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Fine Portrait Miniatures including The Comerford Collection 25 March 2020

Fine Portrait Miniatures including The Comerford Collection London, 25 March 2020


Paintings & Fine Art Department

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Suzanne Zack ,IEHSJ7EPI British & European Fine Art & Portrait Miniatures WY^ERRI^EGO$GLMW[MGOEYGXMSRWGSYO

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.3,21%68-2 &6-8-7, Ariadne with a lyre looking out to sea £5,000- 7,000

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To be included in British & European Fine Art 17 March 2020

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Fine Portrait Miniatures including The Comerford Collection ;IHRIWHE] 1EVGLTQ Private Viewing at South Kensington ;IHRIWHE]1EVGLTQTQ Selected Highlights at South Kensington *VMHE]*IFVYEV]TQTQ 1SRHE]1EVGL;IHRIWHE]1EVGLEQTQ 8LYVWHE]1EVGLEQTQ Please note that the showroom is closed Saturday and Sunday. Full Sale & Viewing at Chiswick 8LYVWHE]1EVGLEQTQ *VMHE]1EVGLEQTQ 7EXYVHE]1EVGLEQTQ 7YRHE]1EVGLEQTQ 1SRHE]1EVGLEQTQ 8YIWHE]1EVGLEQTQ Buyer’s Premium 8LIFY]IVWLEPPTE]'LMW[MGO%YGXMSRW0XHETVIQMYQSRXLI LEQQIVTVMGISJ :%8SRXLEXGSQQMWWMSR Collection of Lots &Y]IVWEVIEWOIHXSGSPPIGXXLIMVPSXWSRXLIHE]SJXLIWEPI SVFIX[IIREQTQYTYRXMPGPSWISJFYWMRIWWSR*VMHE] JSPPS[MRKXLIWEPI Cites 4PIEWIFIE[EVIXLEXEPPPSXWQEVOIH[MXLXLIW]QFSPѤare subject to CITES VIKYPEXMSRW4PIEWIWIISYV8IVQW 'SRHMXMSRW JSVQSVIMRJSVQEXMSR Artist’s Resale Right/Droit De Suite 0SXWQEVOIH[MXL ARRMRHMGEXIWXLEXEREHHMXMSREPPIZ]QE] ETTP]JSVXLMWPSX4PIEWIWIISYV8IVQW 'SRHMXMSRWJSVQSVI MRJSVQEXMSR Photography Basak Ulukose

Front Cover 0SX Back Cover 0SX


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Introduction The Comerford Collection was acquired over forty years by the late John and Pauline Comerford. John and Pauline’s interest in portrait miniatures was sparked initially because the family descended from the Irish miniaturist John Comerford (c. 1770-1832), who was born in Kilkenny and built a prosperous practice becoming the most notable miniature painter in Dublin in the early nineteenth century. John and Pauline began by focussing on collecting works by Comerford and other leading Irish miniaturists of the later eighteenth and early nineteenth centuries. As the collection grew their aim was to represent all the periods during which this specialised art form was widely practised. The focus of their collection was on artists working in Britain and Ireland, although some examples by Continental artists were added. They collected portraits, not based on the social standing of the sitter but on the perceived quality or appeal of the artist’s work. They wanted to represent the evolution of the art by choosing examples from the late sixteenth and seventeenth century progressing into the Georgian period, with its proliferation of prominent miniaturists, often described as the ‘golden age’. As the collection grew, they were able to illustrate the gradual change in technique and media adopted by artists through the centuries including vellum, ivory and enamel examples. Over the years they made many friends amongst experts, museum curators, dealers and fellow collectors which became a close community with a shared passion for the art form. Their greatest desire was to share their collection with other enthusiasts and educate them by allowing their miniatures to be exhibited to the public. They put on four public exhibitions with accompanying catalogues in Ireland between 1999 and 2007 at venues including Kilkenny Castle, Rothe House, Kilkenny and the Irish Architectural Archive. The selection of miniatures in the current auction represent over half of the original collection. It is a very personal collection that gave them great pleasure for many years. They would have wished for their miniatures to find new custodians to appreciate and enjoy them as much as they did. The Comerford family. A limited number of copies of the 2007 exhibition catalogue, The Comerford Collection held at Kilkenny Castle, will be available to purchase on request.

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The Comerford Collection The following lots (1-121) were included in the exhibition The Comerford Collection held at Kilkenny Castle, Ireland in 2007. 1 JEAN PETITOT THE YOUNGER (SWISS 1653-1699) Portrait miniature of an unknown Nobleman from the court of Louis XIV, wearing a red lined blue cloak and tied jabot, full-bottomed brown wig Enamel Gold mount set into a later silver-gilt frame with brooch clasp reverse Oval, 28mm (1 1/2in) high

4λ CHRISTIAN FRIEDRICH ZINCKE (GERMAN 1683/4-1767) Portrait miniature of a Lady, wearing a low cut blue dress with white underslip, a sprig of white flowers in her long flowing brown hair, painted circa 1725 Enamel Set within the inside lid of a gilt-mounted tortoiseshell box, the cover with pique work depicting flowers and a butterfly Oval, 45mm (1 3/4in) high

This portrait was probably once mounted on top of a snuff box lid and has since been transformed into a brooch. It is often difficult to establish the identity of Petitot’s sitters, as is the case here, because his sitters were also his friends, yet he often chose to represent them in a courtly manner, rather than portray their inner character. After the outbreak of the Civil War in 1643 he went to France, where he achieved great success, having previously served at the court of Charles I. He received constant patronage from Louis XIV and his entourage.

Although the identity of the sitter is unknown, she was undoubtedly a lady of fashion and wealth. The presence of a butterfly on the lid must have had some symbolic meaning. A butterfly has stood to mean many things but overwhelmingly, cultural myth and lore honor the butterfly as a symbol of transformation because of its impressive process of metamorphosis. Perhaps the sitter was in the process of a significant transformation in her life such as marriage.

£1,000-£1,500

£1,000-£1,500

2 ENGLISH SCHOOL (circa 1750) Portrait miniature of a Gentleman, circa 1750, wearing royal blue coat, white waistcoat trimmed with gold embroidery and white jabot, powdered hair en queue Enamel Set in the original gold mount, the reverse unglazed and open Oval, 40mm (1 3/4in) high

5 JEAN ANDRÉ ROUQUET (SWISS 1701-1758) Portrait miniature of a Gentleman, circa 1770, wearing a gold edged blue coat, yellow waistcoat white stock Enamel on copper Gold frame Oval, 33mm (1 1/4in) high

Although the sitter and artist are yet unidentified the gold embroidery on the sitter`s waistcoat has been executed with delicacy and care

£1,000-£1,500

£300-£500 3 NATHANIEL HONE R.A. (IRISH 1718-1784) Portrait miniature of a Lady wearing a satin dress with lace collar and fine black lace widow’s cap over a posy of flowers in her powdered grey hair Enamel on copper

6 HENRY SPICER F.S.A. (BRITISH 1743-1804) Portrait miniature of a Gentleman, circa 1760 wearing a black coat, matching waistcoat and frilled white cravat, with neatly curled bag wig Enamel on copper Gold mount with a bracelet clasp Oval, 30mm (1 1/4in) high £200-£300

£800-£1,200

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7λ JAMES SCOULER (BRITISH 1740-1812) Portrait miniature of an unknown young girl wearing a pale blue dress slashed to reveal white underslip with lace edge and pearls on the bodice and in her upswept hair Signed and dated Scouler 1761 on the obverse Watercolour on ivory Gold frame Oval, 42mm high (1 3/4in) £300-£500 8λ BERNARD LENS THE THIRD (BRITISH 1682-1740) Portrait miniature of a young Lady, circa 1720 in a blue robe trimmed with gold embroidery and white underslip Signed in gold monogram BL on the obverse Watercolour on ivory Gilt-metal frame Oval, 40mm (1 3/4in) high Lens was the miniature painter at the court of King George I and King George II, an instructor in miniature painting (then called limning) to prince William and princess Mary and Louise and consultant in fine arts to upper-class families. Lens established himself as a portrait miniaturist, and in 1707 became the first British artist to replace vellum, the traditional medium of miniatures, with ivory. The difficult skill of painting watercolours on ivory was invented in Venice by Rosalba Carriera around 1700 and quickly spread over Europe. The style of Lens was close to that of Carriera, although Lens conservatively employed pencil sketches and heavier paints that reduced translucency of glazes over the ivory substrate. The gold paint seen in this portrait in the monogram and lace embroidery shine brightly against the surroundings colours. £400-£600 9 PENELOPE CARWARDINE (BRITISH circa 1730-1801) Portrait miniature of a Gentleman wearing gold trimmed lilac coat and orange waistcoat, white cravat, with powdered hair en queue Signed with initials PC on the obverse Watercolour on ivory Gold mount with possibly later filigree scrolling border with brooch clasp attachment Oval, 30mm high (1 1/4in) high

10 THOMAS FORSTER (BRITISH 1677-1712) Portrait miniature of a Gentleman called Mr. Hill, Mrs. Parbery’s father, wearing robe with striped lining, stock and tied cravat with full bottomed curling wig Signed on the obverse T. Fo and indistinctly dated 17 ? Plumbago on vellum Original turned wood frame Oval, 62mm (2 1/2in) high Plumbago drawings are graphite drawings from the 17th and 18th centuries. There was a group of artists whose work in plumbago is remarkable for their portraits drawn with finely pointed pieces of graphite and on vellum. Initially these works were often prepared as the basis of an engraving. As time went by they would be produced as works in their own right. Forster was one of the major draftsmen in this form of portraiture, both on vellum and on paper. £600-£800 11 λ JAMES SCOULER (BRITISH 1740-1812) Portrait miniature of a young girl wearing a blue dress with fine lace bodice, her neatly plaited hair decorated with a spray of pink and violet flowers Watercolour on ivory Gold bracelet clasp frame Oval, 35mm (1 1/2in) high Although seemingly not signed on the obverse, this may well be inscribed on the reverse (the miniature has not been opened). It is an enchanting portrait and brilliantly shows off the fashionable costume of the 1760’s. £300-£500 12 λ SAMUEL COLLINS (BRITISH circa 1735-1768) Portrait miniature of a gentleman wearing a gold trimmed lilac coat and lace cravat Signed with initials SC and dated 1758 on the obverse Watercolour on ivory Oval, 35mm (1 1/2in) high Collins was born in Bristol. He taught and painted miniatures in Bath, where his pupils included the miniaturist Ozias Humphry. In 1762 he left Bath because of financial difficulties and moved to Ireland. £300-£500

The lilac colour in this portrait seems to be the one that Penelope favoured as she used it on a number of occasions. £300-500

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13 λ GERVASE SPENCER (BRITISH d. 1763) A pair of portrait miniatures of husband and wife, he wearing lilac coat, white waistcoat stock and lace chemise, hair worn en queue; she wearing white dress trimmed with lace, a pearl choker and earring and a white lace cap on her dark brown hair Both signed with initials GS on the obverse and dated 1754 Watercolour on ivory Set in the original gold frames with pearl borders Ovals, 48mm (2in) high, each (2) With old collector’s labels on the reverse stating that the miniatures were once in the collection of someone with the initials of JJ and that they appeared at Sotheby’s in 1933. It is likely that this pair was commissioned to commemorate the sitter’s marriage in or around 1754. £1,000-£1,500 13

14 λ EDWARD VAUGHAN (BRITISH fl. 1772-1814) A double sided portrait miniature of husband and wife, circa 1780 she in profile to the left, wearing a white dress trimmed with blue ribbon at her corsage, matching ribbon and white plume entwined in her powdered grey wig; he in profile to the right, wearing a black suit, powdered hair en queue Watercolour on ivory Set either side of a fine gold frame both sides embellished with white and blue enamel decorated with gold motif Oval, 47mm (1 3/4in) high Although this pair does not appear to be signed, the use of grey tones in the background and profile stance are features found in other signed examples by Vaughan. Being set either side of a locket suggests that perhaps the miniatures were commissioned to celebrate the union of the couple through marriage. 14

£500-£700

15 λ THOMAS REDMOND (BRITISH circa 1745-1785) Two portrait miniatures of a Gentleman called Mr. Bonham and his son Harry, circa 1765 the elder wearing mole coloured coat and matching waistcoat, bag wig; the son in blue trimmed lilac coat, hair en queue Inscribed with initials T.R on the obverse of the younger Gentleman Watercolour on ivory Mounted together in papier-maché rectangular frame Oval, 42mm (1 3/4in) high (2) £300-£500

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16 λ GUSTAVUS HAMILTON (IRISH 1739-1775) Portrait miniature of a young Lady wearing a blue dress trimmed with pearls on her shoulders, an elaborate pearl and sapphire necklace, matching earrings and further jewels and feathers entwined in her upswept hair Signed Ham and dated 1765 on the obverse Original gold bracelet clasp frame surrounded with cushion cut diamonds and rubies, later loop suspension. Watercolour on ivory Oval, 38mm (1 1/2in) high Hamilton, an Irish miniature painter was the son of Rev. Gustavus Hamilton, vicar of Errigal and rector of Gallon, County Meath. One of his teachers was the Irish painter Robert West. He was an apprentice to the pupil of Samuel Dixon of Capel Street Dublin, where he was employed in colouring the basso-relievo prints of birds and flowers produced by Dixon. Although he has been described as one of the lesser miniature painters of the 18th century, this particular example shows his work at his best. The sitter was clearly a woman of huge wealth judging by the very striking pieces of jewelry that she is wearing coupled with the elaborate frame in which the miniature is set.

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£1,200-£1,800

17 λ JOHN SMART (BRITISH 1740-1811) Portrait miniature of a fashionable young Gentleman wearing rust coloured doublet secured with jeweled buttons, a fine white lace Van Dyck style collar and blue robe over his right shoulder Signed and dated J.S. 1765 on the obverse Watercolour on ivory Gilt-metal frame Oval, 30mm (1 1/4in) high Although it has not been possible to identify the sitter, he was clearly a man of wealth who followed the “Cavalier” fancy-dress costume called a Van Dyke, which was popular during the reign of George III.

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£1,000-£1,500

18 λ JEREMIAH MEYER R.A. (BRITISH 1735-1789) A fine portrait miniature of a dashing Officer, circa 1765/70, wearing scarlet coat with green facings, silver lace and epaulettes, his powdered hair worn en queue, painted Watercolour on ivory Gold frame with white enamel border within original purple enamel edge and further surrounded by border set with white enamel balls, The reverse with glazed central aperture to reveal blue silk surrounded by the same enamel border as the obverse Oval, 39mm (1 3/4in) high Although the cut of the officer’s coat reflects the styles of the 1750s, the fact that he has one or two epaulettes indicates that this portrait miniature probably dates from the transitional period that fell between the end of the Seven Years’ War and the implementation of the Royal Clothing Warrant of 1768. Several regiments of foot wore green facings with silver officiers’ metal. These included the 5th, 24th, 45th 63rd, and 68th Foot. This dashing chap could have very well belonged to one of those corps. £2,500-£3,500

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19 λ JOHN TUVIN (BRITISH fl. 1776-1792) Portrait miniature of a young Boy, wearing a red coat, red waistcoat, white chemise with lace collar Signed and dated Tuvin Pinxit/1777 on the obverse Watercolour on ivory Gold bracelet clasp frame Oval, 38mm (1 1/2in) high

22 λ NATHANIEL HONE R.A. (IRISH 1718-1784) Portrait miniature of an unknown Gentleman wearing a fawn coloured coat, waistcoat and white lace chemise, his powdered hair en queue Signed with monogram NH and indistinguishably dated 17?7 Watercolour on ivory Gold frame Oval, 32mm (1 1/2in) high

Other examples of Tuvin’s work can be seen in the Victoria & Albert Museum.

£200-£300

£300-£500

23 λ WILLIAM SINGLETON (BRITISH d. 1793) Portrait miniature of a Gentleman, circa 1775, wearing a beige coat, cream coloured waistcoat and lace cravat, with powdered hair en queue Watercolour on ivory Gold frame Oval, 40mm (1 1/2in) high

20 λ CHARLES FORREST (IRISH fl. 1765-1787) Portrait miniature of a Lady in low cut white dress trimmed with yellow and with fine bonnet with floral veil Signed with initials CF and dated 1776 on the obverse Watercolour on ivory Gold brooch mount frame Oval, 42mm (1 3/4in) high Forrest entered the Dublin Society School of Figure Drawing in 1765. He worked in chalk and pastel as well as watercolour on ivory. He exhibited miniatures at the Academy of Artists’ exhibition in Dublin in 1774 and at the Society of Artists in Ireland exhibition in 1780. Signed and dated miniatures by Forrest are extremely rare. £300-£500 21 λ ENGLISH SCHOOL (circa 1760) A pair of portrait miniatures of Master and Miss Rogers, brother and sister as children. He wears lime green coat and waistcoat, white lace collar; she wears a blue shawl over a pale pink dress and matching bonnet Watercolour on Ivory Gold bracelet clasp frames Ovals, 35mm (1 1/2in) high, each (2)

£100-£150 24 λ JAMES REILY (IRISH d. 1780 or 1788) Portrait miniature of a Lady, circa 1765 wearing a salmon pink décolleté dress, trimmed with lace, a long strand of pearls and pearl earing, her hair upswept Signed with monogram JR on the obverse Watercolour on ivory Gilt-metal frame with engraved floral border, the reverse with brooch clasp Oval, 19mm (3/4in) high Reily exhibited with the Society of Artists in Dublin from 1765 to 1769, and in 1772, 1773 and 1779, principally miniatures £150-£250

It has not been possible to identify the artist’s hand with any certainty but this pair is non the less a charming pair of brother and sister, designed to have been worn on a bracelet - presumably by the sitters mother. £400-£600

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25 λ RICHARD CROSSE (BRITISH 1742-1810) Portrait miniature of a Lady, circa 1770 wearing a blue surcoat over a low cut white dress with frilled white underslip, a strand of pearls and gold chain at her corsage, her upswept hair entwined with strands of pearls and gauze veil Watercolour on ivory Gold frame Oval, 50mm (2in) high

28 λ SAMUEL SHELLEY (BRITISH 1750/56-1808) Portrait miniature of a Gentleman, circa 1775, wearing a tan coloured coat, white waistcoat and stock, his powdered hair en queue Signed SShelley on the obverse Watercolour on ivory Gold frame, the reverse later engraved with cipher Oval, 37mm high (1 1/2in)

Crosse was a leading English painter of portrait miniatures. He was a contemporary of John Smart, George Engleheart, Richard Cosway and William Wood. Born deaf and dumb he lived and worked in Henrietta Street, Covent Garden, from 1760. His brother kept the house and acted as liaison between Crosse and his clients, which included the Prince of Wales and the Dukes of Cumberland and Gloucester.

Whilst Shelley occasionally signed in full on the reverse of his miniatures it is unusual for him to sign on the front.

£600-£800 26 λ RICHARD BULL (IRISH fl. 1777-1809) Portrait miniature of a Gentleman, possibly Mr. Brandon, wearing a brown coat and a frilled white cravat, 1799 Signed R. Bull and dated 1799 on the obverse Watercolour on ivory Gold fausse-montre frame, the reverse with elaborate gold monogram MPB on plaited hair surrounded with a gold lute at the bottom and surmounted with a basket of flowers, the border engraved with elaborate floral motif Oval, 68mm (2 3/4in) high Bull was taught at the Dublin Society School. He practiced in Dublin but moved to London in 1794 where he exhibited regularly at the Royal Academy. Many of his sitters were Irish. It is possible that this is a portrait of Mr. Brandon, which was exhibited at the Royal Academy in 1799, number 824. £600-£800 27 λ RICHARD CROSSE (BRITISH 1742-1810) Portrait miniature of a Gentleman wearing a brown coat over a gold trimmed white waistcoat, a lace cravat, his powdered hair en queue Watercolour on ivory Gold fausse-montres frame with blue enamel border studded with gold stars, the reverse with blue glass Oval, 60mm (2 1/2in) high Crosse was a leading English painter of portrait miniatures. He was a contemporary of John Smart, George Engleheart, Richard Cosway and William Wood. Born deaf and dumb he lived and worked in Henrietta Street, Covent Garden, from 1760. His brother kept the house and acted as liaison between Crosse and his clients, which included the Prince of Wales and the Dukes of Cumberland and Gloucester £600-£800

£400-£600 29 λ SAMUEL SHELLEY (BRITISH 1750-1808) Portrait miniature of a young Gentleman wearing a blue coat with gold buttons and black collar, white waistcoat and red vest, frilled lace cravat Signed Sam. Shelley and inscribed 6 George Street, Henrietta Square on the original backing card verso Watercolour on ivory Original gold frame, the reverse glazed to reveal the signature within a gold mount and ivory border Oval, 70mm (2 3/4in) high Shelley was, for the most part, self-taught as an artist. His first exhibition was at the Society of Artists in 1773. On 21st March the following year he entered the Royal Academy Schools (his age recorded as 17), where he became influenced by the work of Sir Joshua Reynolds. During his career Shelley painted in oil, illustrated books, and engraved several of his own works, but he is most particularly remembered for his watercolour miniature portraits. During his lifetime he exhibited at the Royal Academy, at the Society of Artists and at the British Institute. In The Gentleman’s Magazine, vol. 104 (London, 1808), it is recorded that Samuel Shelley died in his house at George Street, Hanover Square. This address can be found on the reverse of this miniature, “of the first eminence as a miniature painter”. £700-£900 30 λ SAMUEL SHELLEY (BRITISH 1750/56-1808) Portrait miniature of the Rev’d James Rusell Deare, chaplain to King George III, wearing dark blue coat, white waistcoat and tied cravat Signed on the reverse Painted by / Sam. Shelley / George Street Hannover Square / altered and repainted / 1807 Watercolour on ivory Gilt-mounted rectangular papier-mâché frame Oval, 95mm (3 3/4in) high Reverend Deare was the Rector of Bures in Suffolk in 1798. Early in 1800 he was elected to be one of King George II’s chaplains. His will, dated 30th March 1825, is housed in the National Archives at Kew. In 1804 Shelley joined with W.F. Wells, Robert Hills, W.H. Pyne, and six other artists to found the Watercolour Society (afterwards known as the “Old Society”), of which he was treasurer until 1807. As Shelley died in 1808, this would appear to be one of his later works. £600-£800

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31 λ HORACE HONE A.R.A. (BRITISH 1754/6-1825) Portrait miniature of a Gentleman, wearing dark brown coat with gold buttons and tied white cravat Signed with initials HH and dated 1783 on the obverse Watercolour on ivory Gold frame the reverse glazed to reveal gold monogram ML on interwoven locks of hair Oval, 61mm (2 1/2in) high £1,000-£1,500 32 λ HORACE HONE (A.R.A. 1754/6-1825) Portrait miniature of an unknown lady, circa 1780, wearing a white lace dress secured with pearl brooch at her corsage and blue shawl, black ribbon choker and lace cap in her powdered hair Signed with monogram on the obverse and dated 178 (3?) Watercolour on ivory Set in a gold mount with gilt-metal reverse Oval, 45mm (2in) high Horace Hone, the second son of Nathaniel Hone R.A., was born in Frith Street, London, in 1756. He learned his art as a miniature painter in watercolour and enamel from his father, and at the age of 16, in 1722, he bagan to exhibit in the Royal Academy. He was elected an Associate in 1779. On the invitation of the Countess Temple, afterwards Marchioness of Buckingham, he went to Ireland in 1782 when Lord Temple was appointed to the Vice-royalty, and soon acquired a large and fashionable practice. This portrait was taken a year after his arrival in Ireland and would appear to be an early example of his work After the Union, finding that his practice was declining and his fashionable sitters removing to London, he left and settled in London, taking a house in Dover Street, where for several years he continued to practice his profession successfully. While in Ireland he exhibited once to the Royal Academy, in 1795 when he was appointed miniature painter to the Prince of Wales; he now began again to exhibit, and his works continued to appear regularly until 1822.

34 λ RICHARD COSWAY R.A. (BRITISH 1742-1821) Portrait miniature of an unknown Officer, circa 1770 wearing a red uniform with blue facings and gold lace, cream waistcoat and lace cravat with powdered hair en queue Watercolour on ivory Gold bracelet clasp frame Oval, 34mm (1 1/4in) high Painted by the leading miniature artist of the Regency period, this is a lovely early example. It was designed to be worn as a bracelet and given as a token of affection by the sitter to the receiver. £800-£1,200 35 λ HORACE HONE A.R.A. (BRITISH 1754/6-1825) Portrait miniature of an unknown Gentleman wearing a brown coat, spotted doublebreasted waistcoat and frilled cravat Signed on the obverse with monogram HH and dated 1795 Watercolour on ivory Gold frame, the reverse glazed to reveal gold monogram on opalescent glass within a border of plaited hair Oval, 73mm (3in) high £800-£1,200 36 λ HORACE HONE A.R.A. (IRISH 1754/6-1825) Portrait miniature of an unknown Lady, circa 1790 wearing a fashionable fur trimmed blue cloak over a white dress, a bandeau in her short brown curling hair Watercolour on ivory Gold frame, the reverse glazed to reveal lock of hair tied with gold wire and seed pearls, on opalescent glass Oval, 67mm (2 3/4in) high £1,000-£1,500

£600-£800 33 λ HORACE HONE A.R.A. (BRITISH 1754/6-1825) Portrait miniature of a Lady wearing a white jacket trimmed with turquoise over a white underslip, her long brown hair falling over her shoulders Signed on the obverse with monogram HH and dated 1786 Watercolour on ivory Set in the original gilt-metal frame Oval, 70mm high (3in) £1,200-£1,800

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37 λ WILLIAM GRIMALDI (BRITISH 1751-1830) Portrait miniature of a Gentleman wearing a blue coat, white waistcoat, red vest and white waistcoat, and tied cravat, powdered hair Signed and dated Grimaldi 1793 on the obverse Watercolour on ivory Gold frame, the reverse with gold monogram JG on blue glass Oval, 70mm (2 3/4in) high In the Catalogue of Paintings, Drawings and Engravings by William Grimaldi, which was privately printed in 1873, there are only two miniatures recorded as being painted in 1793 and both of them are ladies. This suggests that the sitter may have not paid for this miniature and hence there is no record of it in the catalogue.

40 λ CHARLES ROBERTSON (IRISH 1760-1821) Portrait miniature of a young Gentleman, circa 1800 wearing a dark blue coat with black collar, white waistcoat with red trim, tied with cravat Watercolour on ivory Gold mounted silver-metal frame set with paste border Oval, 60mm (2 1/2in) high Provenance: S. H. V. Hickson; Sotheby’s, London, 10th November 1969, lot 69 (£270 to Rappolt); Rappolt Collection, Christie’s, London, 14th October 1998

Grimaldi was one of the leading artists from the end of the 18th century to the beginning of the 19th century, being employed as Enamel Painter to George IV.

Robertson was a contributor of miniatures and flower pieces to the Dublin Exhibition in 1800, 1801 and 1802, and miniatures and small portraits in watercolour from 1811 to 1821. He visited London in 1806 and exhibited two miniatures in the Academy, his address being given in the catalogue as “Charles Robertson from Dublin, 93 New Bond Street”. He is considered to be one of the leading miniaturists of his time in Ireland

£600-£800

£800-£1,200

38 λ ABRAHAM DANIEL (BRITISH 1750-1806) Portrait miniature of a Gentleman, c irca 1780/90 wearing a black coat and waistcoat, frilled white cravat and powdered wig Watercolour on ivory Later silver gilt fausse-montre frame with wavey engine turned edge, London 1917 by Arthur Ernest Kingsland Lomas Oval, 42mm (1 1/2in) pp 10, 54 (#229)

41 λ HORACE HONE A.R.A. (BRITISH 1754/6-1825) Portrait miniature of a Gentleman, circa 1790 wearing a blue coat and frilled cravat, his hair powdered and curled Watercolour on ivory Gold frame, the reverse with locks of brown hair (with hints of pearl monogram - missing) within bright cut mount and blue glass border Oval, 70mm (3in) high

£500-£700 39 λ ABRAHAM DANIEL (BRITISH 1750-1806) Portrait miniature of a Lady wearing a white dress with large frilled collar, blue waistband and pearl necklace, powdered hair Watercolour on ivory Gold frame, the reverse glazed to reveal turquoise silk Oval, 75mm (3in) high The three Daniel brothers, Abraham, Joseph and Phineas, were the sons of Nechaniah Daniel of Bridwater, Somerset. It has come to be accepted wisdom that all three were taught the art of miniature painting by their mother.

Although seemingly not signed this work bears many characteristics of Horace Hone’s hand £400-£600 42 λ ATTRIBUTED TO HENRY EDRIDGE Portrait miniature of a Gentleman, circa 1770 wearing a brown coat, with silver buttons and white waistcoat Watercolour on ivory Gold frame, with gold mount and blue glass border, the reverse glazed to reveal woven brown hair, topped by a curled lock of hair tied with seed pearls Oval, 44mm (2in) high £300-£500

Phineas, the least heard of, worked mainly in Bristol, Abraham (1750-1806) worked mainly in Bath and is generally referred to when one talks of ‘Daniel of Bath’. There appears to have been a keen rivalry between the brothers, all of whom referred to themselves as ‘Mr. Daniel’ (or Daniell). £400-£600

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43 λ GEORGE ENGLEHEART (BRITISH 1750/3-1829) Portrait miniature of a Gentleman, circa 1805 wearing black suit, white waistcoat and tied cravat, powdered hair and side whiskers Watercolour on ivory Gold fausse-montre frame Oval, 75mm (3in) high £1,500-£2,500

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44 λ GEORGE ENGLEHEART (BRITISH 1750/3-1829) Portrait miniature of Lady Barkly facing three-quarters to the right, wearing a white dress with frilled collar, earrings, with curled brown hair Signed with cursive E on the obverse Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal plaited hair Oval, 80mm (3in) high It is recorded that a Mrs. Barkly sat on the 7th of February 1810 and a Mr. Barkly on the 17th of February and that £31,10 was paid on the 24th of March for both. £1,500-£2,500

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45 λ GEORGE ENGLEHEART (BRITISH 1750/3-1829) Portrait miniature of a Gentleman, circa 1805 wearing dark brown coat with black collar, white waistcoat and white stock Watercolour on ivory Gold frame, the reverse with locks of brown hair within blue glass border Oval, 75mm (3in) high £800-£1,200

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46 λ FRANÇOIS FERRIERE (SWISS 1752-1839) Portrait miniature of a young Boy, wearing dark blue coat and tied white cravat Signed with initials FF on the obverse Watercolour on ivory Gold frame, the reverse glazed to reveal locks of blonde hair tied with seed pearls and gold wire on opalescent glass surrounded by pearls and white enamel within further plaited hair border Oval, 60mm (2 1/2in) high £1,000-£1,500

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47 λ RUSSIAN SCHOOL (circa 1815) A silver-gilt snuff box set with a pair of portrait miniatures of an Officer and his wife, he wearing dark blue uniform with silver buttons and lace; she wearing white wedding dress and a garland of pink roses entwined in her white lace cap Watercolour on ivory Set within the lid of a silver-gilt lined rectangular snuff box Ovals, 45mm (2in) high, each It is likely that this box was commissioned as a wedding gift for the couple £1,000-£1,500

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48 λ GABRIEL MONTAUT MONTAUT D’OLERON (FRENCH 1798-1852) Portrait miniature of a Lady wearing a green dress with miniature portrait suspended from a string of pearls around her neck. Her brown hair dressed with ringlets upswept into a bun, cloud background Signed Montaut pinx and dated 1820 on the obverse Watercolour on ivory Original gold mount with pierced scrolling border set with rose-cut diamonds in foiled closed back settings, the reverse glazed to reveal silk Circular, 52mm (2in) £800-£1,200

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49 λ CHARLES ROBERTSON (IRISH 1760-1821) Portrait miniature of a Lady, circa 1800 in white dress, her brown hair braided at the front and tied up in a bun at the back, painted Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal brown plaited hair Oval, 62mm (2 1/2in) high

52 λ RICHARD BULL (IRISH fl. 1777-1809) Portrait miniature of an unknown Gentleman, circa 1790, wearing a blue coat, yellow trimmed white waistcoat and frilled cravat Watercolour on ivory Gold brooch mounted frame with bright-cut edge Oval, 45mm (1 3/4in) high

As young as nine Robertson exhibited “Designs in Hair” at the Society of Artists in Dublin. By 1775 he was showing miniatures. His brother Walter was also a miniature painter. Between 1785 and 1792 he was in London where he exhibited at the Royal Academy.

Richard Bull was admitted to the Dublin Society’s School in 1769, and studied there under Ennis. In 1777 he exhibited “Portraits in Hair“ at the Society of Artists in William Street, and in 1780 “Miniatures in colour and hair”. In 1786 he was “at Mr. Edward Rice`s, 13 Capel Street”, where as we learn from an advertisement, he did “likenesses in miniature highly finished, at two guineas”. He moved to 91 Grafton Street, in 1790, and in the following year was at 43 College Green. Soon afterwards, not finding sufficient patronage in Dublin, he went to London and began to exhibit in the Royal Academy in 1794, when he contributed “a portrait of Kemble” and six anonymous portraits. He was then living in Shepherd street, Oxford Street, but next year moved to 101 Pall Mall, where he remained until 1806. Many of his sitters in London were Irish. The long individual eyelashes prominent in this miniature are typical of those found on many miniatures by Bull.

£600-£800 50 λ NATHANIEL PLIMER (BRITISH 1757-1822) Portrait miniature of a Gentleman, circa 1815 wearing a blue coat with gold buttons, white waistcoat and tied cravat, with long brown side whiskers Watercolour on ivory Gilt-mounted rectangular papier-mâché frame with outer gilded border Oval, 55mm (2 3/4in) high £500-£700 51 λ THOMAS HAZLEHURST (BRITISH circa 1740 - circa 1821) Portrait miniature of a Gentleman wearing a brown coat, white waistcoat and tied cravat Watercolour on ivory Gold fausse-montre frame Oval, 57mm ( 2 1/4in) high £400-£600

£200-£300 53 λ CHARLES ROBERTSON (IRISH 1760-1821) Portrait miniature of an unknown Gentleman wearing gold trimmed dark grey coat, and white waistcoat and stock, his powdered hair en queue Watercolour on ivory Gold bracelet clasp frame, with bright cut border Oval, 38mm (1 1/2in) high Charles Robertson was born in Dublin and came from a distinguished family of jewellers and miniaturists. He spent most of his career there, apart from a long period in London between 1785-1792 and a shorter stay in 1806. £300-£500 54 λ THOMAS HAZLEHURST (BRITISH circa 1740- circa 1821) Portrait miniature of an unknown Gentleman wearing a blue coat, white waistcoat and frilled white cravat, powdered hair Watercolour on ivory Gold frame with bright-cut border and broach mount Oval, 50mm (2in) high Hazlehurst was born in Liverpool and was a pupil of Joshua Reynolds. He exhibited at the Society for Promoting Painting and Design in Liverpool between 1760 and 1818 and at the Liverpool Academy between 1810 and 1812. He made over £20,000 from his paintings but invested badly and died in poverty. £400-£600

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55 λ GEORGE PLACE (IRISH d. 1805) Portrait miniature of a Gentleman wearing a brown coat, blue striped waistcoat and tied white cravat, his hair powdered and worn en queuewith brown side whiskers Watercolour on ivory Gold frame, the reverse glazed to reveal lock of brown hair tied with seed pearls on plaited brown hair Oval, 70mm (3in) high

58 λ CHARLES ROBERTSON (IRISH 1760-1821) Portrait Miniature of Walter Robertson, brother of the artist, wearing a brown coat, white waistcoat and tied stock powered hair en queue Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal woven blonde hair Oval, 45mm (2in) high

Place entered the Dublin Society`s Schools in December 1775 and studied there under F. R. West. After practicing for a time in Dublin he went to London and in 1791, when he was living at 37 Southampton Street, he sent a “Portrait of a Gentleman” to the Royal Academy. Next year he sent from 56 Poland Street ten miniatures, and he again exhibited in 1793 and 1797. In these years his address was 211 Piccadilly and 48 Great Malborough Street. After some years in London he went to York, and afterwards to India, where he appears to have followed his profession at Lucknow; but nothing is known of his career in the East. He died in India about 1809

Walter studied at the Dublin Society School of Figure Drawing which he entered in 1765. He established himself as a miniaturist in Dublin between 1768-1784 and was in London between 1784 and 1792. As a friend of the American painter Gilbert Stuart (1755-1828) he visited America in 1793. Stuart and Robertson took sittings together for patrons eager for a full-scale oil portrait, from Stuart, and a matching miniature from Robertson. The following year he was commissioned to paint a miniature of George Washington which was engraved several times. In 1795 he went to India where he died in 1802. There is a slightly larger miniature of Walter by Charles in the National Gallery of Ireland.

£400-£600

£1,000-£1,500

56 λ CHARLES ROBERTSON (IRISH 1760-1821) Portrait miniature Major, Later Lieutenant-Colonel Henry Erskine Knight of Pittodrie, Aberdeenshire, after the portrait by Sir Henry Raeburn. Wearing uniform of the 21st Royal North British Fusiliers, circa 1784-89. Watercolour on ivory Gold frame, the reverse with gold monogram JB on blue glass, surmounted with pearls in star formation, within plaited hair border Oval, 70mm (3in) high

59 λ MATHIAS FINUCANE (BRITISH 1738-1814) Portrait miniature of Lady wearing a white dress with frilled collar, a white bandeau entwined in her long curling hair Signed with the monogram MF on the obverse Watercolour on ivory Gold frame, the reverse glazed to reveal plaited hair within gold mount and blue glass border, old label erroneously inscribed portrait by / Maria Flaxman / unknown / sitter Oval, 65mm (2 1/2in) high

Henry Erskine Knight was a Major in the 21st Royal North British Fusiliers from 31 December 1784 until 4 May 1789, when he became Lt. Colonel in the 27th Inniskilling Regiment of Foot. The 21st were a lowland Scottish regiment. We are grateful to Christopher Bryant for his assistance in identifying the sitter in this lot. £1,000-£1,500 57 λ JOSEPH BOWRING (BRITISH circa 1760 - d. after 1817) Portrait miniature of a Lady wearing a white dress with frilled edge, trimmed with blue ribbon, a string of pearls and a large white plume in her powdered hair Watercolour on ivory Signed with monogram JB on the obverse Gold frame Oval, 60mm (2 1/2in) high

£300-£500 60 λ IRISH SCHOOL Portrait of a Gentleman, circa 1770 wearing a red coat with green waistcoat and tied white stock, powdered hair en queue Watercolour on ivory Gold frame, the reverse with central glazed aperture to reveal gold monogram GJ, below platted brown hair Oval, 39mm (1 1/2in) high £100-£150

£300-£500

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61 λ THOMAS RICHMOND (BRITISH 1771-1837) Portrait miniature of a young Gentleman, circa 1810, wearing dark blue coat, white waistcoat, tied white cravat and frilled chemise Watercolour on ivory Gold frame, the reverse glazed to reveal curled locks of blonde hair, decorated with gold wire and seed pearls, on opalescent glass Oval, 70mm (2 3/4in) high Richmond’s father was ‘groom of the stables’ to the Duke of Gloucester, and afterwards the proprietor of the Coach and Horses at Kew, where the artist was born in 1771. His mother, Ann Bone, was a cousin of George Engleheart, ‘a miniature-painter to the king’. He became Engleheart’s pupil, and was employed by the royal family in copying miniatures by his master and Richard Cosway. He also copied in miniature size many of the portraits by Sir Joshua Reynolds in the Royal Collection. £600-£800 62 λ GEORGE CHINNERY (BRITISH 1774-1852) Portrait miniature of an unknown Gentleman, circa 1800, wearing black coat with gold buttons, striped waistcoat and knotted cravat Watercolour on ivory Gold frame, with blue glass reverse Oval, 70mm (3in) high Provenance: Robert Bayne Powell Chinnery rarely signed his work. This miniature displays two characteristic features of his miniature painting style: the deep blue background and the painting of the sitter’s lower lip. The lip slightly protudes and is painted in red

63 λ GEORGE CHINNERY (BRITISH 1774-1852) Portrait miniature of an unknown Gentleman, circa 1802 wearing black suit, white waistcoat and tied cravat Watercolour on ivory Gilt-mounted rectangular black papier-mâché frame Oval, 70mm (2 3/4in) high Provenance: Robert Bayne Powell Collection Chinnery was born in London and exhibited at the Royal Academy. He moved to Ireland in 1796, where he enjoyed some success as an artist, and married Marianne (nee Vigne) on the 19th April, 1799 in Dublin. Chinnery returned to London in 1801 without his wife and two infant children. In 1802 he sailed to Madras (Chennai) on the ship Gilwell. He established himself as a painter there and then in Calcutta where he became the leading artist of the British community in India. £800-£1,200 64 λ THOMAS RICHMOND (BRITISH 1771-1837) Portrait miniature of a young boy, circa 1810 wearing a blue jacket with white buttons, frilled lace collar and white cummerbund Watercolour on ivory Gold frame, the reverse glazed to reveal locks of hair tied with gold wire within gold mount and blue glass border Oval, 70mm (3in) high Richmond’s father was ‘groom of the stables’ to the Duke of Gloucester, and afterwards the proprietor of the Coach and Horses at Kew, where the artist was born in 1771. His mother, Ann Bone, was a cousin of George Engleheart, ‘miniature-painter to the king’.

£600-£800 Thomas became Engleheart’s pupil, and was employed by the royal family in copying miniatures by his teacher and by Richard Cosway. He also copied in miniature size many of the portraits by Sir Joshua Reynolds in the Royal Collection. His original and unsigned miniatures are numerous. £600-£800 65 λ HENRY JACOB BURCH (BRITISH b. 1763) Portrait miniature of a young Child, circa 1810, wearing a white dress trimmed with yellow waistband, sky background Watercolour on ivory Gold frame, the reverse glazed to reveal gold monogram ACJ on opalescent glass within a border of blond plaited hair Oval, 64mm (2 1/2in) high £800-£1,200

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66 RICHARD BULL (IRISH fl. 1777-1809) A double sided portrait miniature of an unknown Gentleman and his Son, the father with white hair and large bushy black eyebrows, the son with short brown hair and side whiskers The former signed with initials RB on the obverse and indistinctly dated 17 ? Set either side of a gold mount Oval, 70mm (3in) high

69 λ JOHN COMERFORD (IRISH circa 1770-1832) Portrait of unknown Lady painted circa 1810 wearing a cream coloured dress with lace border and puff sleeves with unswept brown hair set in curls Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal red silk Oval, 18mm (3in) high £300-£500

Bull entered the Dublin Society School in 1769. He exhibited miniature portraits and portraits done in hair at the Society of Artists in Ireland exhibitions in 1777 and 1780. In 1790 he went to London where he continued to have fashionable clientele. Amongst his patrons were George Prince of Wales, Frederick Duke of York and Lord Nelson £500-£700 67 λ SAMPSON TOWGOOD ROCHE (IRISH 1759-1847) Portrait miniature of a Gentleman called Wilbraham, Keeper of Records in Dublin, circa 1790 wearing a blue coat and white chemise with frilled cravat Watercolour on ivory Gold mount, the reverse glazed to reveal ivory silk and an old contemporary hand written label inscribed Wilbraham, Keeper of Dublin papers as a young man Oval, 60mm (2 1/4in) high £300-£500 68 λ IRISH SCHOOL (circa 1790) Portrait miniature of an unknown Gentleman, circa 1790, wearing a black coat, white waistcoat and tied white cravat Watercolour on ivory Set in the original gilt-metal frame, the reverse glazed to reveal gold silk Oval, 70mm (3in) high Although this miniature appears to be painted by an accomplished artist it has not been possible to identify the hand

70 λ SAMPSON TOWGOOD ROCH (IRISH 1759-1847) Portrait miniature of Adam Douglas, wearing black coat and waistcoat, white shirt and frilled white cravat Signed on the obverse, TRoch and dated 1789 Watercolour on ivory Gold frame with fine plaited hair border bearing monogram AD and the number 44 in gold, engraved around the rim, Adam Douglas. No. 5 Clare Street 1789, the reverse glazed to reveal the sitter’s monogram AD and the number 41 in gold on a fine plaited hair border around a central plaited hair aperture Oval, 70mm (2 3/4in) high Sampson Towgood Roch, the son of William and Mary Roch of Youghal, in County Cork, was born deaf. It is unknown with whom he studied; he may have been self-taught. By 1779 he had established himself in Dublin, and in the years following is known to have worked in England. Beginning in 1786 he lived in Cork; while there he married a distant cousin. In 1789 the couple moved to Bath, where his practice flourished. Roch returned to the family home in County Waterford in 1822; where he died in 1847 £800-£1,200 71 λ JOHN COMERFORD (IRISH circa 1770-1832) Portrait miniature of a Gentleman, possibly Sir David Wilkie, R.A. (1785- 1841), wearing a blue coat with tied stock and frilled cravat Watercolour on ivory Gold frame the reverse glazed to reveal blue silk Oval, 58mm (2 1/2in) high

£200-£300 Wilkie was born in Scotland and was a highly successful genre painter. He was influenced by the writings of Maria Edgeworth (1767-1848). Comerford acquired his early artistic skills by copying paintings in Kilkenny Castle, Carrickon-Suir and other towns in the south-east. For some years he worked as an oil portrait painter in Kilkenny, Waterford, Carrick-on-Suir and other nearby places. Comerford was soon dividing his time between Dublin and Kilkenny. Comerford’s style was influenced by a meeting in 1799 with the English artist George Chinnery (1774-1852), who was working in Dublin from 1795 to 1802. Comerford, who became a close life-long friend of Chinnery, adopted a variation on the English artist`s style of miniature painting, and with his encouragement he abandoned oil portraits to concentrate for the rest of his career on miniatures. £300-£500

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72 λ WILLIAM JOHN THOMPSON R.S.A (BRITISH 1771/3-1845) Portrait miniature of Mary Blair, wife of Sir John Singer, wearing a black dress with white lace fichu, fur trimmed black shawl and white bonnet Watercolour on ivory Gold frame set in red leather travelling case with old label inscribed Mary Blair wife of Sir John Singer Oval, 75mm (3in) high Thompson was born in Savannah and then went to England where he exhibited at the Royal Academy from 1796 to 1812. He later moved to Scotland where he was made an Academician of the Royal Scottish Academy in 1829. £400-£600 73 λ JOHN COMERFORD (IRISH circa 1770-1832) A pair of portrait miniatures of an unknown Gentleman and his Wife, circa 1799. He wears a dark coat and white chemise, she wears a low cut white dress with jewel brooch at her corsage and tortoiseshell comb in her upswept hair Watercolour on ivory Set in their original gold frames, the reverse of the lady portrait with elaborate arrangement of the sitter`s hair in the shape of sheaves of wheat with gold filigree ears of wheat and seed pearls; the reverse of the gentleman glazed to reveal a lock of brown hair on brown silk Ovals, 70mm (3in) high each (2) £1,000-£1,500

74 λ SAMPSON TOWGOOD ROCH (IRISH 1759-1847) Portrait miniature of a Gentleman, three quarter length coat with his right hand tucked into his waistcoat Signed and dated Roch/1788 on the obverse Watercolour on ivory Gold frame with bright-cut border, the reverse glazed to reveal locks of hair arranged in the form of sheaves of wheat with gold filigree and seed pearls Oval, 75mm (3in) high £800-£1,200 75 λ JOHN COMERFORD (IRISH circa 1770-1832) A pair of portrait miniatures of an unknown Lady and her Husband, circa 1805. She wears low cut dress with frilled lace collar and red shawl; he in blue coat, white waistcoat and tied white cravat Watercolour on ivory Gilt-metal frames Ovals, 75mm (3in) high, each (2) £500-£700 76 λ GEORGE PLACE (IRISH d. 1805) Portrait miniature of an unknown Gentleman, circa 1795 wearing dark brown coat, white waistcoat, frilled chemise, stock and knotted white cravat, powdered hair Watercolour on ivory Gilt-metal frame, the reverse glazed to reveal gold monogram JB on plaited hair Oval, 70mm (3in) high £600-£800

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77 λ JOHN COMERFORD (IRISH 1770-1832) Portrait miniature of Philip Yorke, 3rd Earl of Hardwicke (1757-1834) in robes and insignia of the Order of the Garter, painted 1804 Watercolour on ivory Set in the original ormolu frame with laurel and berry border and inner mount Rectangular, 10mm (4in) high The Earl of Hardwicke was Lord Lieutenant of Ireland during the years 1801-06. In 1803 he was nominated to the Order of the Garter. Hardwicke was a supporter of Catholic Emancipation. This miniature was described by the Dublin Evening Post on 11th May 1804 as “one of the most exquisite productions”. Lord Hardwicke married Lady Elizabeth, daughter of James Lindsay, 5th Earl of Balcarres, in 1782. They had two sons and four daughters. His elder son, Phillip Yorke, Viscount Royston, was Member of Parliament for Reigate but was lost at sea off Lubeck in 1808. His younger son, Charles James Yorke, Viscount Royston (1797-1810), died as a child. Lord Hardwicke died in November 1834, aged 77. £2,500-£3,500

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78 λ JOHN COMERFORD (BRITISH 1770-1831) Portrait miniature a Gentleman, circa 1800 seated in a red upholstered chair wearing a dark blue suit Watercolour on ivory Original ormolu frame with laurel and berry border Rectangle 108mm (4 1/2in) high £800-£1,200

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79 λ JOHN COMERFORD (IRISH 1773-1832) Portrait miniature of Edward Smyth (1749-1812), architect, circa 1800 seated at his desk holding a pair of callipers Signed Comerford, lower right corner and indistinctly inscribe in the lower left hand corner on the obverse Watercolour on ivory Gilt-brass frame with running husk and berry decoration Rectangular 115mm (4 1/2in) high A drawing of Smyth by Comerford was engraved in stipple by Henry Hoppner Meyer (1783-1847), the head on Woodhouse’s medal to Smyth was taken from this drawing by Comerford. Smyth worked with the architect James Gandon on most of his major projects, including the Four Courts, the House of Lords and the King’s Inns in Dublin, and was also employed by the architect Francis Johnson, carving the heads on the exterior of Johnson’s Chapel Royal in Dublin Castle until his death in 1812. Smyth was the first Master of the Dublin Society School of Modelling and Sculpture. Comerford was a sociable and outgoing person, and he numbered among his friends many contemporary, distinguished artists including: professor Thomas James Mulvany (1779-1845), who was influential in obtaining the charter for the Royal Hibernian Academy and became one of the first academicians; the Italian landscape artist Gaspare Gabrielli, who worked in Ireland; Vincent Waldre (1742-1814), also an Italian landscape artist; James Gandon (1742-1823), the leading architect of the day in Dublin; the sculptor Smyth (1749 -1812); the first President of the Royal Hibernian Academy, William Ashford (1746-1824); and the Waterford-born landscape artist, Thomas Sautelle Roberts (1760-1826). £2,500-£3,500

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80 80 λ JOHN COMERFORD (IRISH circa 1770-1832) Portrait miniature of a Gentleman wearing a dark brown coat, white waistcoat and tied cravat, painted circa 1815 Watercolour on ivory Gilt-metal mount, with the original red leather case Oval, 70mm (2 3/4in) high

81 81 λ JOHN COMERFORD (IRISH 1770-1831) Portrait miniature of a Gentleman, circa 1800 wearing a black coat and waistcoat, white shirt and tied cravat Indistinctly signed and dated 1805 on the obverse Watercolour on ivory Original black papier-mâché frame with verre eglomise border Oval, 55mm (2 3/4in)

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82 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of a young Lady wearing a low cut white dress, her brown curling hair adorned with strands of pearls Watercolour on ivory Gold frame, the reverse glazed to reveal plaited brown hair Oval, 76mm (3in) high

85 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of an attractive young Lady with long brown hair wearing a fawn coloured dress with white underslip, a matching bonnet over a white lace cap Watercolour on ivory Gold frame, the reverse glazed to reveal varicolored plaited blonde hair Oval, 56mm (2 1/4in) high

This is an elegant example by the well known miniaturist Andrew Plimer whose brother Nathaniel also painted miniatures.

£800-£1,200

£1,200-£1,800 83 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of an unknown Gentleman, wearing brown coat, white waistcoat and frilled cravat, his powdered hair worn en queue Signed with the initials AP and dated 1786 on the obverse Watercolour on ivory Set in later 9ct gold frame Birmingham 1950 Oval, 40mm (13/4in) This miniature falls into Plimer’s early works, which up to circa 1789 were signed and dated, after that time he ceased to sign or date £300-£500 84 λ WILLIAM WOOD (BRITISH 1769-1810) Portrait miniature of a Gentleman, circa 1800 wearing a blue coat, white waistcoat with powdered hair and side whiskers Gold frame set into a velvet mount Watercolour on ivory Oval, 80mm (3in) high £1,200-£1,800

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86 λ MANNER OF ANDREW PLIMER (circa 1780) Portrait miniature of a Lady, in the manner of Andrew Plimer, wearing a white dress with frilled collar, pearls on her shoulder and entwined in her powdered hair, painted circa 1780 Watercolour on ivory Original gold brooch mounted navette shaped frame set with seed pearl border Oval, 25mm (1in) high £250-£350 87 λ ATTRIBUTED TO WILLIAM WOOD (BRITISH 1769-1810) Portrait miniature of a Gentleman, circa 1790 wearing blue coat, white waistcoat and white stock Watercolour on ivory Gold frame with plaited hair border, the reverse glazed to reveal two toned locks of hair entwined in sheaf and corn formation on opalescent glass within gold mount and blue glass border Oval, 63mm (2 1/2in) high The hair motif on the reverse is most unusual, but it would suggest the bonding of two people - a token of marriage. £400-£600

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88 λ WILLIAM ARMFIELD HOBDAY (BRITISH 1771-1831) Portrait miniature of a Gentleman, circa 1790 wearing a dark green coat, white stock, his powdered hair en queue Watercolour on ivory Gold frame Oval, 70mm high (3in) Hobday was an English portrait painter and miniaturist whose clientele included royalty and the Rothschild family. He was born in Birmingham, the eldest of four sons of Samuel Hobday (1746-1816), a rich Birmingham spoon manufacturer. Showing a capacity for drawing, he was sent to London when still a boy, and articled to an engraver named William Barney, with whom he remained for six years, studying at the same time in the Royal Academy schools. He then established himself in Charles Street, near the Middlesex Hospital, as a painter of miniatures and watercolour portraits, and commenced to exhibit at the Royal Academy in 1794. He was fortunate in soon securing fashionable clientele.

91 λ HENRY BURCH (BRITISH 1763-1834) Portrait miniature of Rev’d William Douglas, circa 1819 wearing black coat and waistcoat, white stock and frilled cravat Watercolour on ivory Original locket miniature, front and back, presented in gilt-mounted rectangular papier-mâché frame, the reverse with locks of hair tied with gold wire and seed pearls and the word Souvenir in gold on opalescent glass Oval, 70mm (2 3/4in) high An extract from the Salisbury and Wiltshire journal dated 22nd March 1819, pasted to the reverse of the frame, states that William’s “well known eloquence and energy as a preacher, proved his conviction of the truth and importance of the doctrines that he delivered”. William, the son of Dr. Douglas, Bishop of Salisbury, was chancellor of the diocese of Westminster, Canon residentiary of that Cathedral and Vicar of Gillingham. £600-£800

In 1804 he left London for Bristol, where for some years he was largely employed in painting the portraits of officers embarking for the Peninsular War. Though Hobday earned large sums, he continued to be extravagant and in financial difficulties. In 1817, after the war ended, he returned to the capital, and took a large house in Broad Street, hoping to renew his earlier artistic and social connections. In this he was disappointed even though patronized by N.M. Rothschild.

92 λ GEORGE PLACE (IRISH d.1805) An unknown Lady wearing white dress, her curly hair flowing over her shoulders, painted circa 1800 Watercolour on ivory Original gilt-mounted rectangular black papier-mache frame Oval, 67mm high (2 3/4in)

£600-£800

After some years in London he went to York, and afterwards to India, where he appears to have followed his profession at Lucknow.

89 λ MRS ANNE MEE née FOLDSTONE (BRITISH circa 1770-1851) Portrait miniature of a Lady, circa 1805 wearing white dress and pearl necklace Watercolour on ivory Set in the lid of a box with gold mount Oval, 72mm (3in) high Provenance: Sotheby’s, 7 November 1996, lot 240; Comerford Collection £800-£1,200 90 λ WILLIAM WOOD (BRITISH 1769-1810) Portrait miniature of a Gentleman, circa 1795 wearing a blue coat, white waistcoat and red vest, a large white tied cravat Watercolour on ivory Original gold frame with plaited hair border, the reverse glazed to reveal varicoloured locks of hair formed as wheatsheaf tied with seed pearls within gold mount and blue glass border Oval, 64mm (2 3/4in) high

£400-£600 93 λ GEORGE PLACE (IRISH d. 1805) Portrait of an unknown Gentleman, circa 1795 with powdered hair, wearing a brown coat, yellow waistcoat and white stock Watercolour on ivory Gilt-metal frame Oval, 69mm (2 3/4in) high Place entered the Dublin Society`s Schools in December 1775 and studied there under F. R. West. After practicing for a time in Dublin he went to London and in 1791, when he was living at 37 Southampton Street, he sent a “Portrait of a Gentleman” to the Royal Academy. Next year he sent from 56 Poland Street ten miniatures, and he again exhibited in 1793 and 1797. In these years his address was 211 Piccadilly and 48 Great Marlborough Street. After some years in London he went to York, and afterwards to India, where he appears to have followed his profession at Lucknow; but nothing is known of his career in the East. He died in India about 1809. £400-£600

Suffolk born, Wood entered the Royal Academy schools to begin his formal training in 1785 at the age of sixteen. Little is known about his apprenticeship years but he was quickly established in the profession of miniature painting. It is possible that he is the ‘William Wood’ exhibiting at the Royal Academy as early as 1788 and was a regular exhibitor throughout his career. He strove to improve the status of portrait miniatures and watercolour portraits and to have such works recognized as ‘high art’. In 1807, for example, he was a founder member of the ‘New Society of Painters in Miniature and Watercolour’. This society was established to rival the watercolour exhibiting societies, which were dominated by landscape artists. £1,000-£1,500

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94 λ WILLIAM THICKE (BRITISH 1787-1814) Portrait miniature of a young Lady, circa 1800 wearing a white dress and fichu, coral bead necklace and white bandeau in her curling brown hair Watercolour on ivory Gilt-metal frame with bright-cut border, the reverse with blue glass Oval, 60mm (2 1/4in) high Thicke lived in 18 Duke Street, Portland place and exhibited miniatures at the Royal Academy between 1787 and 1814. £500-£700

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95 λ SAMPSON TOWGOOD ROCHE (IRISH 1759-1847) Portrait miniature of a Gentleman, circa 1790 wearing a brown coat, white waistcoat and frilled cravat Watercolour on ivory Gold frame with gold mount and blue glass border, the reverse with pearl monogram JY Oval, 53mm (2 1/4in) high £500-£700 96 λ CHARLES HAYTER (BRITISH 1761-1835) Portrait miniature of a Gentleman, circa 1801 wearing a dark blue coat with black collar and gold buttons, white waistcoat and tied cravat Watercolor on ivory Gold frame, the reverse glazed to reveal locks of hair tied with seed pearls in elaborate design on opalescent glass Oval, 76mm (3in) high £600-£800 97 λ SAMPSON TOWGOOD ROCHE (IRISH 1759-1847) A Gentleman called Thomas Vigor, circa 1770 wearing a blue coat, white waistcoat and tied cravat, powdered hair Watercolour on ivory Gold frame with locks of blonde hair within the gold mounted border, the reverse with gold monogram TV on plaited hair Oval, 38mm (1 1/2in) high

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£400-£600 98 λ CHARLES JAGGER (BRITISH 1770-1827) Portrait miniature of a Gentleman wearing a dark suit, white waistcoat and tied white cravat Signed Jagger on the obverse Gold frame, the reverse glazed to reveal brown paited hair Oval, 74mm (3in) high £400-£600 99 λ CHARLES JAGGER (BRITISH 1770-1827) Portrait miniature of a Lady called Elizabeth Jopling, nee Bradley, wearing white dress and matching bonnet Signed Jagger on the obverse Watercolour on ivory Gold pierced scrolling frame Oval, 65mm (2 1/2in) high Provenance: Bonhams, 19th June 1996 £300-£500

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100 λ GIDEON SLOUS (BRITISH 1791-1852) Portrait miniature of a young Gentleman, circa 1800 wearing a greencoat, yellow waistcoat and tied white cravat with short brown hair Watercolour on ivory Gold fausse-montre frame, the reverse with blue glass Oval, 65mm (2 1/2in) high Provenance: The late Robert Bayne-Powell, purchased 20th June 1979; Sotheby’s Robert Bayne-Powell Collection, 11th October 1994, lot 93; Bonhams, 23rd November, 2005, lot 125 £400-£600 101 λ PETER PAILLOU JUNIOR (BRITISH 1757-1831) Portrait miniature of a Gentleman wearing an olive green coat, yellow and brown striped waistcoat, frilled chemise with jewelled pin and tied white cravat Signed and dated P. Paillou 1813 on the obverse Watercolour on ivory Gold frame, the reverse glazed to reveal an entwined W in gold on interwoven locks of hair Oval, 70mm (2 3/4in) high

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£600-£800 102 λ ATTRIBUTED TO CHARLES ROBERTSON (IRISH 1760-1821) Portrait miniature of an unknown Gentleman wearing a blue coat, white waistcoat with jeweled stock pin and tied cravat Watercolour on ivory Gold frame, the reverse glazed to reveal a minute seed pearl monogram DD on crescent shaped blue enamel surrounded with further seed pearls, locks of hair tied with seed pearls and gold wire on opalescent glass Oval, 65mm (2 3/4in) high £400-£600 103 λ PETER PAILLOU, JUNIOR (BRITISH circa1757 d. AFTER 1831) Portrait miniature of a Gentleman, circa 1805, wearing a black coat, white waistcoat with spotted vest and frilled cravat, colourful sky background Signed and dated P. Paillou1805 on the obverse Watercolour on ivory Gold frame Oval, 67mm (2 3/4in) high £600-£800 104 λ JOSEPH SAUNDERS (BRITISH 1772-1811) Portrait miniature of a Gentleman, circa 1800 wearing a brown coat and tied white cravat, sky background Signed with initials JS on the obverse Watercolour on ivory Gold frame Oval, 75mm (2 3/4in) high £300-£500 105 λ ALEXANDER GALLAWAY (SCOTTISH 1794-1812) Portrait miniature of a young Gentleman, circa 1815, wearing a blue coat, white waistcoat and tied cravat, against sky background Watercolour on ivory Gold frame with seed pearl border and hanger, the reverse glazed to reveal locks of hair, tied with seed pearls and gold wire on opalescent glass Oval, 67mm (2 3/4in) high £800-£1,200

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106 λ ENGLISH SCHOOL (circa 1785) Portrait miniature of an Officer, circa 1785 wearing scarlet uniform with yellow facings, frilled cravat and black stock, a black tricorn hat, cloud and sky background Watercolour on ivory Gold frame, the reverse with seed pearl monogram PJW on blue glass medallion surrounded by further seed pearls, locks of brown hair tied with seed pearls and gold wire on opalescent glass Watercolour on ivory Oval, 70mm (3in) high £600-£800

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107 λ IRISH SCHOOL (circa 1800) A double sided portrait miniature of an Officer and his Wife, circa 1800. He wears a scarlet uniform with yellow facings, silver buttons and silver epaulettes; she wears a white dress with blue ribbon Watercolour on ivory Set in the original gold frame with plaited hair borders on each side Oval, 45mm (2in) high each £500-£700 108 λ IRISH SCHOOL (circa 1790) Portrait miniature of an unknown officer, wearing a red uniform with buff coloured facings, silver epaulette and black stock, powdered hair en queue Watercolour on ivory Gold navette shaped frame with beaded border, the reverse with blue glass within bright cut border Oval, 50mm (2in) high £400-£600 109 λ ENGLISH SCHOOL (circa 1810) Portrait miniature of an Infantry Officer wearing red uniform with yellow trimmed black facings, the initials JV on the belt plate, black stock and white lace cravat Watercolour on ivory Gold frame, the reverse with blue glass Oval, 70mm (3in) high

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109 £300-£500 110 λ BRITISH SCHOOL (circa 1790) Portrait miniature of an Infantry Officer, circa 1790 wearing a red uniform with buff coloured facings, silver epaulettes and white cross belt, his powdered hair en queue Watercolour on ivory gold frame, the reverse glazed to reveal lock of brown hair tied with gold thread in the form of a ribbon on purple glass Oval, 73mm (3in) high £200-£300 111 λ ENGLISH SCHOOL (circa 1790) Portrait miniature of an unidentified Officer wearing blue uniform with red facings and silver lace in pairs, gold epaulettes and black stock Watercolour on ivory Gold frame, the reverse glazed to reveal woven fair hair Oval, 64mm (2 3/4in) high £150-£250

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112 λ FREDERICK BUCK (IRISH 1771-1839/1840) Portrait miniature of a Gentleman circa 1790, wearing a blue coat, white waistcoat and tied cravat, painted with powdered hair and side burns Watercolour on ivory Gold frame, the reverse glazed to reveal platted brown hair Oval, 60mm (2 1/2in) high £400-£600 113 λ JOHN JUKES (BRITISH 1772-1851) Portrait miniature of a Gentleman wearing a black coat, white waistcoat and frilled cravat Signed, inscribed and dated on the reverse Painted by/J. Jukes London/1801 Watercolour on ivory Gold frame, the reverse glazed to reveal original artist’s inscription Oval, 78mm (3in) high

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£300-£500 114 λ CHARLES HARDY (BRITISH 1809-1810) Portrait miniature of a Gentleman wearing a dark brown coat with a black collar, white waistcoat and tied cravat Watercolour on ivory Gold frame, the reverse with blue glass and photocopied label with signature C Hardy 1806 / Norton St. Oval, 70mm (2 3/4in) high £200-£300 115 λ WALTER STEPHENS LETHBRIDGE (BRITISH 17721831) Portrait miniature of a Midshipman, circa 1800 wearing a blue uniform with gold buttons, cliffs and seascape in background Signed on the reverse Number 96 Strand/ London Watercolour on ivory Gilt-mounted rectangular black papier-mache frame Oval, 75mm (3in) high

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£400-£600 116 λ ENGLISH SCHOOL (circa 1805) Portrait miniature of a Gentleman, circa 1805 wearing black coat, white frilled chemise, stock and tie Watercolour on ivory Oval, 75mm (3in) high £100-£150 117 λ WALTER ROBERTSON (IRISH d. 1801) Portrait miniature of a young Gentleman wearing dark blue coat, buff coloured waistcoat and tied white cravat Watercolour on ivory Gold frame with bright-cut edge within plaited hair border secured with gold buckle at the base of the portrait; the reverse with gold monogram JMP on plaited hair studded with gold stars set within bright cut-mount blue glass and further gold bright cut border Oval, 72mm high (3in) 116

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118 HENRY BONE R.A. (BRITISH 1755-1834) Portrait miniature of Caroline Anne East (b.1772) with her brother Henry, after John Russell Signed H Bone on the obverse and indistinctly inscribed and dated 1830 on the counter-enamel Caroline Anne East eldest daughter of George Vansittart esq M.P. and Henry his youngest son (now rear Admiral) taken from a picture at Bisham Abbey in which a brother (Frederick) is represented petting... Enamel Gilt-metal mount and frame Rectangular, 120mm (4 3/4in) high Provenance: Bonhams, 24th November 1999 Caroline was the eldest daughter of George Vansittart. She married Augustus Henry East in 1792 aged 20. Henry East became a Rear Admiral. Bone was appointed Royal Enamelist to King George III, George IV and William IV. He exhibited regularly at the Royal Academy. He produced a number of enamel copies of the work of the great Renaissance and Baroque masters. He was able to sell many of these works, since such subjects were popular in the early nineteenth century. He also continued to receive a steady number of commissions from the Prince of Wales and several other aristocratic patrons for enamel miniatures. No other enamel artist of the time could produce such large, high quality works. Bone came to be known as the “Prince of Enamelers”, as his enamel work has seldom been equaled. £2,000-£3,000 118

119 ENGLISH SCHOOL (circa 1840) A portrait study of a young girl, head and shoulders Pencil, heightened with watercolour on wove paper Gilt-metal frame, the reverse with central glazed aperture to reveal ivory silk Oval, 75mm (2 3/4in) high £200-£300

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120 λ JOHN COX DILLMAN ENGLEHEART (BRITISH 1782/4-1862) Portrait miniature of a Gentleman wearing spectacles and a dark coat Signed J Dillman Engleheart / Pinxit 1827 / London on the reverse Watercolour on ivory (cracked) Gilt mounted rectangular papier-mâché frame Rectangular, 63mm (3 1/4in) high £200-£300

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121 WILLIAM BISHOP FORD (BRITISH 1832-1922) Portrait miniature of Sir Walter Scott, Bart. (1771-1832), after the portrait by Sir Henry Raeburn of 1822, wearing a green coat, yellow waistcoat and black stock Signed and dated 1881 on the reverse Enamel on copper Set in the original rectangular fine chased ormolu frame within outer glazed wooden frame with velvet mount Oval, 55mm (2 1/4in) high Provenance: Christie’s, 26 November 1986; Comerford Collection William Bishop Ford was a specialist painter of miniature enamels, he was a pupil and assistant of William Essex, working and exhibiting prolifically in London. Scott was a Scottish historical novelist, playwright, poet and historian. Many of his works remain classics of both English language literature and of Scottish literature. Famous titles include Ivanhoe, Rob Roy, Old Mortality, The Lady of the Lake, Waverly, The Heart of Midlothian and The Bride of Lammermoor. Scott was an advocate, judge and legal administrator by profession, and throughout his career combined his writing and editing work with his daily occupation as Clerk of Session and Sheriff-Depute of Selkirkshire. £500-£700

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The Property of a Gentleman 122 λ LAURENCE HILLIARD (BRITISH 1581/2-1647/8) Portrait miniature of a nobleman, circa 1605, wearing black doublet and white ruff, blue background with gold border Gouache on vellum Set into the lid of an ivory box 50mm (2in) high Provenance: Edain Bucher It has not been possible to identify the sitter in this delicate portrait but he was clearly a nobleman connected with the court, which is made apparent by the black doublet which he is wearing. Black was an expensive cloth to produce and usually only worn by the very wealthiest of people. 122

Laurence began his apprenticeship circa 1597 and completed it in 1605. He worked for James I and Queen Anne of Denmark and inherited his father’s appointment as limner to James I. Some of Laurence’s miniatures, as evident here, show the blue background which are reminiscent of his father, Nicholas’s work. £4,000-£6,000 123 MATTHEW SNELLING (BRITISH 1621-1678) Portrait miniature of a Lady, circa 1646, wearing a brown dress with white underlap, a large jewelled drop pearl suspended from black ribbon at her corsage, pearl necklace, earrings and strand of pearls in her hair Gouache on vellum Gold frame with pierced spiral cresting Oval, 60mm (2 1/2in) high Provenance: Limner Antiques 1 December, 1976; Private Collection Snelling worked as a limner for over 20 years. His style appears to have been an influence on the miniature painter Thomas Flatman. The present portrait is a particularly fine example of Snelling’s work and this is highlighted in the depiction of the sitter’s golden silk dress. £1,500-£2,500

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124 NICHOLAS (NATHANIEL) DIXON (BRITISH circa 1660-1708) Portrait miniature of Sir Henry Blount (1602-1682) painted circa 1660 Signed with monogram on the obverse Gouache on vellum Gilt-metal frame, the reverse engraved erroneously with the name Judge Jeffreys and the monogram ND and date 1678 Oval, 69mm (2 3/4in) high Provenance: Lord Beauchamp, Madresfield; Heckett Collection; Sotheby’s, April 1978, lot 501; Richard Allen, 2003 Exhibited: L’Exposition de la miniature a Bruxelles en 1912, 1913, p.25 Literature: G.C. Williamson, History of Portrait Miniatures, 1904, vol. I, pl. LIII, fig. 5 G. Reynolds, English Portrait Miniatures, 1988, p.81 Sir Henry traveled widely on the Continent and in Egypt, he was knighted in 1640. He sided with the Royalists in the Civil War. His Voyage to the Levant, an account of an 11 month journey, of six thousand miles, went though eight editions in English between 1636 and 1671. £2,000-£3,000

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125 JEAN PETITOT the Younger (SWISS 1653-1699) Portrait miniature of a member of the Cavendish family painted circa 1680 Enamel on copper Gold frame, the reverse with enamel cypher of the Cavendish family Oval, 30mm high Provenance: Cavendish Family; D.S. Lavender £800-£1,200

126 CHRISTIAN FRIEDRICH ZINCKE (GERMAN 1683/4-1767) Portrait miniature of a lady wearing décolleté pink dress with white underslip Enamel Original gold mount Oval, 44mm (1 3/4in) high

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Provenance: Bonhams, London, 30th October 2001, lot 364 This is a particularly attractive example of the German born enameller who, in 1706 came to London to work at Charles Boit’s studio. When Boit left for France eight years later, Zincke inherited many of his fashionable clients. He went on to become the most successful enamel painter of his era. £1,000-£1,500

127 GAETANO MANINI (ITALIAN circa 1730-1780) An enamel portrait miniature of Frederick Louis Prince of Wales (1707-51) painted circa 1741 Enamel Gilt-metal mount Oval, 38 mm (1 1/2 in) high

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Literature: Richard Walker Miniatures, A Selection of Miniatures in the Ashmolean Museum, 1997, p.34. no. 34 Manini was a Milanese history painter who worked in England from 1755. He exhibited in London 1761-75. This enamel compares well with a signed and dated enamel of the Prince of Wales in the Ashmolean Museum, Oxford (cf. Richard Walker Miniatures, A Selection of Miniatures in the Ashmolean Museum, 1997, p.34. no. 34). The Ashmolean example is dated and is thought to derive from Thomas Frye's portrait of the Prince painted circa 1741 for the Guild of Saddlers. The Royal Collection contains two enamels by Manini, one showing the Prince in profile alone, the other showing the Prince and his wife Augusta, in profile facing one another. Frederick was a lover of the Arts, patronising a number of artists, composers and architects. Quickly accumulating large debts, Frederick relied for an income on his wealthy friend, George Dubb Dodington. £800-£1,200

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128 λ GEORGE ENGLEHEART (ENGLISH 1750/3-1829) Portrait miniature of W.Williams, a button maker, circa 1781, wearing light brown coat, pale blue waistcoat and frilled chemise and white stock, his hair powdered and worn en queue Watercolour on on ivory Gilt-metal frame, the reverse with old label inscribed My dear wife’s/ grandfather/ W.Williams. G.R Oval, 39mm (1 3/4in) high Provenance: George Richmond, R.A, given to his son Thomas Knyvett Richmond, by descent to George Richmond’s great-great granddaughter. Literature: Victoria & Albert Museum exhibition catalogue, Exhibition of Miniatures by George Engleheart etc., 1929, no. 7 Mr. Williams was clearly a wealthy individual having had his portrait taken by Engleheart five times, once in 1781, twice in 1782, 1793 and again in 1800. The Richmond and Engleheart families were closely connected. George instructed his younger cousin, miniaturist Thomas Richmond. Thomas’s son George Richmond one of the most influential artists of his day, was a leader of the Ancients, a small group of artists who celebrated the visionary images of William Blake. £800-£1,200 129 λ MRS ANNE MEE (née FOLDSTONE) (BRITISH circa 1770-1851) A pair of wedding portrait miniatures of Lady Isabel Anne Dashwood (1772-1858) and her husband Sir Francis Dashwood (1772-1828), circa 1793, he wearing blue coat, cream waistcoat, white stock and cravat; she wearing a low cut white dress, her powdered hair dressed with a white bandeau fastened beneath her chin Watercolour on ivory Gold frames Ovals, 77mm (3 1/4in) high (2) Lady Isabel was the daughter of James Maitland, 7th Earl of Lauderdale. The Lauderdale were a powerful and ancient Scottish family, but the daughter of the 7th Earl expanded the family horizons by moving to South Africa with her husband, Sir Francis Dashwood, in 1797. Having survived what must have been great challenges in their move abroad, including the arrival of two sons (Francis in 1809 and Maitland in 1813, born when Isabel Anne was in her late 30’s and early 40’s), the marriage foundered when their eldest son was sent to Eton in 1819. Isabel Anne returned to England with her sons, never to return to the Cape. Isabel Anne did not share a residence with her husband again. Sir Francis was made President of the Lombard Bank and appointed ‘Receiver of Revenue’ and ‘Collector of Customs’ at Simons Bay.

131 λ EDWARD MILES (BRITISH 1752-1828) Portrait miniature of a gentleman, circa 1790/94, wearing blue coat and knotted cravat Watercolour on ivory Gold frame, the reverse glazed to reveal plaited hair Oval, 60mm (2 1/2in) high Edward Miles became an errand boy to a surgeon who encouraged him in drawing. In 1771, he went to London and entered the Royal Academy Schools. He was appointed Miniature Painter to the Duchess of York in 1792 and to Queen Charlotte in 1794. He was Court Painter to the Tsar in St. Petersburg from 1797 to 1806. He finally settled in Philadelphia, where he became a founder member of the Academy. Although the sitter’s identity has not been found, it is likely that the portrait dates from circa 1790/94 - during which time he was working in London and before his journey to Russia. £400-£600 132 λ RICHARD COSWAY (BRITISH 1742-1821) Portrait miniature of George Spencer Churchill, 5th Duke of Marlborough (Marquess of Blandford) 1766-1840, circa 1817, wearing historical fancy dress consisting of armour under a red cloakfastened with a buckle on the shoulder. Watercolour on ivory Gilt-metal ormolu hexagonal frame Hexagonal, 67mm (2 3/4in) high Provenance: The Marshall Papers, Miss Sarah Marshall Bernstein, a direct descendant of Duke and Matilda Glover Lord Blandford represented Oxfordshire in parliament as a Whig between 1790 and 1796 and Tregony as a Tory between 1802 and 1806. From 1804 to 1806 he served under William Pitt the Younger as Lord of teh Treasury. The latter year he was summoned to the House of Lords through a writ acceleration in his father’s barony of Spencer of Wormleighton. He became famous for his extravagant collecting of antiquities, especially books. He was invested as a Fellow of the Society of Antiquaries (FSA) on 8th December 1803. Although the Marquess was born and baptised with the name George Spencer, soon after succeeding to the Dukedom of Marlborough, he had it legally changed on the 26th of May 1817 to George Spencer-Churchill. This illustrious name did not, however, save hims from his mounting debts and his estates were seized and his collections sold. He retired to Blenheim Palace where he lived the remainder of his life off a small annuity granted to the first Duke by Queen Anne. £1,000-£1,500

£1,500-£2,500 130 THOMAS FRYE (IRISH 1710-1762) Portrait miniature of a Gentleman wearing red coat with green collar, hair en queue Signed lower left Watercolour on card Gold frame Oval, 30mm (1 1/4in) high The present work is a rare example of a miniature by the Dublin born artist Thomas Frye. After moving to London where he honed his skills, Frye became an artist of remarkable talent painting portraits in oils, black lead, pastel and miniatures in watercolour and enamel. He also became a well known mezzotint engraver. In 1736 he painted a full- length portrait of Frderick, Prince of Wales which attracted attention and brought him many patrons. He had an introduction to Sir Joshua Reynolds with whom he became friendly. After inventing a formula for porcelain and taking out a patent in 1744, he became manager of the groundbreaking Bow Porcelain Factory from 1744-1759.

133 λ EDWARD BURCH R.A (BRITISH circa 1730-1814) Portrait miniature of Master Charles Web Smith, aged 8, circa 1800, wearing dark blue coat with silver buttons and white shirt with frilled collar Watercolour on ivory Gold frame Oval, 73mm (2 3/4in) high Charles was the son of Mr. Charles Smith and uncle of Miss Mallet of Osborne Place. The miniature was left to Mrs. Johnston and at her death to be returned to Mrs. Fowler, Living at Upper Clapton, Master Smith’s sister. The palm trees evident in the background may provide a clue to the location where this miniature was taken. £1,000-£1,500

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134 λ ABRAHAM DANIEL (BRITISH b. circa 1760–1806) Portrait miniature of Eleanor Sutton, age 5, circa 1785, wearing white dress with wide blue sash and frilled white bonnet tied with a blue ribbon Watercolour on ivory Gold frame with diamond border, the reverse engraved, Eleanor Sutton/ Aged 5 years Oval, 55cm (2in) high Provenance: Edward Grosvenor Paine 1980; Collection of Luciein and Helene Mellerio, Paris Exhibitions: Gallerie Mellerio, Paris 1935, no.288 “L’Orfeurie et le Bijoux” Scottish National Portrait Gallery £3,000-£5,000

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135 λ GEORGE ENGLEHEART (BRITISH 1750/3-1829) Portrait miniature of Charles Gordon, 10th Marquis of Huntly (1792- 1863) in blue coat with gold buttons painted in 1812 Signed and dated and inscribed on the reverse George Engleheart/Hertford Street/Mayfair/Pinxit/1812 Watercolour on ivory Rectangular gilt-metal frame with floral engraved corners Oval, 90mm (3 3/4in) high Huntly was the eldest son of the 5th Earl of Aboyne (later Marquess of Huntly) and his wife, Catherine. He was educated at St John’s College, Cambridge, and entered Parliament in 1818 as a Tory MP for East Grimstead before being elected as a Whig MP for Huntingdonshire in 1830. From 1826 to 1830, he was Lord of the Bedchamber and then a Lord-in-Waiting from 1840 to 1841, his last office being that of Lord Lieutenant of Aberdeenshire from 1861 until his death. Huntley played first-class cricket for Hampshire, Middlesex, Kent, Surrey, and Maryleborne Cricket Club in an amateur career which stretched from 1819 to 1843. He also appeared for W Ward’s XI, the Players, the Gentlemen, the Married, Lord Strathavon’s XI (his own club) and the Gentlemen of Kent. In 33 matches he scored a total of 193 runs, with a highest score of 19 against Oxford University, at an average of 4.02. £3,000-£5,000

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136 λ ANDREW PLIMER (BRITISH 1763-1837) Portrait miniature of Louisa Plimer (1801-1864) later Mrs. John Scott, the artist’s daughter, circa 1815, wearing a lace bordered sprigged white dress, pearl bordered brooch at corsage, blue stole and fur- bordered brown shawl Inscribed verso, Louise Plimer/ Daughter of Artist/ No 13/ afterwards/ Mrs Scott Watercolour on ivory Rectangular gilt moulded frame Rectangular, 11.1cm (4 1/2in) high Provenance: Plimer Family Collection; Thence by descent, Miss Frances Dakers; Sotheby’s, London 27th January 1964, lot 79; Christie’s, London 21st November 2000 Literature: G.C. Williamson, Andrew and Nathaniel Plimer, Miniature Painters, Their lives and Their Works, London, 1903, illustrated. D. Foskett, Collecting Miniatures, Woodbridge, 1979, p. 384, illustrated pl. IIIA (described as charming). £3,000-£5,000

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137 λ SIR WILLIAM JOHN NEWTON (BRITISH 1785-1869) Portrait miniature of a young Lady, (Mrs. Harvey?), her hair in long ringlets, wearing décolleté white dress with strands of pearls, landscapebackground Signed and dated on the obverse, W. J. Newton 1843 Watercolour on ivory Wood frame with gilded card slip Rectangular 12.3cm (4.8in) high Provenance: Bonhams, London, 10th April 2002 In 1831 Newton was appointed miniature-painter in ordinary to William IV and Queen Adelaide, and from 1837 to 1858 held the same post under Queen Victoria. He was knighted in 1837. £1,200-£1,800

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138 λ THOMAS LE HARDY (BRITISH fl.1794-1802) Portrait miniature of an Infantry Officer, wearing red uniform with gold epaulettes Signed T Le Hardy and dated 1794, centre left Watercolour on ivory Chased foliate gilt-metal frame, the reverse glazed to reveal hair with initials JJ Oval, 62mm (2 1/2in) high Provenance: Sotheby’s November 17, 1975, lot 30; E. Grosvenor Paine, New Orleans; Sim C. Callon, Natchez Mississippi; Private Collection Literature: Foskett, Miniatures, Dictionary and Guide, discussed pl.260, illustrated p. 262, pl. 64H Hardy was born in Jersey where he worked in addition to working in London. He exhibited at the R.A. from 1794-1802, from addresses in London, Weymouth and Bath. There are only a handful of miniatures recorded by him. £800-£1,200 139 λ ANDREW ROBERTSON M.A. (BRITISH 1777-1845) Portrait miniature of Captain James Grant wearing the uniform of the HEIC Signed with initials AR and dated 1806 on the obverse, the reverse inscribed in several hands James Grant/ Lewes’ father/ copy from a portrait/ painted in India Watercolour on ivory Gold frame, the reverse glazed to reveal plaited hair Oval, 80cm (3in) high Grant was the 7th son of the Rev. Ludovi Grant, Minister of Ardchattan, who was married to Margaret Davidson, in 1757. He began his military career as Ensign in the Madras Infantry. Reaching the rank of Lieutenant in 1799, he transferred to the 5th Native Cavalry Regiment and in 1801 to the 25th Light Dragoons. With them, he was Commander of the Bodyguard, A.D.C. and the Military Secretary to the Rt. Hon Governors of Fort St. George. In 1803 he married Julia Keir, a daughter of George Keir (Factor to the Earl of Kinnoul, at Aberdalgie) and his wife, Julia nee Watson. James was appointed Major in 1818 and died the next year from wounds while commanding 60 men of the Bodyguard in action on the road to Panjamcoorchy. £500-£700 140 λ WILLIAM DOUGLAS (SCOTTISH 1780-1832) Portrait miniature of Captain Thomas Henry Duthie in the uniform of the 72nd Duke of Albany’s own Highlanders (later the Seaforth Highlanders), scarlet coat with silver wings, yellow facings and tartan plaid sash, a citrine set dirk at his waist Signed, dated and inscribed on reverse, 13 Hart Street Edin. 1828/ Painted by the late/ William Douglas/ Miniature Painter to his/ Royal Highness Prince Leopold/ and her late Royal Highness/ Princess Charlotte of Wales/ for Scotland Watercolour on ivory Rectangular gilt-metal mount Rectangular, 114mm (4 1/2in) high

141 MILDRED LINGWOOD (BRITISH, EARLY 20TH CENTURY) Portrait miniature of Sir Herbert Atkinson Barker (1869-1950) Signed on the obverse with monogram, ML and dated 1908, inscribed on backboard, ..l Bonesell. Mr HA Barker Mrs Mildred Lingw[ood] Bedford Road [Be]dford Park W Overpainted photograph on ivorine Gilt-metal mount with leather backing Oval, 98mm (4in) high Provenance: Christie’s sale 15th June 2005, Lot 110; Private collection Sir Herbert Atkinson Barker (1869-1950) was a reknowned British osteopath and manipulator. As a bonesetter or manipulative surgeon he was at odds with the medical profession at the turn of the century because he practised healing without having received the traditional education of a teaching hospital. His patients included Shaw, Kipling and Augustus John. In 1920, 307 MP’s signed a petition asking the Archbishop of Canterbury to bestow on Barker an honorary medical degree. This failed, but two years later he received a knighthood. Medical hostility gradually petered out. In 1936 he gave a demonstration of his skills before the British Orthopaedic Association, and three years later a film of his work was made. On 8 September, 1967 The Times reported that Michael Joseph’s book called Harley Street, revealed that prominent surgeons were sending their patients to Barker despite the B.M.A. ban on him. The present miniature is painted on a photographic base. Mildred Lingwood may have been married to Edgar Lingwood who ran a photographic studio. £400-£600 142 λ GERTRUDE MASSEY (BRITISH fl. 1898-1911) Portrait miniature of a boy, circa 1905, in white shirt with blue ribbon necktie Watercolour on ivory Silver frame set with pearl border and pearl hanger Oval, 78mm (3 1/2 in) high Gertrude Massey specialised in painting miniature portraits of children and later dogs. Her body of work includes likenesses of the children of Queen Alexandra and Edward VII, executed at Balmoral Castle. She clearly readily engaged with the somewhat arduous task of painting younger sitters, outlining in her autobiography the necessary measures taken in order to capture accurate likenesses of her easily distracted subjects: When children are very young - and I have painted children of all ages - I prefer to paint them in their own surroundings. They soon begin to play and forget that I am watching them. If they are old enough, I give them pencil and paper and ask them to draw me. Thus I get a good look every time they raise their heads to study me. (Massey, p.83). The upward gaze of the boy in the present miniature, would suggest that the child was old enough to be asked to draw Gertrude. £500-700

Provenance: By family descent Bonhams sale 20th September 2005, Lot 64 Private collection Captain Thomas Henry Duthie (6 June 1806-13 October 1857) was a Scottish member of the 72nd Highlanders who arrived in Cape Town, South Africa in 1826 and was stationed at the Castle of Good Hope. As a lieutenant he visited Melkhout Kraal in 1830 and fell in love with Caroline Rex, daughter of George Rex (the possible son of George III and Hannah Lightfoot). In 1833 Thomas and Caroline married and in 1834 he built Belvidere House in Knysna. He left the army and returned to England on a short trip. He died in Knysna in 1857. The Duthies hosted many travellers and scientists of note at Belvidere House, including the German, Christian Ferdinand Friedrich Krauss. Captain Duthie was also appointed Inspector of Crown Forest and lands. £1,000-£1,500

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138

139

140

141

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143 λ EDWARD ROBERT HUGHES (BRITISH 1851-1914) Portrait miniature of William Holman Hunt O.M. (1827-1910), fullface, bearded and with piercing blue eyes Watercolour on ivory Silver frame with pierced scrollwork, set with zircon, rubies, diamonds, foiled green beryl and foiled topaz, engraved on reverse W. Holman Hunt O.M/ Ætat 53 Oval, 42mm (15/8in) high Provenance: Mrs Emmie Stone; Bonhams, The Albion Collection, 22 April 2004, Lot 164; Private collection Exhibited: H.M., 1999; P.A., 1999; S.N.P.G., 2000-2003; Enchanted Dreams: The Pre-Raphaelite Art of Edward Robert Hughes, October 2015February 2016, Birmingham Museum and Art Gallery Literature: S.P.N.F., No.103

143

It has been suggested that the frame is the work of the Arts and Crafts jewellers Arthur and Georgie Gaskin and probably the design of the latter. The open scrollwork, barely three-dimensional and certainly unpretentious, is typical of her work. As in the present lot, she favoured the use of the wirework frame purely as a skeleton to hold a variety of stones providing colour and translucency to a piece. Like many Arts and Crafts jewellers, she chose stones for their interest and beauty rather than rarity or perfection. The present frame is unusual in that it includes a number of diamonds, rarely used by these craftsmen. For a similar pendant by the Gaskins, cf. Charlotte Gere & Geoffrey C. Munn, Artist’s Jewellery/ Pre-Raphaelite to Arts and Crafts, 1989, p.145, pl.70. For other examples of her work cf. Exhibition Catalogue Arthur & Georgie Gaskin, City Museum and Art Gallery, Birmingham and The Fine Art Society, London, 1982, section G. William Holman Hunt was born in London on 2 April 1827. A clerk for several years, he left the world of trade to study at the British Museum and the National Gallery. In 1844 he entered the Royal Academy, London. Here he joined with Millais and Rossetti to develop the Pre- Raphaelite theories of art and, in 1848, to found the Pre-Raphaelite Brotherhood. His first canvas to interpret these themes was ‘Rienzi’, exhibited at the Royal Academy in 1849. In 1854 Hunt went to the Holy Land to portray scenes from the life of Christ, aiming to achieve total historical and archaeological truth. He returned to Palestine in 1869 and again in 1873. Throughout his life Hunt remained dedicated to Pre- Raphaelite concepts, as exemplified in such works as ‘The Light of the World’, ‘The Scapegoat’ and ‘The Shadow of Death’. Hunt died in Kensington, London on 7 September 1910. Edward Robert Hughes was a nephew of the Pre-Raphaelite Arthur Hughes and a studio assistant to William Holman Hunt. He helped Hunt with some of his later work, including the St Paul’s version of ‘The Light of the World’. Hughes began his career among the Pre-Raphaelites, and like Edward Burne-Jones with whom he was acquainted, he inclined towards Symbolism. However, the majority of Hughes’ work, carried out mainly in watercolour and gouache, display the meticulous observation of nature and minute technique associated with the Pre- Raphaelite movement. The present lot shows how this way of painting enabled him to master the skill of miniature painting, rarely grasped by painters used to working on a large scale. The inscription on the reverse of the present lot giving the initials O.M. after Hunt’s hame and age of 53 is somewhat contrary. Hunt did not receive the Order of Merit until 1905 when he was 78. However, the present lot is based on an earlier photograph of Hunt wearing a striped abà (Eastern robe) (cf. W. Holman-Hunt, O.M., D.C.L., Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, second edition, 1913, II, chap. XII, p.279). This photograph is very similar to one dated August 1891 by Walery, giving us Hunt’s age as 53 in the prototype, hence the age that appears on the reverse of the frame. It is probable that the miniature was commissioned by Edith Holman Hunt after her husband’s death in September 1910 and before 1914 when Hughes died. Another version of the present lot, also by Hughes is in a private collection of family descent. It has no been possible to confirm whether the present lot is signed on the reverse. Neither portrait miniature is mentioned in the Wills of Holman Hunt, his wife or their son Hilary Lushington Holman Hunt. However, when the latter died, his Will allowed his executors and trustees Emmie Stone and Hannah Meyer(both whom had been nurses to his father) to select such articles of jewellery ‘as they may choose to keep’. It would appear that Mrs Stone chose the present lot, which she later gave to a friend. It was then passed to this Gentleman’s son, prior to entering the Albion Collection where it was purchased by the present owner in 2005. We are grateful to Dr. Judith Bronkhurst for allowing us to reference her research into the attribution and provenance of the present lot. £8,000-£12,000 50

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Various Properties

144

145

144 ENGLISH SCHOOL (circa 1640) Portrait miniature of a Gentleman, probably John Hampden (1595- 1643), wearing a brown coat and tied lawn jabot, his brown hair worn long Oil on card Later gilded metal frame with spiral cresting Oval, 53mm (21⁄8in) high Provenance: J. Pearson, 1905; Hall Place, Leigh, Kent, sold on the instructions of the Executors of Sonja, Lady Hollenden )1919-2014), wife of Gordon Hope, 3rd Baron Hollenden £500-£700 145 CIRCLE OF CORNELIUS JOHNSON (1593-1661) Portrait miniature of a Nobleman wearing grey doublet with gold trim, the sleeves slashed to reveal white chemise, white lace collar, his brown hair worn long Oil on copper Rectangular hardwood frame Oval, 85mm (3 1/4in) high £600-£800 146 ENGLISH SCHOOL (18TH CENTURY) Portrait miniature, possibly Richard III, seated before a red velvet curtain holding a green leather bound book on a table covered in a red cloth, wearing a black damask ermine trimmed cloak and black velvet hat Oil on copper Rectangular wood frame, the reverse with old inscription, Portrait of a nobleman / Holbein school 13.5 x 9.5cm (5 1/2 x 3 1/2in)

146

£500-£700 51


147 JOHN SMART (BRITISH 1742/3-1811) Portrait miniature of a Gentleman, wearing a pink coat and matching waistcoat and tied cravat, powdered hair worn en queue Watercolour on paper Silver frame 47mm (2in) high £600-£800

147

148 λ JOHN COMERFORD (IRISH 1773-1832) Portrait miniature of Thomas Braughall (1729-1803), wearing a black coat and waistcoat and white stock, powdered hair en queue, reading a book Gold frame with brooch mount, the reverse engraved with the inscription, “My dear and worthy friend Tho Braughall died at Amiens 8th Feb 1803 God be with him”, around a central glazed aperture revealing plaited fair hair Watercolour on ivory Oval, 31mm (1 1/4in) high John Comerford painted an oil portrait of Thomas Braughall depicted in the same way as the present miniature, reading a book. The portrait is on display in the Royal Dublin Society Collection. Thomas Braughall (1729-1803), was Honorary Secretary of the Dublin Society (later the Royal Dublin Society) from 1792 t 1798. Comerford attended the Society’s Drawing Schools sometime in the late 1780’s and early 1790’s. £1,000-£1,500

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149 λ SAMUEL JOHN STUMP (BRITISH 1778-1863) Portrait miniature of Edmund Kean as Lucius Junius in Brutus Signed on the obverse, centre right Stump / pinxt Watercolour on ivory Gilt-metal mount set within half a fitted leather case Oval, 90mm high £600-£800

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150 GIOVANNI BATTISTA CANEVARI (ITALIAN 1789-1876) Portrait miniature of Miss F. B. S. Wilder nee Augusta Cornwall, seated, wearing a black dress, embroidered shawl over her shoulders and a gold and jewelled hair band adorning her curled and upswept hair Signed and inscribed, Canevari Roma, right hand edge and inscribed verso, Mrs F. B. S. Wilder ne Augusta Cornwall / daur of John & the Hon. Susan Cornwall/ done at Rome 1838/40 Watercolour on ivory (small hairline crack upper left) 12.2 x 10.3cm (4 3/4 x 4in) £300-£500 151 FRENCH SCHOOL (19TH CENTURY) Portrait miniature of a Lady, wearing a large straw hat adorned with a blue ribbon over a white lace cap, grey dress with white frilled fichu, seated at a table covered in a red cloth with a book titled ‘L’Art d’Aimer’ Watercolour and bodycolour on ivory Circular gilt-metal mount 65mm diam £400-£600 152 λ RUSSIAN SCHOOL (circa 1790) Portrait miniature of an Officer c.1790, probably Stepan Stephanovich Apraksin, Степан Степанович Апраксин ( 1757-1827), wearing a Light Cavalry uniform, epaulets of figel, adjutant of Catherine the Great and Order of Saint Anne first class Watercolour on ivory Gold frame, the reverse glazed to reveal woven brown hair Oval, 53mm (2in) high

150

Provenance: Private European collection Stepan Stepanovich Apraksin, Степан Степанович Апраксин was born on 24th June 1757 in Riga, the only son of Stepan Fedorovich Apraksin, a famous military commander in the Russian army. His military career began at the age of ten, after being admitted to the Semenovsky Regiment. Initially serving with the rank of ensign, he received military training there and in 1772 he started active service with the army in the rank of Captain. He was transferred to Kiev, where he served as an officer in the local infantry regiment. He took part in the RussoTurkish War of 1768–1774 with his unit and was promoted to the rank of Colonel for his service in the Crimean campaign in 1777. He rose quickly through the ranks of the tsarist army and in 1783 was promoted to the rank of Brigadier in the 20th Astrakhan Regiment, with which he fought with distinction in the Caucasus. In 1786 he was again promoted, this time to the rank of Major General. Appointed the commander of Astrakhan Dragoon Regiment, he took part in the famous siege of Ochakov during the Russo-Turkish War of 1787-1792. After the end of hostilities, he was promoted to the rank of Lieutenant General and in 1794 he took part in suppression of Kościuszko’s Uprising in Poland. Following the Third Partition of Poland, he commanded the border troops at the new frontiers with Austria and Turkey.

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The same year that Apraksin took up his position as Lieutenant General in 1793 and was involved in the suppression of Kościuszko’s Uprising in Poland, he also married Princess Ekaterina Vladimirovna Golitsina, Екатерина Владимировна Апраксина a twenty-three-yearold woman of great wealth and beauty. Ekaterina was the daughter of ‘Princesse Moustache’ Natalia Petrovna Golitsina (1741-1837) who is thought to have been the grand-daughter of Peter the Great. The couple’s marriage was happy, settling in Moscow and enjoying their country estate in Olgino, they had three daughters and two sons. On 14th December 1796 he became Commander of the Astrakhan Dragoon Regiment and oversaw border troops a the new frontiers of Austria and Turkey following the Third Partition of Poland. In 1798, at the age of 41, he retired from the army due to illness. However, soon after the coronation of Alexander I of Russia in 1801 he returned to the army. In 1803 Apraksin was made Governor of Smolensk and during the Napoleonic Wars he was a front-line Commander of the 16th infantry division. After 1809 he finally retired and settled in Moscow, where he ultimately died in 1827. Although the artist of this portrait miniature is unknown, it is a fine example of Russian painting from the late eighteenth century. There is also a portrait of Stepan Stephanovich Apraksin by the Austrian-Italian historical painter and portraitist Johan Baptist Lampi in the State Tretyakov Gallery in Moscow which dates to 1793 £600-£800

152 53


153 MRS INEZ STANLEY EDWARDS (fl. 1902) Portrait miniature of Mrs Hugh Inglis, wearing white dress with pearl necklace and earrings and long gold chain, her hair upswept, landscape background signed and dated, Inez Stanley Edwards/ 1903 Watercolour on ivorine gilt-metal frame with paste border the reverse with central blue glass aperture Oval, 90mm high £300-£500

153

154

154 λ ENGLISH SCHOOL (circa 1820) Portrait of a Gentleman, wearing a dark blue coat with black collar, white frilled chemise, stock and tie Watercolour on ivory Chased gilt-metal frame, the reverse glazed to reveal locks of hair Oval, 79mm high £150-£250

155 E M P (1915) A pair of portrait miniatures of a husband and wife; she wearing white blouse; he wearing grey suit, waistcoat and blue tie Signed with initials E M P, the lady dated 1915 Watercolour on ivorine Gilt-metal frames Oval, 65mm high, each a pair (2) £200-£300 155

156 λ ENGLISH SCHOOL (circa 1810) Portrait miniature of a Gentleman wearing a dark blue coat, white waistcoat, white frilled chemise and stock Watercolour on ivory Gilt-mounted rectangular frame Oval, 90mm high together with an English School (circa 1830), portrait miniature of a Lady, wearing black dress, gold necklace and pearl drop earrings Watercolour on ivory Gilt-metal rectangular frame rectangular 84mm high (2) £300-£500

156 54

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157 λ E M (BRITISH circa 1910) Portrait miniature of Charlotte Helen Ogilvy, wearing white dress with high neck frilled collar and a gold chain with a locket Signed with monogram Watercolour on ivory Gilt-metal frame, the reverse engraved with the name of the sitter around the lower edge and with a central glazed aperture to reveal locks of hair Oval, 76mm high Charlotte Helen Ogilvy was born on 22nd August 1893 in St George Hanover Square, London. She was the daughter of Colonel William Lewis Kinloch Ogilvy and Lucy Wickham. She married Sir Edgar Bonham-Carter son of Henry Bonham-Carter on 27th April 1926. She died on 22nd December 1989 in Alton, Hants. £400-£600

157

158

158 λ KENNETH MACLEAY RSA (1802-1878) Portrait miniature of a gentleman wearing tartan coat with silver buttons, tartan waistcoat and black stock Watercolour on ivory Rectangular gilt-metal mount set into a rectangular fitted leather case Oval, 80mm (3 1/4in) high

159

159 S CHESTERS (BRITISH fl. 1845-1857) Portrait miniature of a Gentleman, seated wearing a black coat and waistcoat with a gold chain, white chemise and black stock, his left hand resting on a table covered with a purple damask cloth Work on porcelain Signed and dated S Chesters / 1861 verso 18 x 12.5cm (7 x 5in)

£600-£800 £300-£500

55


Terms and Conditions for Buyers at Chiswick Auctions 1. BEFORE THE SALE 1.1 Agent for the seller 9RPIWW SXLIV[MWI EKVIIH 'LMW[MGO %YGXMSRW 0XH LIVIEJXIV VIJIVVIH XS EW '% 08( EGXW EW EKIRX JSV XLI WIPPIV 8LI GSRXVEGX JSV WEPI SJ XLI TVSTIVX] MW XLIVIJSVI QEHI FIX[IIR XLI 7IPPIVERHXLI&Y]IV (I½RMXMSRW *SV XLI TYVTSWIW SJ XLI GYVVIRX 8IVQW ERH 'SRHMXMSRW XLI 7IPPIV WLEPP FI HI½RIH EW XLI S[RIVSJXLI+SSHW-XMWMQTPMIHXLEXXLI7IPPIVMWXLIPIKMXMQEXIS[RIVERHMWEYXLSVMWIHXS WIPPXLI0SX 8LI&MHHIVMWER]VIKMWXIVIHTIVWSRTEVXMGMTEXMRKMRXLIEYGXMSRERHXLI&Y]IVMWXLIWYGGIWWJYP &MHHIVJSVETEVXMGYPEV0SX 8LI0SXQIERWXLIMXIQ W TYXYTJSVWEPIF]'%0XHERHXS[LMGLXLITVIWIRX8IVQWERH 'SRHMXMSRWETTP] 1.3 Catalogue descriptions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nspection 4VMSV XS EYGXMSR TVSWTIGXMZI TYVGLEWIVW EVI WXVSRKP] EHZMWIH XS TIVWSREPP] I\EQMRI ER] TVSTIVX]MR[LMGLXLI]EVIMRXIVIWXIHXSWEXMWJ]XLIQWIPZIWMRVIPEXMSRXSQEXXIVW[LMGLQE] GSRGIVRXLIQ 1.5 Condition report '%0XHQE]MWWYIE'SRHMXMSR6ITSVXSRVIUYIWXTVMSVXSXLIWEPI 8LMW'SRHMXMSR6ITSVXMWJSVMHIRXM½GEXMSRTYVTSWIWSRP]ERHGERRSXFIGSRWMHIVIHEWKMZMRK E TVIGMWI EGGSYRX SJ XLI 0SX´W XVYI WXEXI 8LYW WSQI MQTIVJIGXMSRW ERH JEYPXW QE] RSX FI EGGSYRXIHJSVMRXLI'SRHMXMSR6ITSVX %WEJSVIQIRXMSRIHERHMRXLIEFWIRGISJER]GSRXVEGXYEPZEPYISJXLI'SRHMXMSRVITSVXMXMW XLI&Y]IV´WWSPIHYX]XSMRWTIGXMRTIVWSRXLI0SXMRSVHIVXSFIEWWYVIHSJMXWXVYIGSRHMXMSR ERH'%0XHWLEPPRSXFIVIWTSRWMFPIJSVEWWIVXMSRW[MXLMRXLI'SRHMXMSR6ITSVXLIVIXS 1.6 Electricals %PPIPIGXVMGEPMXIQWEVIWSPHEWWIIRERH'%0XHSJJIVWRSKYEVERXIIEWXSXLI[SVOMRKGSRHMXMSR SJWYGLMXIQWSVXLIMVWEJIX] -XMWXLI&Y]IV´WHYX]XSXEOIRIGIWWEV]WXITWXSFIEWWYVIHXLEXXLI0SXMWWEJIJSVRSVQEPYWI 1.7 Estimates )WXMQEXIWEVIFEWIHSRZEVMSYWJEGXSVWMRLIVIRXXSXLIWMXYEXMSRSJXLIQEVOIXEXXLIXMQISJXLI WEPIEW[IPPEWGSRWMHIVEXMSRWWYGLEWXLIGSRHMXMSRVEVMX]SVUYEPMX]SJXLIMXIQIXG)WXMQEXIW EVISRP]MRHMGEXMZIERHVITVIWIRXXLISTMRMSRSJ'%0XH)WXMQEXIWTVSZMHIHF]'%0XHGERRSX GSRWXMXYXI E KYEVERXII EW XS XLI ZEPYI SJ XLI KSSH 7YFWIUYIRXP] KSSHW QE] WIPP EX TVMGIW PS[IVSVLMKLIVXLERXLITVSZMHIHIWXMQEXIW 1.8 Reserves 1ER]0SXWEVISJJIVIHWYFNIGXXSEVIWIVZI[LMGLMWXLIGSR½HIRXMEPQMRMQYQWEPITVMGI8LI VIWIVZI[MPPRIZIVI\GIIHXLIPS[IWXMQEXITVMRXIHMRXLIGEXEPSKYI'%0XHQE]STIRXLI FMHHMRKSRER]0SXFIPS[XLIVIWIVZIF]TPEGMRKEFMHSRFILEPJSJXLIWIPPIVERHQE]MRXLIMV HMWGVIXMSRGSRXMRYIXSFMHYTXSXLIVIWIVZITVMGI8LMWGERFIEGLMIZIHF]FMHHMRKMRVIWTSRWI XSSXLIVFMHHIVWSVEPXIVREXMZIP]F]TPEGMRKGSRWIGYXMZIFMHW 1.9 Registration to the sale 2I[FMHHIVW[MPPRIIHXSVIKMWXIVTVMSVXSXLIWEPI-XMWWXVSRKP]EHZMWIHFMHHIVWVIKMWXIVEXPIEWX LSYVWFIJSVIXLIWEPI6IKMWXVEXMSRXLIVIEJXIVWLEPPFIEXXLIEYGXMSRIIV´WIRXMVIHMWGVIXMSR

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4.8 Shipping %R]WLMTTMRKGSWXWXLEXQE]EVMWIWYFWIUYIRXXSXLIWEPIWLEPPFIEXXLI&Y]IV´WI\TIRWI7YGL GSWXWQE]MRGPYHIFYXRSXPMQMXIHXSTSWXEKIMQTSVXERHI\TSVXTIVQMXW[LIVIVIUYMVIHERH ER]SXLIVPMGIRGIRIGIWWEV]JSVKSSHWXSFIWLMTTIHSYXWMHISJXLI)YVSTIER9RMSR '%0XHHSIWRSXSJJIVMRWYVERGIJSVWLMTTMRK,S[IZIV'%0XHQE]EVVERKIMRWYVERGIYTSR XLI&Y]IV´WVIUYIWXERHEXXLI&Y]IV´WI\TIRWI '%0XHGERRSXFILIPHVIWTSRWMFPIJSVER]HEQEKIWXLEXQE]FIMRGYVVIHXSKSSHWTVMSVXS XLIJEPPSJXLILEQQIV 4.9 Loss or Damage '%0XHHSIWRSXEGGITXPMEFMPMX]JSVPSWWSVHEQEKISGGYVVMRKXS0SXWEJXIVXLIWEPI'%0XH[MPP YWIVIEWSREFPIIJJSVXW[LIRLERHPMRK0SXWFYXWLEPPRSXFIVIWTSRWMFPIJSVER]PSWWSVHEQEKIW XLEXQE]SGGYV[LMPWXXLIWEMH0SXMWMRER]XLMVHTEVX]´WGEVI 4.10 Cultural Goods import and export restrictions 'YPXYVEPKSSHWQE]FIWYFNIGXXSMQTSVXERHI\TSVXVIWXVMGXMSRW9RHIV)96IKYPEXMSRWVIPEXIH XS XLI XVEHI SJ GYPXYVEP KSSHW I\TSVX PMGIRGIW QE] FI VIUYMVIH JSV I\TSVX SYXWMHI SJ XLI )YVSTIER9RMSRMJXLIMXIQ´WZEPYII\GIIHWXLI)9XLVIWLSPH9RHIV9/0E[EPMGIRGIQE] EPWSFIVIUYMVIHJSVMRXVE)9XVEHI 0MGIRWIWEVIMWWYIHF]%VXW'SYRGMP)RKPERHERHMXMWXLI&Y]IV´WHYX]XSSFXEMRXLIQ7SQI GSYRXVMIWVIWXVMGXXLIMQTSVXSJWTIGM½GGYPXYVEPKSSHW*SVI\EQTPIXLI9RMXIH7XEXIWTVSLMFMXW XLIMQTSVXSJTVI'SPYQFMERQSRYQIRXEPSVEVGLMXIGXYVEPWGYPTXYVISVQYVEPWEW[IPPEWER] GYPXYVEPKSSHWMRTVSZIRERGIJVSQWSQIGSYRXVMIWWYFNIGXXSEVQIHGSR¾MGXW 8LI&Y]IVQYWXZIVMJ]PSGEPPIKMWPEXMSRTVMSVXSXLIWEPIMRSVHIVXSFIEWWYVIHXLEXMQTSVXSV I\TSVXMWTSWWMFPI 4.11 CITES Import and export restrictions 'IVXEMR IRHERKIVIH WTIGMIW EVI PMWXIH MR XLI '-8)7 'SRZIRXMSR 0MWXIH WTIGMQIRW ERH ER] TEVXW SV TVSHYGXW XLIVISJ EVI WYFNIGX XS MWWYERGI SJ ER I\TSVX TIVQMX [LIR PIEZMRK XLI )YVSTIER9RMSR %TTIRHM\-WTIGMIWEVIEPWSWYFNIGXXSMWWYERGISJETVMSVMQTSVXTIVQMXJVSQXLIGSYRXV]MR [LMGLXLIKSSHWEVIXSFIMQTSVXIH7YGLTIVQMXWEVIRIGIWWEV]FIJSVIETTP]MRKJSVI\TSVX TIVQMXWERHMXMWXLI&Y]IV´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ѤEVIWYFNIGXXS'-8)7VIKYPEXMSRW

4.12 Limitation of liability regarding CITES export licenses ;LIVIPMGIRGIWEVIVIUYMVIHJSVMQTSVXMRKSVI\TSVXMRKSYXWMHISJXLI)YVSTIER9RMSRMXMW XLI&Y]IV´WHYX]XSSFXEMRXLIQ '% 0XH GERRSX FI LIPH VIWTSRWMFPI MJ XLI &Y]IV´W ETTPMGEXMSR JSV ER I\TSVX TIVQMX MW YRWYGGIWWJYP7YFWIUYIRXP]MRXLIIZIRXSJJEMPYVIXLIVISJ'%0XHWLEPPRSXTIVQMXGERGIPPEXMSR SVVIWGMWWMSRSJXLIWEPI 4.13 Warranties '%0XHHSIWRSXTVSZMHIXLI&Y]IV[MXL[EVVERXMIWVIPEXMRKXSER]0SXYRPIWWVIUYMVIHF]0E[ 4.14 Authenticity warranty -RXLIIZIRXSJE0SXFIMRKWSPHEWEYXLIRXMGYRHIVXLIGEXEPSKYIHIWGVMTXMSRERHXLI&Y]IV TVSZMHIWIZMHIRGIMRXLIJSVQSJE[VMXXIRVITSVXF]EVIGSKRMWIHI\TIVXSVXIWXVIWYPXWXLEX XLIWEMH0SXMWRSXEYXLIRXMG'%0XH[MPPVIJYRHXLITYVGLEWITVMGI 8LI &Y]IVWLEPPKMZIRSXMGIXS'%0XH[MXLMRHE]WJVSQORS[PIHKISVER]IZIRXKMZMRK VIEWSRWJSVWYWTIGXMRKXLEXXLIMXIQMWRSXEYXLIRXMGERH[MXLMRSRI]IEVSJXLIWEMHWEPI%R] GPEMQXLIVIEJXIVWLEPPRSXFIVIGIMZEFPI*SVXLITYVTSWIWSJXLITVIWIRXTEVEKVETLEYXLIRXMGMX] WLEPPFIHI½RIHEWXLIWXEXISJE0SXXLEXMWKIRYMRIERHRSXEJSVKIV]SVEGST] 5. ANTIQUITIES AND TRIBAL ART 5.1 Import and export restrictions and regulations %VGLEISPSKMGEPKSSHWSZIV]IEVWSJEKIYRPIWWGSZIVIHF]I\IQTXMSRSJPMQMXIHWGMIRXM½G MRXIVIWX[MPPVIUYMVIER)90MGIRGIJSVI\TSVXXSEXLMVHGSYRXV]VIKEVHPIWWSJXLIMVZEPYI -XMWVIGSQQIRHIHXLEXXLI&Y]IVGSRXEGXXLI)\TSVX0MGIRWMRK9RMXEX%VXW'SYRGMP)RKPERHMR SVHIVXSFIEWWYVIHXLIKSSHMWSVRSXSJPMQMXIHEVGLEISPSKMGEPSVWGMIRXM½GMRXIVIWX %VGLEISPSKMGEP KSSHW JSYRH SR 9RMXIH/MRKHSQ WSMP SV MR 9/ XIVVMXSVMEP [EXIVW SZIV  ]IEVWSJEKIWLEPPVIUYMVIE9/0MGIRGIVIKEVHPIWWSJXLIMVZEPYIERHVIKEVHPIWWSJXLII\TSVX HIWXMREXMSR 3XLIV EVGLEISPSKMGEP SFNIGXW VIKEVHPIWW SJ XLIMV SVMKMR [MPP VIUYMVI ER -RHMZMHYEP 0MGIRGISV3+)0HITIRHMRKSRXLIMVZEPYI &SXL)YVSTIER9RMSRERH9/0MGIRGIWQE]FIVIUYMVIHWMQYPXERISYWP]JSVWSQIMXIQW-XMW XLI&Y]IV´WHYX]XSYRHIVXEOIXLIRIGIWWEV]WXITW'%0XHGERRSXFILIPHVIWTSRWMFPIERHXLI WEPIGERRSXFIGERGIPPIHMRXLIIZIRXSJJEMPYVIXSSFXEMRXLIVIPIZERXPMGIRGIW 6. JEWELLERY 6.1 Gemstone treatment and estimates 1ER] KIQWXSRIW SR XLI QEVOIX LEZI FIIR XVIEXIH WS EW XS EYKQIRX XLIMV ETTIEVERGI MR E VIZIVWMFPI SV TIVQERIRX QERRIV 8VIEXQIRXW YRHIV XLI TVIWIRX WIGXMSR QE] FI FYX RSX PMQMXIHXS ˆ,IEXXVIEXQIRXXSIRLERGIWETTLMVIWERHVYFMIW´GPEVMX]ERHGSPSYV ˆ3MPERHVIWMRXVIEXQIRXWJSVIQIVEPHWETTPMIHMRHMJJIVIRX[E]WXSIRLERGIGPEVMX]SJ the stone ˆ7XEMRMRK ˆ-VVEHMEXMSR ˆ'SEXMRK )WXMQEXIWTVSZMHIHF]'%0XHEVIHIIQIHXSFIFEWIHSRXLIJEGXXLEXXLIKIQWXSRIQE] LEZIFIIRWYFNIGXXSER]X]TISJXVIEXQIRXMRXLITEWX'%0XHWLEPPRSXFIVIWTSRWMFPIMRXLI EFWIRGISJQIRXMSRXLIVISJ % GIVXM½GEXI QE] FI MWWYIH F] E PEFSVEXSV] TVSZMHMRK [MXL HIXEMPIH MRJSVQEXMSR SR XLI GSRHMXMSRSJXLIKIQWXSRIERHER]XVIEXQIRXETTPMIHXLIVIXS8LI&Y]IVQYWXFIE[EVIXLEX HMJJIVIRX PEFSVEXSVMIW LEZI HMJJIVIRX ETTVSEGLIW EW XS XLI HIKVII SV X]TI SJ XVIEXQIRX JSV ETEVXMGYPEVKIQWXSRI -JEGIVXM½GEXIEGGSQTERMIWXLI0SXXLI&Y]IVQYWXFIE[EVIXLEXMXMWQIVIP]EWXEXIQIRX SJXLIPEFSVEXSV]´WSTMRMSRERHMRRS[E]GER'%0XHFILIPHVIWTSRWMFPIJSVER]QIRXMSRW XLIVIMR7YGLGIVXM½GEXIWEVIHIIQIHXSFIHIPMZIVIH[MXLXLI0SXJSVMRJSVQEXMZITYVTSWIW SRP] 6.2 Estimated weights -JEWXSRI´WI\EGX[IMKLXETTIEVW[MXLMRXLIFSH]SJXLIHIWGVMTXMSRXLIWXSRILEWFIIRYR QSYRXIHERH[IMKLIHF]'%0XH-JXLI[IMKLXSJEWXSRIMWWXEXIHXSFIETTVS\MQEXIXLI WXSRILEWFIIREWWIWWIHF]'%0XH[MXLMRMXWWIXXMRKERHXLIHI½RIH[IMKLXMWEWXEXIQIRXSJ STMRMSRSRP]8LMWMRJSVQEXMSRMWKMZIREWEKYMHIERHFMHHIVWWLSYPHWEXMWJ]XLIQWIPZIW[MXL VIKEVHXSXLMWMRJSVQEXMSREWXSMXWEGGYVEG] 6.3 Signatures ³A diamond ring, by X´;LIRXLIQEOIV´WREQIETTIEVWMRXLIXMXPIMR'LMW[MGO%YGXMSRW´ STMRMSRXLITMIGIMWF]XLEXQEOIV


³A diamond ring, signed X´,EWEWMKREXYVIXLEXMR'LMW[MGO%YGXMSRW´STMRMSRMWEYXLIRXMGFYX QE]GSRXEMRKIQWXSRIWXLEXEVIRSXSVMKMREPSVXLITMIGIQE]LEZIFIIREPXIVIH ³A diamond ring, mounted by X´ ,EW FIIR GVIEXIH F] XLI NI[IPPIV MR 'LMW[MGO %YGXMSRW´ STMRMSRFYXYWMRKWXSRIWSVHIWMKRWWYTTPMIHF]XLIGPMIRX ³Maker’s mark for X´,EWEQEOIV´WQEVO[LMGLMR'LMW[MGO%YGXMSRW´STMRMSRMWEYXLIRXMG 7SQIMXIQWQE]MRGPYHITEVXWSVTVSHYGXWHIVMZIHJVSQIRHERKIVIHWTIGMIWWYGLEWMZSV] SVGSVEP7YGLMXIQWQE]FIWYFNIGXXSMQTSVXSVI\TSVXVIWXVMGXMSRW7IIWIGXMSRSR'-8)7 VIKYPEXMSRWJSVQSVIHIXEMPW 7. CLOCKS AND WATCHES %PP0SXWEVIWSPHEWWIIR'PSGOWERH[EXGLIWEVIXLIVIJSVIRSXHIIQIHXSFIWSPHMR[SVOMRK GSRHMXMSR%FWIRGISJVIJIVIRGIXLIVISJMRXLIHIWGVMTXMSRHSIWRSXMQTP]XLEXXLI0SXMWMR KSSHGSRHMXMSRERH[MXLSYXHIJIGXWSVLEWFIIRWYFNIGXXSVITEMVSVVIWXSVEXMSR '%0XHQEOIWRSVITVIWIRXEXMSRSV[EVVERX]XLEXER]GPSGOSV[EXGLMWMR[SVOMRKSVHIV%W GPSGOW ERH [EXGLIW SJXIR GSRXEMR ½RI ERH GSQTPI\ QIGLERMWQW FMHHIVW WLSYPH FI E[EVI XLEXEKIRIVEPWIVZMGIGLERKISJFEXXIV]SVJYVXLIVVITEMV[SVOJSV[LMGLXLI&Y]IVMWWSPIP] VIWTSRWMFPIQE]FIRIGIWWEV] 1SWX GPSGOW ERH [EXGLIW EVI PMOIP] XS LEZI FIIR VITEMVIH MR XLI TEWX ERH EW E VIWYPX QE] MRGPYHITEVXWXLEXEVIRSXSVMKMREPXLIVIXS 8LI9RMXIH7XEXIWVIWXVMGXXLIMQTSVXEXMSRSJ[EXGLIWWYGLEW6SPI\*VERO1YPPIVSV'SVYQ 7YGLQSHIPWGERSRP]FIMQTSVXIHTIVWSREPP]F]XLI&Y]IVERH'%0XHGERRSXEWWMWX[MXL WLMTTMRKXLIVISJ 7SQI[EXGLIWQE]MRGPYHIPIEXLIVWXVETWHIVMZIHJVSQIRHERKIVIHWTIGMIW&Y]IVWQE]FI VIUYMVIH XS SFXEMR ETTVSTVMEXI TIVQMXW JSV MQTSVX SV I\TSVX TYVTSWIW MR EGGSVHERGI [MXL '-8)7VIKYPEXMSRW '%0XHEGXWMRGSQTPMERGI[MXLWYGLPIKMWPEXMSRWERHWLEPPXEOIRIGIWWEV]WXITW[LIVIVIUYMVIH 7YFWIUYIRXP][EXGLIWQE]FIHIIQIHWSPH[MXLSYXXLIMVWXVETW 8. FURNITURE 8.1 Upholstered furniture after 1950 %GGSVHMRKXS8LI*YVRMXYVIERH*YVRMWLMRKW *MVI7EJIX] 6IKYPEXMSRWJYVRMXYVIXLEX[EW YTLSPWXIVIHEJXIVXLIWXSJ.ERYEV]MWWYFNIGXXSVIWXVMGXMSRWMRXLI9RMXIH/MRKHSQ )\IQTXYTLSPWXIVIHJYVRMXYVIXLEXHSIWRSXQIIXWYGLVIUYMVIQIRXWMWHIIQIHWSPHJSVTYVIP] EIWXLIXMGTYVTSWIW'%0XHWLEPPRSXFIVIWTSRWMFPIJSVPEXIVEPXIVEXMSRWXSXLIJYVRMXYVIQEOMRK MXYR½XJSVWEPI 9. GLOSSARY OF PICTURE CATALOGUING TERMS %R]7XEXIQIRXEWXSEYXLSVWLMTEXXVMFYXMSRSVMKMRHEXIEKITVSZIRERGIERHGSRHMXMSRMWE WXEXIQIRXSJSTMRMSRERHMWRSXXSFIXEOIREWEWXEXIQIRXSJJEGX8LI'SQTER]VIWIVZIXLI VMKLXMRJSVQMRKXLIMVSTMRMSRXSGSRWYPXERHVIP]YTSRER]I\TIVXSVEYXLSVMX]GSRWMHIVIH F]XLIQXSFIVIPMEFPI 1 JMW Turner: -R SYV STMRMSR E [SVO F] XLI EVXMWX ;LIR XLI EVXMWX´W JSVIREQI W  MW RSX ORS[REWIVMIWSJEWXIVMWOWJSPPS[IHF]XLIWYVREQISJXLIEVXMWX[LIXLIVTVIGIHIHF]ER MRMXMEPSVRSXMRHMGEXIWXLEXMRSYVSTMRMSRXLI[SVOMWF]XLIEVXMWXREQIH 2 Attributed to JMW Turner:-RSYVSTMRMSRTVSFEFP]E[SVOF]XLIEVXMWXFYXPIWWGIVXEMRP] EWXSXLIEYXLSVWLMTI\TVIWWIHXLERMRXLITVIGIHMRKGEXIKSV] 3 Studio of JMW Turner: -RSYVSTMRMSRTVSFEFP]E[SVOF]ERYRORS[RLERHMRXLIWXYHMSSJ XLIEVXMWX[LMGLQE]SVQE]RSXLEZIFIIRI\IGYXIHYRHIVXLIEVXMWX´WHMVIGXMSR 4 Circle of JMW Turner:-RSYVSTMRMSRE[SVOF]EREW]IXYRMHIRXM½IHFYXHMWXMRGXLERH GPSWIP]EWWSGMEXIH[MXLXLIREQIHEVXMWXERHSJXLITIVMSHFYXRSXRIGIWWEVMP]LMWTYTMP 5 Style of; Follower of JMW Turner: -RSYVSTMRMSRE[SVOF]ETEMRXIV[SVOMRKMRXLIEVXMWX´W WX]PIFYXRSXRIGIWWEVMP]LMWTYTMP 6 Manner of JMW Turner: -RSYVSTMRMSRE[SVOMRXLIWX]PISJXLIEVXMWXERHSJEPEXIVHEXI 7 After JMW Turner: -RSYVSTMRMSREGST] SJER]HEXI SJEORS[R[SVOSJXLIEVXMWX 8 8LIXIVQ³WMKRIH´ERHSV³HEXIH´ERHSV³MRWGVMFIH´QIERWXLEXMRSYVSTMRMSRXLIWMKREXYVI ERHSVHEXIERHSVMRWGVMTXMSREVIJVSQXLILERHSJXLIEVXMWX 9 8LI XIVQ ³[MXL WMKREXYVI´ ERHSV ³[MXL HEXI´ ERHSV ³[MXL MRWGVMTXMSR´ QIERW XLEX MR SYV STMRMSRXLIWMKREXYVIERHSVHEXIERHSVMRWGVMTXMSRLEZIFIIREHHIHF]ERSXLIVLERHXLER XLEXSJXLIEVXMWX 10 4MGXYVIWEVIJVEQIHYRPIWWSXLIV[MWIWXEXIH 10. ASIAN ARTS 10.1 Import and export restrictions ;LIR HIEPMRK[MXL %WMER %VXW ERH QSVI WTIGM½GEPP][MXL MXIQW QEHISJ I\SXMG[SSH IK EPPWTIGMIWSJVSWI[SSH SVIPITLERXMZSV]XLI&Y]IVQYWXFIE[EVISJMQTSVXERHI\TSVX VIWXVMGXMSRWMREGGSVHERGI[MXL'-8)76IKYPEXMSRW%WEJSVIQIRXMSRIHMRXLI7IGXMSRVIPEXMRKXS

WYGLQEXXIVWMQTSVXERHI\TSVXTIVQMXWSVVII\TSVXGIVXM½GEXIWQE]FIVIUYMVIH:IVM½GEXMSR PIXXIVW[MPPFIVIUYMVIHJSVVII\TSVXSJ[SVOIH6LMRSGIVSWMXIQW 10.2 Fine Chinese Paintings 'YVVIRX WGLSPEVWLMT MR XLI ½IPH SJ 'LMRIWI 4EMRXMRKW ERH 'EPPMKVETL] HSIW RSX TIVQMX YRUYEPM½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³JSVKIV]´MWHI½RIHEWE[SVOGVIEXIH [MXLXLIMRXIRXXSHIGIMZI 11. BOOKS AND MANUSCRIPTS &SSOWERHQERYWGVMTXWWSPHEWMRGSQTPIXIEVIRSXWYFNIGXXSVIXYVRW 4VMRXIHFSSOWQE]FIVIXYVRIHJSVEJYPPVIJYRHSRP]MJXLI]TVSZIXSFIHIJIGXMZIMRXI\XSV MPPYWXVEXMSR8LMWWLEPPRSXETTP]XSXLIEFWIRGISJFPEROWLEPJXMXPIWSVEHZIVXMWIQIRXWXSYR REQIHFSSOWSVXSFSSOWWSPHYRHIVXLILIEHMRKSJ³FMRHMRK´SV³FMRHMRKW´ 12. WINES AND SPIRITS -REGGSVHERGI[MXLEKVIIHWXERHEVHWMRXLIXVEHIIWXMQEXIWWLEPPFIHIIQIHXSLEZIXEOIR MRXSEGGSYRXXLI½PPPIZIP *SV XLI TYVTSWIW SJ XLI TVIWIRX 8IVQW ERH 'SRHMXMSRW XLI ³*MPP 0IZIP´ VIJIVW XS XLI WTEGI FIX[IIR XLI FEWI SJ XLI GSVO ERH XLI PMUYMH MR XLI FSXXPI *MPP PIZIPW QE] ZEV] [MXL EKI SV HITIRHMRKSRXLIGSRHMXMSRSJXLI[MRISVWTMVMX 0EGOSJQIRXMSRXLIVISJMRXLIHIWGVMTXMSRMWRSXEVITVIWIRXEXMSRSJER³EGGITXEFPI´½PPPIZIP JVSQ'%0XH '%0XHSJJIVWRSKYEVERXIIEWXSWYMXEFMPMX]JSVHVMROMRKSJXLI[MRISVWTMVMX8LI&Y]IVQYWX FIE[EVISJXLIVMWOXLEXXLIXEWXISJE[MRISVWTMVMXQE]FIEPXIVIHHYIXSJEGXSVWWYGLEWEKI WXSVEKIGSRHMXMSRWS\MHEXMSRIXG 13. COPYRIGHT '%0XHWLEPPS[RXLIGST]VMKLXSREPPMQEKIWMPPYWXVEXMSRWERH[VMXXIRQEXIVMEPTVSHYGIHF] SVJSV'%0XHVIPEXMRKXSE0SXMRGPYHMRKGEXEPSKYIGSRXIRXW7YGLGST]VMKLXWLEPPVIQEMREX EPP XMQIW XLI TVSTIVX] SJ '% 0XH 2IMXLIV XLI &Y]IV RSV ER]SRI IPWI WLEPP YWI XLI EFSZI QIRXMSRIHQEXIVMEPW[MXLSYXXLITVMSV[VMXXIRGSRWIRXSJ'%0XH 7SQI0SXWQE]FIWYFNIGXXSGST]VMKLXTVSXIGXMSR'%0XHHSIWRSXKYEVERXIIWEMH0SXWEVI JVIIXLIVISJ 14. DATA PROTECTION 8LI&Y]IVEKVIIWXLEXTIVWSREPMRJSVQEXMSRXVERWQMXXIHXS'%0XHQE]FIHMWGPSWIHI\GPYWMZIP] JSVXLITYVTSWIWSJFYWMRIWWSVEWVIUYMVIHF]0E['%0XHWLEPPRSXYWITIVWSREPMRJSVQEXMSR JSVER]SXLIVTYVTSWI[MXLSYXXLI&Y]IV´WTVMSVGSRWIRX '%0XHRIZIVWIPPPIRHSVXVEHIMRTIVWSREPHEXETVSZMHIHF]ER]&MHHIV 15. SEVERABILITY ;LIRIZIVERHXSXLII\XIRXXLEXER]TVSZMWMSRWSJXLIWIXIVQW[SYPHSVQMKLXGSRXVEZIRI XLITVSZMWMSRSJER]VIPIZERXPIKMWPEXMSRWYGLTVSZMWMSRMWXSXEOIIJJIGXSRP]MRWSJEVEWMXQE] HSWS[MXLSYXGSRXVEZIRMRKWYGLPIKMWPEXMSRERHXLIPIKEPMX]ZEPMHMX]ERHIRJSVGIEFMPMX]SJER]SJ XLIVIQEMRMRKTVSZMWMSRWEVIRSXMRER][E]XSFIEJJIGXIHSVMQTEMVIHEWEVIWYPX 16. AMENDMENTS 8LIGYVVIRX8IVQWERH'SRHMXMSRWQE]FIEQIRHIHZIVFEPP]SVMR[VMXMRKTVMSVXSXLIWEPI 17. LAW AND JURISDICTION 8LI VMKLXW ERH SFPMKEXMSRW SJ XLI TEVXMIW [MXL VIWTIGX XS XLIWI 'SRHMXMSRW SJ 7EPI ERH XLI GSRHYGXSJXLIEYGXMSRERHER]QEXXIVWVIPEXIHXSER]SJXLIJSVIKSMRKWLEPPFIKSZIVRIHF] ERHMRXIVTVIXIHMREGGSVHERGI[MXLXLI0E[SJ)RKPERHERH;EPIW *SVXLIFIRI½XSJ'%0XHEPPFMHHIVWERHWIPPIVWEKVIIXLEXXLI'SYVXWSJ)RKPERHEVIXSLEZI I\GPYWMZINYVMWHMGXMSRXSWIXXPIEPPHMWTYXIWEVMWMRKMRGSRRIGXMSR[MXLEPPEWTIGXWSJEPPQEXXIVW SVXVERWEGXMSRWXS[LMGLXLIWI'SRHMXMSRWSJ7EPIERH%YXLSVWLMT[EVVERX]VIPEXISVETTP] %PPTEVXMIWEKVIIXLEX'%0XHWLEPPVIXEMRXLIVMKLXXSFVMRKTVSGIIHMRKWMRER]GSYVXSXLIVXLER XLI'SYVXWSJ)RKPERH


Index To Artists B Bone, Henry Bowring, Joseph British School Buck, Frederick Bull, Richard Burch, Edward Burch, Henry

118 57 110 112 26, 52, 66 133 91

C Canevari, Giovanni Battista 150 Carwardine, Penelope 9 Chesters, S. 159 Chinnery, George 62, 63 Collins, Samuel 12, 69, 71, 73, 75, 77, 78, 79, 80, 81, 148 Cosway, Richard 34, 132 Crosse, Richard 25, 27 D Daniel, Abraham Dixon, Nicholas Douglas, William

38, 39, 134 124 140

E EM 157 EMP 155 Edridge, Henry, Attributed to 42 Edwards, Mrs Inez Stanley 153 Engleheart, George 43, 44, 45, 128, 135 Engleheart, John Cox Dillman 120 English School 2, 21, 106, 109, 111, 116, 119, 144, 146, 154, 156 F Ferriere, François Finucane, Mathias Ford, William Bishop Forrest, Charles Forster, Thomas French School Frye, Thomas

46 59 121 20 10 151 130

G Gallaway, Alexander Grimaldi, William

105 37

H Hamilton, Gustavus 16 Hardy, Charles 114 Hayter, Charles 96 Hazlehurst, Thomas 51, 54 Hilliard, Laurence 122 Hobday, William Armfield 88 Hone, Horace 31, 32, 33, 35, 36, 41 Hone, Nathaniel 3, 22 Hughes, Edward Robert 143 I Irish School

60, 68, 107, 108

J Jacob, Henry Burch Jagger, Charles John, William Thompson Johnson, Cornelius, Circle of Jukes, John

65 98, 99 72 145 113

L Le Hardy, Thomas Lens, Bernard, the Third Lethbridge, Walter Stephens Lingwood, Mildred

138 8 115 141

M Macleay, Kenneth Manini, Gaetano Massey, Gertrude Mee, Mrs Anne Mee, Mrs Anne, née Foldstone Meyer, Jeremiah Miles, Edward Montaut, Gabriel N Newton, Sir William John

R Redmond, Thomas 15 Reily, James 24 Richmond, Thomas 61, 64 Robertson, Andrew 139 Robertson, Charles 40, 49, 53, 56, 58 Robertson, Charles, Attributed to 102 Robertson, Walter 117 Roch, Sampson Towgood 70, 74 Roche, Sampson Towgood 67, 95, 97 Rouquet, Jean André 5 Russian School 47, 152

158 127 142 129 89 18 131 48

137

P Paillou, Peter, Junior 101, 103 Petitot, Jean, the Younger 1, 125 Place, George 55, 76, 92, 93 Plimer, Andrew 82, 83, 85, 136 Plimer, Andrew, Manner of 86 Plimer, Nathaniel 50

S Saunders, Joseph Scouler, James Shelley, Samuel Singleton, William Slous, Gideon Smart, John Snelling, Matthew Spencer, Gervase Spicer, Henry Stump, Samuel John

104 7, 11 28, 29, 30 23 100 17, 147 123 13 6 149

T Thicke, William Tuvin, John

94 19

V Vaughan, Edward

14

W Wood, William Wood, William, Attributed to

84, 90 87

Z Zincke, Christian Friedrich

4, 126


Glossary of Picture Cataloguing Terms Any Statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserve the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. 1.

JMW Turner: In our opinion a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2.

Attributed to JMW Turner: In our opinion probably a work by the artist, but less certainly as to the authorship expressed than in the preceding category.

3.

Studio of JMW Turner: In our opinion probably a work by an unknown hand in the studio of the artist, which may or may not have been executed under the artist’s direction.

4.

Circle of JMW <]ZVMZ"1VW]ZWXQVQWVI_WZSJaIVI[aM\]VQLMV\QÅMLJ]\LQ[\QVK\PIVLKTW[MTaI[[WKQI\ML with the named artist and of the period, but not necessarily his pupil.

5.

Style of…; Follower of JMW Turner: In our opinion a work by a painter working in the artist’s style, but not necessarily his pupil.

6.

Manner of JMW Turner: In our opinion a work in the style of the artist and of a later date.

7.

After JMW Turner: In our opinion a copy (of any date) of a known work of the artist.

8.

The term ‘signed’ and/or ‘dated’ and/or ‘inscribed’ means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9.

The term ‘with signature’ and/or ‘with date’ and/or ‘with inscription’ means that in our opinion the signature and/or date and/or inscription have been added by another hand than that of the artist.

10. Dimensions are given height before width. 11. Pictures are framed unless otherwise stated.


Old Master Paintings & Drawings 8YIWHE]1EVGLTQ

789(-33*,%276388)2,%11)6

192-',%9+7&96+ Diana and Actaeo £6,000 - 8,000 Enquiries PEIXMXMEQEWWSR$GLMW[MGOEYGXMSRWGSYO


British & European Fine Art 8YIWHE]1EVGLTQ

*)62%2(83977%-28 &)0+-%2¯ In the garden Â&#x2020; Enquiries WY^ERRI^EGO$GLMW[MGOEYGXMSRWGSYO


Modern & Post-War British Art 8YIWHE]%TVMPTQ

8311)66-*-)0( & Dance feeling Â&#x2020; Enquiries OVEWWMOYRIZE$GLMW[MGOEYGXMSRWGSYO


Paintings & Fine Art Department

%9'8-32'%0)2(%6

Suzanne Zack ,IEHSJ7EPI British & European Fine Art & Portrait Miniatures WY^ERRI^EGO$GLMW[MGOEYGXMSRWGSYO

Adrian Biddell ,IEHSJ(ITEVXQIRX Paintings & Fine Art EHVMERFMHHIPP$GLMW[MGOEYGXMSRWGSYO

MARCH

26

.3,21%68-2 &6-8-7, Ariadne with a lyre looking out to sea £5,000- 7,000

Thursday

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To be included in British & European Fine Art 17 March 2020

Lot 1- 600 Laetitia Masson %GXMRK,IEHSJ7EPI Old Master Paintings PEIXMXMEQEWWSR$GLMW[MGOEYGXMSRWGSYO

Krassi Kuneva ,IEHSJ7EPI Modern & Post-War British Art OVEWWMOYRIZE$GLMW[MGOEYGXMSRWGSYO

Online Bidding

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Luke Price Specialist Paintings & Fine Art PYOITVMGI$GLMW[MGOEYGXMSRWGSYO

1EHIPIMRI;LMXI (ITEVXQIRX'SSVHMREXSV Paintings & Fine Art QEHIPIMRI[LMXI$GLMW[MGOEYGXMSRWGSYO

Chiswick 7EPIVSSQ:MI[MRKW :EPYEXMSRW 'SPZMPPI6SEH0SRHSR;&0 +44 (0)20 8992 4442

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General Enquiries MRJS$GLMW[MGOEYGXMSRWGSYO +44 (0)20 8992 4442 chiswickauctions.co.uk

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31

Tuesday

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Vendor Accounts LEVQMRHIVOIERI$GLMW[MGOEYGXMSRWGSYO Buyer Accounts QIPSRIMPP$GLMW[MGOEYGXMSRWGSYO

Please note that auction dates are subject to change.


Fine Portrait Miniatures including The Comerford Collection 25 March 2020

Fine Portrait Miniatures including The Comerford Collection London, 25 March 2020

Profile for Chiswick Auctions

Chiswick-Auctions -Portrait-Miniatures-The-Comerford-Collection- March 2020  

Chiswick-Auctions -Portrait-Miniatures-The-Comerford-Collection- March 2020