb, Sotheby, 9th July 1894, lot 692, sold for £250 to dealer Lincoln. Ex Richard Manley Foster, Sotheby, 3rd November 1903, lot 243, sold for £310. Ex Bernard M S. Roth, part I, Sotheby, 19th July 1917, lot 348, sold for £360. Ex Lt.-Col. Thomas G. Taylor, collection sold privately to Spink and Son Ltd 1920. Ex E S Morris as “Well known collector”, Glendining, 23rd-25th July 1923, lot 17, sold for £360 to Wheeler. Ex Ernest H. Wheeler, Sotheby, 12th March 1930, lot 500, sold for £510 to Raynes (described in the catalogue at the time, as being the finest). Ex William Luard Raynes Collection, private transaction with Spink, Summer 1962. Sold by Spink and Son Ltd to Mrs Norweb, December 1962. Ex Mrs E. M. H. Norweb Collection, part I, Spink Coin Auction 45, 13th June 1985, lot 223, front cover coin. Ex James Perley Storer, Spink Coin Auction 111, 21st November 1995, lot 101, coin featured on cover. Ex Rowley Butters Collection, St James Auction 9, 18th June 2008, lot 333, main front cover coin.
'Portrait of the Short Horned Bull, Patriot', Georgian English hand-coloured mezzotint by William Ward ('Engraver Extraordinary to HRH the Prince of Wales') after Thomas Weaver, published in Shrewsbury, 14th February 1810. Complete with antique frame, mounted on canvas with original label to verso: 'Samuel Lewis, Ludlow'. Unglazed but with a light varnish that has created a warm toned appearance. British sporting art / farming / cattle / natural history interest. Approx. 70cm x 61cm (including frame).
Two framed prints after Gainsborough. Ernest Stamp 1869 - 1942. One Lady in a plumed bonnet H: 30cm W: 22.5cm One antique mezzotint with impress stamp, signed in pencil "Ernest Stamp". Label to Verso "Hew Publication, Mrs Sheridan painted by Thos Gainsborough RA. Engraved in mezzotint by Ernest Stamp printed in colour at one printing. Edition limited to 200 copies. Plate to be destroyed".
Turner (Charles, 1773-1857). Thomas Clarkson, published by S. Piper, Ipswich, April 19, 1828, uncoloured mezzotint by C. Turner after A.E. Chalon, some pale toning (generally in good condition), 55.5 x 39.5 cm (22 x 15.5 ins) mount aperture, framed and glazed, together with an engraved portrait proof of Richard Oastler by J. Posselwhite after B. Garside, some light discolouration, plate size 43 x 33 cm (17 x 13 ins), framed and glazed, plus Sherwin (John Keyse, 1751-1790), The Right Honble. William Pitt, First Lord of the Treasury, Chancellor of the Exchequer &c., published 15th June 1789, engraved portrait by J.K. Sherwin after Gainsborough, trimmed just inside the plate margins, some marks, sheet size 48 x 33.5 cm (19 x 13.25 ins), framed and glazed (3)
*Dunkarton (Robert John, 1744-1811). Linnaeus in his Lapland Dress. Form an original picture in the possession of Dr. Thornton, published by Dr. Thornton, June 1, 1805, mezzotint portrait by Dunkarton after Martin Hoffman, closed tear repaired to left blank margin (with some associated light browning), plate size 51 x 35.5 cm (20 x 14 ins), with margins, period black and gilt frame, glazed (1)
*Turner (Charles, 1773-1857). James Watt, L.L.D., F.R.S., L. & E., published July 1, 1815, mezzotint portrait on laid paper by C. Turner after Sir Thomas Lawrence, plate size 56 x 40.5 cm (22 x 16 ins), with margins, some light spotting, mostly to margins, contemporary black and gilt frame, glazed (1)
A miscellaneous collection of prints, comprising:W. Nicholas after J. Stewart, The Happy dream after the Ball, mezzotint, 47 x 34cm; S.T. Statue of Bacchus and a Satyr, lithograph, 48 x 26cm; F. Basan after A. Sckouman, Le Cordonnier Hollandois, engraving 18th century, 38 x 27cm; Albert Adam, Man with Tigers, lithograph, 1819, 40 x 46cm; View in Cloister, Fort Augustus, lithograph, 20th century, 25 x 19cm; After Tintoretto, David with the head of Goliath together with Andromeda Chained to the Rocks, 29 x 24cm; After Titian, Battle of Cadore, engraving, 42 x 53cm; Deer in Landscape, photograph, 22 x 35cm; Photograph of Murillo, The Madonna and Child with St. Anne and St. John and the Holy Trinity 28 x 22cm; Modlitwa Family Tree, lithograph, 45 x 37cm
Limited to 75 Copies[Gainsborough] Iain Bain, Publisher, The Etched and Engraved Prints of Thomas Gainsborough R.A., Executed in soft-ground and aquatint and in mezzotint. V. Lg. oblong folio L. (John Boydell Press) 1971. Lim. Edn. No. 45 of 75 copies, 11 full page plts. in portfolio, & separate letterpress, in custom made padded box. Scarce. (1)
'Unannounced', mezzotint laid onto canvas after J Haynes Williams pub. 1897 by Landeker and Brown printed in Austria and 'Dawn after the Ball', engraving laid onto canvas by Alphonse Lamotte after S E Waller pub. 1892 by I P Mendoza London 76cm 98cm (2) Condition Report Click here for further images, condition, auction times & delivery costs
Attributed to Jeremiah Theus (American/South Carolina, 1716-1774), "Portrait of a Young Girl Holding a Bouquet of Flowers", oil on canvas, unsigned, 29 in. x 24 in., period frame. Provenance: Family Estate Collection, Moultrie, Colquitt County, GA, reputed to have been acquired from a nearby plantation, c. 1970s. Note: Jeremiah Theus, the self-proclaimed “Limner of Charles Town,” created portraits, landscapes, and coats-of-arms from circa 1740, when he first advertised in the South Carolina Gazette, until his death in 1774. Known primarily as a portraitist, he painted the most prominent families across the Province of South Carolina. Theus, who was born in Switzerland, immigrated with his family to South Carolina in 1735; very little is known of his schooling, although his technique has been compared to the school of Franz Lippoldt (1688-1768) and to the contemporary painter, Elias Gottlob Haussman (1695-1774). The current lot exhibits many elements of Theus’ early style of painting, including the waist-length pose, the upright positioning of the figure, the soft brushwork of the face, and the accessories. Theus is known to have based many of the figural poses and clothing in his paintings on English mezzotints; therefore, many of his sitters have similar dresses or poses. For example, in Theus’ portraits of Sarah Parker Lowndes, Elizabeth Allston Lynch, and Susannah Holmes, all three ladies wear a dress based on a 1752 mezzotint of Elizabeth, Duchess of Hamilton, although Theus did make alterations to personalize each portrait. Similarly, the young lady in the current lot stands in the exact pose and an extremely similar dress to Theus’ portrait of Catherine Elliot. The Elliot family were generous patrons of Theus, having large portraits of Mr. and Mrs. Barnard Elliot painted, along with smaller portraits of their son and daughters. The girls’ faces, particularly Catherine’s, are similar in features to the girl in the current lot, conjecturing if perhaps our sitter is a sister or cousin in the Elliot family. Ref.: Middleton, Margaret Simons. Jeremiah Theus: Colonial Artist of Charles Town. Columbia: University of South Carolina Press, 1953; Severens, Martha. “Jeremiah Theus of Charleston.” Southern Quarterly. Vol. 24 (1985-86): 56-70.
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