The Forbes Collection at Old Battersea House

EDINBURGH The Forbes Collection at Old Battersea House

Tuesday 1st November 2011 33 Broughton Place Edinburgh

The Forbes Collection at Old Battersea House

The Forbes Collection at Old Battersea House To be sold by auction at 33 Broughton Place, Edinburgh EH1 3RR Tuesday 1st November 2011 at 11am Viewing See detailed arrangements on page 5 Specialists Paintings Nick Curnow Charlotte Riordan European and Asian Ceramics Campbell Armour Rugs and Carpets Gavin Strang Works of Art, Clocks and Furniture Lee Young Douglas Girton ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com Sale Number LT338 Catalogue: £15

BUYER’S PREMIUM 25% up to £25,000 20% thereafter.

VAT will be charged on the premium at the rate imposed by law. *20% VAT chargeable on the lot itself †5% import VAT on the lot §Droit de Suite (artists’ resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers)

Viewing LONDON

EDINBURGH

At Old Battersea House, Vicarage Crescent, London SW11 3LD

At Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR

Friday 14th October 2011

By appointment

Friday 28th October 2011

10.00 am – 5.00 pm

Saturday 15th October 2011

11am – 5.00pm

Saturday 29th October

11.00 am – 5.00 pm

Sunday 16th October 2011

11am – 5.00pm

Sunday 30th October

11.00 am – 5.00 pm

Monday 31st October 2011

10.00 am – 5.00 pm

Tuesday 1st November 2011

from 9am

To make an appointment to view the sale on Friday 14th October please email info@lyonandturnbull.com or telephone 0131 557 8844 between 8.30am and 5.30pm Monday to Friday.

Telephone at Old Battersea House: 0845 88 22 798 (on viewing days only)

How to get to Old Battersea House L YA RO

VICARAGE CRESCENT LONDON SW11 3LD

(A3212) BANKMENT CHELSEA EM

By Bus

Battersea Bridge

From Battersea Bridge: 10 minutes

V C ICA R ES R A C GE EN T LOMBARD ROAD

’S HILL ST. JOHN

ROAD

YORK ROAD

BATTERSEA PARK ROAD FALCON ROAD

CLAPHAM JUNCTION

E BRIDG

entrance from Vicarage Crescent

On Foot From Clapham Junction: 15 minutes

AD RO

OLD BATTERSEA HOUSE

A RI O CT I V

N IO AT T S

T ALBER

From South Kensington Take the Route Bus 345 from Stop D towards Peckham. Alight at Parkgate Road / Battersea Bridge, and then a 10 minute walk to the house.

AD RO

AD RO

Albert Bridge

GE RID AB

From Clapham Junction Route Bus 170 leaves every 8 minutes from Stop C towards Victoria. Alight at Vicarage Crescent.

WE

OK RO STB

E RS TTE BA

From Victoria Route Bus 170 leaves every 8 minutes from Stop G towards Roehampton/Danebury Avenue. Alight at Vicarage Crescent.

AL IT SP HO

LAVENDER

HILL

5

Important Information Buying at Auction This sale is subject to our standard Terms and Conditions of Sale (see page 294). If you have not bought at auction before we will be delighted to advise you.

Estimates Guide estimates are printed below each lot and do not include the buyer's premium. The sale will be conducted in pounds sterling.

Buyer's Premium For each lot purchased a Buyer's Premium of 25% is payable on the first ÂŁ25,000 of the hammer price, plus 20% of the hammer price thereafter; VAT at the appropriate rate is charged on the premium (see our standard Terms and Conditions of Sale).

Illustrations Images of all lots in this sale are available for viewing in the online version of this catalogue on our website at www.lyonandturnbull.com Damage and Restoration Occasionally when a lot has suffered extensive damage and/or restoration it is indicated in the catalogue. This is mentioned entirely at our discretion for the benefit of buyers. Where there is no mention of damage and/or restoration this should not be taken to mean that there is none. It is the buyer's responsibility to ensure that the condition of lots is to their satisfaction (see our standard Terms and Conditions of Sale and Condition Reports below).

Condition Reports If potential buyers are unable to inspect lots in person our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as is possible. These are for guidance only and all lots are sold 'as found' (see our standard Terms and Conditions of Sale).

Electrical and Mechanical Goods All electrical and mechanical goods are offered for sale for decorative, display or historical purposes only and should not be assumed to be operative. They may not comply with current regulations and it is essential that they are checked and approved by a qualified electrician prior to any intended use.

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Bidding In Person To bid at the sale all potential buyers must be registered with us on or before the day of sale. To avoid long queues, we strongly recommend that you register prior to the day of sale.

We will need proof of identification and residence, and may require a bank reference. Potential buyers must collect a bidding number paddle before the sale begins, and show that number if successful in purchasing a lot. Please ensure that the auctioneer repeats the number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer's attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable. If you have purchased a lot you may take your paddle to the accounts department and receive an invoice immediately. If you have not been successful please leave the paddle at the Registration or Reception desks.

In writing Bid forms are available during the view and at the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the top limit indicated. Lots will always be bought as cheaply as is consistent with other bids and reserves. In the event of receiving two identical bids the first one received will take precedence. They must be received at the very latest at least an hour before the sale. We will do our utmost to execute these bids but we offer this service entirely at the bidder's risk.

Absentee Bids submitted by telephone must be confirmed in writing.

By telephone If you are unable to attend the sale we can normally arrange for you to bid on the telephone. It is assumed that anyone wishing to bid by telephone will be prepared to pay the top estimate or higher; otherwise please bid in person or in writing. For lots with a bottom estimate below ÂŁ500 we would encourage you to leave an absentee bid instead. Applications to bid on the telephone must be received no later than 5pm on the day prior to the sale. Please book early to avoid disappointment. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate phone number to be called. We recommend that a maximum covering bid is also left in the event that we are unable to reach you by telephone. This service is available entirely at our discretion and at the bidder's risk. We cannot guarantee that lines will be

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities.

Cheques drawn by third parties cannot be accepted. If sending payment by post please include the slip from your invoice.

Online The sale will be running in real time at lyonandturnbull.com.

You can browse the catalogue on our site, register, leave commission bids and even follow the auction and bid in real time over the internet. For further information please visit www.lyonandturnbull.com

Debit or Credit Cards Payment can be made by Switch/Maestro, Mastercard or Visa credit or debit cards. There is a 2% surcharge on credit card payments.

Methods of Payment Goods purchased will not be released until we have received full settlement in cleared funds. We highly recommend that settlement by cheque is cleared in advance.

Cheque Cheques should be made payable to 'Lyon and Turnbull Ltd.'.

We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods. Cheques can be cleared prior to the sale on request. Paying by a cheque which has not been cleared may result in the lots going to storage.

Collection All purchased lots must be paid for and collected no later than 12 noon on Tuesday 8th November 2011. After that time, all lots not collected will be removed to storage and a charge levied (see Removals and Storage).

Removals and Storage All purchased lots not collected by 12 noon on Tuesday 8th November 2011, will be removed to store: Removal and storage for uncollected lots will be charged at the following rates (all subject to VAT at the current rate) Small Medium Large Storage cost per lot per day 4.00 6.00 10.00

Acknowledgements Old Battersea House has a remarkable history, extending over four centuries, and as every auctioneer knows the sale of the contents of such a special place brings pleasure and challenges in equal measure. The pleasures are apparent from the catalogue that you have in your hands. The challenges of cataloguing such a collection became a pleasure once we were exposed to the extraordinary scholarship of Mr Christopher 'Kip' Forbes, whose vision and enthusiasm have formed this collection. Together with his curatorial team in New York, namely Bonnie Kirschstein and Elizabeth Marwell, who made their extensive and comprehensive archive of the collection available to us, we have found the whole process a both fascinating and rewarding.

Over the years the famous Forbes hospitality was warmly extended to guests by Trish McCaldin, whose excellent cuisine we have much enjoyed, and her amanuensis Dee Marks, with her inexhaustable teapot and biscuit tin! A special mention in despatches must be extended to Simon Edsor at The Fine Art Society, who has curated the contents of the house from the beginning. His scholarship and knowledge of the Collection and his infinite patience with the myriad demands placed upon him

by Lyon & Turnbull throughout the creation of this catalogue have been invaluable.

Paul Roberts, Vice-Chairman, Lyon & Turnbull, September 2011

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Reminiscences of a Curator

F

and occasional truck driver, valuer, adviser, friend and much more.

The wonderful relationship with the Forbes family, only two generations then, resulted in that young man by turns becoming installer, auction agent, conservation consultant, tour guide, shipping agent

The indescribable pleasure of vicariously helping to create a collection over several decades, to have some influence and considerable hands-on involvement, to see and to oversee the changes, to manage acquisitions and (thank you Thomas Hoving) de-acquisitions, and to be paid to do this, cannot be explained to someone who has never experienced it.

And unless your profession brings you into contact with people who contract a grand and never-ending passion for things: be it art, books, wine, houses or even (heaven forbid) horses, you are unlikely ever to

ORTY YEARS AGO a young man was despatched to hang some paintings for an American client in his newly restored William & Mary home in, of all places, Battersea. Some of the pictures being large, the young man's supplies limited, and builders still present, one particular work was hung on 6 inch nails driven into 17th century panelling, remaining thus supported for a decade. Forty years on a much older man is still embarrassed by that memory.

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The Forbes Collection at Old Battersea House

encounter this particular pleasure, and I feel sorry for you.

The Forbes family have always believed in sharing their collections and their houses. Times without number exhibitions of thirty, forty or more paintings would travel the world giving enjoyment and learning to others. This consequently gave rise to wholesale changes about the house: when thirty pictures leave, then perhaps two hundred move around like musical chairs. Then, when the travellers returned, they would encounter new friends that had been acquired during their long absences, and the process would begin all over again.

As the fame of the Collection, and of the House, spread more and more, organisations and groups would ask to see them. Again, with natural generosity, the family would agree; sometimes groups of eighty or more would be greeted several times a week by a multi-tasking wine waiter, architectural historian, aesthetic guide and fantasist, ghost hunter and purveyor of gossip, and occasional bore who would then spot the Administrator, the wonderful Trish McCaldin who won’t thank me for recording that she has run the House for as long as I have been caring for the Collection, in the back of the throng furiously pointing at her watch!

Like all worthwhile collections, with all their diversions and occasional cul-de-sacs, nothing like Old Battersea House can be created quickly with just the battering ram of wealth. The keen eye with which the late Malcolm Forbes and his son Christopher have guided the House and the Collection through forty years has, in my experience, been unparalleled no Croesus could have done better. It requires a single-minded obsessiveness and a willingness to take chances, to stretch occasionally limited resources, to know when to take advice and when to ignore it (mine) but most of all, to trust your own instincts.

It is nearly impossible to light upon personal favourites among so many wonderful things: as an icon I should record that now-well-known image by Charles Burton Barber of the widowed Queen Victoria seated on her patient pony and attended by the faithful John Brown before Balmoral Castle; a historical footnote of the greatest interest now spread widely through the agency of Dame Judi Dench and Billy Connolly. And from all the small jewels I have to remark upon the lovely little Abraham Solomon painting of The Lion in Love - a finished sketch for a painting of an elderly general apparently wooing a young woman, that was a cause célèbre in 1862 when the respected Art Journal suggested that “we candidly admit our regret seeing this picture, and still more … circulated over the country!”

That young man has, extraordinarily, become a pensioner, so you could say that this sale comes at an appropriate time. A time when we should think a little less of ourselves, and rather more of our families and grandchildren, it is a fine impetus for such a grand event. But I will miss it all: every room, every picture, sculpture, object and stick of furniture. The champagne, the vodka and grapefruit juice, the dinners, the company of old friends, the music and dancing. But the pleasure that others will take from all this in the future should be recompense enough for Kip Forbes, for the shade of his Father and for me.

Simon Edsor, Battersea October 2011.

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Lot 147: SIR GEORGE HAYTER (BRITISH 1792-1871) Full Length Portrait of Queen Victoria in Coronation Robes Oil on canvas

The Cult of Queen Victoria ''She has been a very great woman. Just think of it: she remembers George III, and now we are in the Twentieth Century [‌] I have never been with her without feeling that she was in every sense my Grandmama and made her love me as such. And yet the minute we began to talk about political things she made me feel we were equals and could speak as Sovereigns. Nobody had such power as she.� 1

T

HUS SPOKE Kaiser Wilhelm II upon the death of the woman who was not only the grandmother who had died in the German Emperor's arms, but also, as Queen of the United Kingdom, and later Empress of India, head of state to millions of subjects in an Empire spanning the globe. Reigning for sixty-three years and seven months, she is to date Britain's longest-serving monarch, having ascended the throne at the age of just eighteen, and would, during the course of her long life, embody the continuity of history to a country experiencing profound technological, socioeconomic, and political change. These seismic shifts in society would see, by the end of her reign and that of her immediate successors, the gradual erosion of the real power of the monarchy. Conversely, however, the coming of the railway age and the growth of methods of mass communication would ensure that Victoria, her image perpetuated among her many subjects, would end her reign beloved and respected as few monarchs before or since have been.

The strength of the Forbes Collection lies in its breadth, representing every aspect of this multifaceted monarch, from the carefully controlled official images commemorating key moments in her reign, such as her coronation, marriage, and lying in state, to objects which provide a more intimate insight into the life of Victoria and her family, from her (very intimate!) personal effects, to her own artistic endeavours and those of her young children. Originally an offshoot of Christopher

1Bell, G. K. A., Randall Davidson, Archbishop of Canterbury. London, 1952, pp. 353-4, quoted in Hibbert, C., Queen Victoria: A Personal History, London, 2000.

Lot 204: HENRY CAMPOTOSTO (BELGIAN 1833-1910) The Apotheosis of Queen Victoria Signed oil on panel

Forbes' passion for great nineteenth-century narrative painting, this collection of royal ephemera was at first confined to the north-west bedroom of Old Battersea House (thereafter known as the 'State Room'), but, as with all collections, would gradually expand throughout the house, commemorating not only 'the Grandmother of Europe', but also those descendants who, through her careful management of dynastic ties through marriage, would populate the ruling houses of Europe, and play critical roles in the course of the brutal century that followed her death.

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The Forbes Collection at Old Battersea House

The Royal Portrait From Elizabeth I's usurpation of the cult of the Virgin Mary, to Louis XIV's Apollonian persona of the Sun-King, the royal portrait has for centuries served not only to preserve the likeness of the monarch for posterity, but also as a symbolic representation of, and tool to perpetuate, their political power. A wise monarch would carefully control the dissemination of their image, approving official portraits which would serve as prototypes for the many copies demanded by subjects keen to display their loyalty to the throne by proudly displaying their likeness in picture-galleries throughout the land. As a monarch, Queen Victoria was no exception to this policy, as her diaries and letters attest, taking a keen interest in the composition and execution of her portraits. Yet technological innovations, such as the

invention of steel-engraving, photography, and the growth of daily, affordable newspapers ensured that her image could be shared not only with foreign monarchs and wealthy courtiers in the form of pictorial reproductions in oil, but also with the nation as a whole though engravings, such as the extremely popular coronation portrait by Alfred Edward Chalon (such was the effectiveness of this image that it was chosen as the model for the Queen's image on postage-stamps throughout her Empire, which became popularly known as 'Chalons').

In addition to being the first truly visually accessible monarch, through her official portraits and also literary publications, Victoria also indelibly altered the image of the British monarchy from that of her aloof and aristocratic forebears, to a more popular, familyorientated and morally upright middle-class image in keeping with the growing importance of the bourgeoisie in British society. Portraits of the Queen and her children would serve not only to stress the dynastic strength of the monarchy, but also cast her in the role of mother to the nation as a whole. Similarly, while joint portraits with her consort Prince Albert were careful to observe her precedence as a ruling monarch, the image of Victoria as faithful spouse also served as an example to her subjects (in direct contrast to the scandal generated by the life of her less respectable, and infinitely less popular predecessor, George IV). Key to Victoria's success as an image-maker was her ability, however, to adapt a representational vocabulary in keeping with the existing traditions of the diverse components of her Empire. In Scotland, for example, she and her consort, Prince Albert, would adopt highland dress, and she was careful to emphasise her descent from both her Stuart and Hanoverian ancestors, while in India representations of the monarch would respond to local identifications of royal power with regal splendour, as in her imposing monument in Bombay.

The Private Queen

Lot 18: BENJAMIN ROBERT HAYDON (BRITISH 1786-1846) Queen Victoria and Prince Albert as Highland Lovers Oil on canvas

12

Alongside the official image of the monarch in the works of Hayter, Chalon, and Winterhalter, the Collection also offers a more personal insight into the life of this

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The Forbes Collection at Old Battersea House

extraordinary sovereign. While posterity has ensured that the most enduring image of the queen is that of a serious, mature monarch (as in Baron von Angeli's representation), Haydon's portrayal of the barefoot Victoria and her husband Albert as highland lovers offers a less formal glimpse into an intense and enduring love affair which would in later life develop into the obsession of grief, while Charles Burton Barber's portrait of Queen Victoria and her loyal servant John Brown celebrates a friendship whose exact nature continues to fascinate and intrigue.

In addition to her awareness of the political potential of art, Victoria was a keen collector and artist. A touching commission from Landseer (an artist favoured for his ability not only as a painter of animals, but also in capturing a relaxed likeness of the Queen and her family) is the group study of her favourite pets, the dogs Hector, Nero, and Dash, and parrot Lory, perfectly capturing the distinct personality of each, while a further insight into Victoria's personal artistic interests is offered by her copy of Philipp von Foltz's Tyrolese Woman and Child, executed with her husband, Prince Albert. It is a moving symbol of the shared passion and collaboration of their marriage, tragically brought to a close with the latter's untimely death at the age of fortytwo.

Victoria's artistic talents were nurtured from the early age of eight, under the tutelage of William Westall, and later George Hayter. As Queen, she would seize the opportunity presented by portrait and other commissions to study with the great masters whose work she admired, including Sir Edwin Landseer, Edward Lear and Franz Xaver Winterhalter. As she became a mother, Victoria took pains to ensure that her children also received an artistic education, and her talents were inherited and exceeded by her eldest daughter Victoria, the Princess Royal (later Empress of Germany), who studied under Edward Corbould between 1852 and 1858, when she married Prince Frederick William of Prussia. Unfortunately, political differences ensured that relations with her eldest son, Wilhelm, were often strained, yet throughout her life she remained an enthusiastic artist and patron of the arts.

Lot 208 QUEEN VICTORIA (BRITISH 1819-1901) AND PRINCE ALBERT (GERMAN/BRITISH 1819-1861) AFTER PHILIPP VON FOLTZ Tyrolese Woman and Child Oil on canvas

While her immediate successor, Edward VII, would return to a formal, authoritative prototype in his coronation portrait, Victoria had, by offering an insight into the life of the Royal Family, begun an irreversible process which would gather momentum throughout the twentieth century, during which the real political power of the monarchy may have waned and opinions divided, yet our enduring fascination remains. Both as symbols of historical continuity and individuals of real passions and absorbing lives, the lasting influence that Victoria and her descendants exert on our imagination is attested to by the success of recent films and works of literature, and as a private collection the works of Old Battersea House and the Forbes Collection offer a rare opportunity to experience and understand both the public and private facets of a great monarch, and a defining epoch in world history.

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savills.co.uk

B QJFDF PG FOHMJTI IJTUPSZ PWFSMPPLJOH UIF UIBNFT cbuufstfb- mpoepo tx22 Drawing room dining room morning room study breakfast room kitchen 10 double bedrooms 8 bathrooms (3 en suite) cellars utility room garage gated parking for a number of cars large west facing garden 10,100 sq ft of accommodation

Freehold Price on Application

Savills London Robin Chatwin rchatwin@savills.com

020 8877 1222

Order of Sale LOTS

1-33

HALL

34-61

LIBRARY

62-122

DRAWING ROOM

123-166

GARDEN ROOM

167-214

DINING ROOM

215-223

BREAKFAST ROOM

224-277

MAIN STAIRCASE AND FIRST FLOOR LANDING

278-303

THE NEST

304-331

BLUE BEDROOM

332-357

MASTER BEDROOM

358-390

BLACK BEDROOM

391-436

STATE BEDROOM

437-459

BACK STAIRCASE

460-469

SECOND FLOOR LANDING

470-473

MACKINTOSH ROOM

474-482

ROSES ROOM

483-490

BERRY ROOM

492-295

SECOND FLOOR BATHROOM

496-508

STAIRCASE TO FIRST FLOOR

Please note that damage and/or restoration is indicated in catalogue at our discretion. We are pleased to provide condition reports on all lots for those who cannot view in person.

INTERNET SERVICE: For colour illustrations of all lots in this sale please visit our website at www.lyonandturnbull.com

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Hall

1 FB700/216 REGENCY MAHOGANY AND UPHOLSTERED PORTER’S CHAIR CIRCA 1800 the domed canopy upholstered in close-nailed buttoned tan suede, a deep drawer to the frieze, on original brass castors 80cm (31.5in) wide, 167.5cm (66in) high, 75cm (29.5in) deep approx

£3,000-4,000

$4,800-6,400

2 FB700/217 GEORGE II BLACK AND GILT LACQUER LONGCASE CLOCK EDWARD HOW, HOLFORD, MID 18TH CENTURY the silvered arched moonphase dial inscribed ‘How/ Holford’, with subsidiary second dial and an eight day bell striking movement, the case with chinoiserie decoration throughout, raised on a moulded plinth base 46cm (18.1in) wide, 217cm (85.4in) high, 24cm (9.4in) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 41.

£2,000-3,000

20

$3,200-4,800

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The Forbes Collection at Old Battersea House

3 FB700/220 PAIR OF GEORGE II IRISH MAHOGANY SIDE CHAIRS CIRCA 1750 AND LATER each with the arched top rail above vase-shaped splat carved with swagged stiff leaves, the solid bowed seat above a foliate-carved apron and shell-carved cabriole legs ending in pad feet (2) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 41.

£2,000-3,000

$3,200-4,800

4 FB700/218 GEORGE III PANELLED OAK MULE CHEST CIRCA 1760 the hinged rectangular top with moulded edge above a fielded panelled front, with two short drawers below and raised on stile feet 124.5cm (49in) wide, 80cm (31.5in) high, 54cm (21.3in) deep

£1,000-1,500

$1,600-2,400

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The Forbes Collection at Old Battersea House

5 EARLY 18TH CENTURY STYLE CREAM-PAINTED AND PARCELGILT PIER TABLE CIRCA 1900 the rectangular faux-marble top above a moulded frieze with ribbon and flowerhead beading, the shaped apron centred by a shell and flanked by acanthus leaves, upon leaf-capped cabriole legs with paw feet 216cm (85in) wide, 86cm (33.9) high, 76cm (29.9in) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£3,000-5,000

6 FB700/225A TÔLE PEINTE METAL STICK STAND OF RECENT MANUFACTURE the openwork cylindrical stand painted with brightly coloured flowers and foliage 50cm (19.7in) high

£80-120

$130-200

7 FB700/289E GEORGE III STYLE CARVED GILTWOOD AND GESSO OVAL WALL MIRROR LATE 19TH/EARLY 20TH CENTURY the oval bevelled plate within eight margin plates divided by vacant cartouche mouldings and a gadrooned frame 66cm (26in) wide, 87cm (34.3in) high

£300-500

22

$480-800

$4,800-8,000

8 FB700/225B TWO PAIRS OF RED VELVET CURTAINS OF RECENT MANUFACTURE one pair with conforming tassled tie-backs (4)

9 FB700/225C GLAZED EARTHENWARE TABLE LAMP OF RECENT MANUFACTURE covered with an ochre glaze, with pleated silk shade

Drops 320cm (125in), and

80cm (31.5in) high (including

220cm (86.6in) approx

shade)

£200-300

$320-480

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 41.

£40-60

$65-100

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The Forbes Collection at Old Battersea House

10 FB700/224 PAIR OF SILVERED-METAL EIGHTBRANCH CHANDELIERS ELKINGTON & CO., CIRCA 1900 in the Louis XV style, each with baluster shaft with triple putti mounts and issuing eight scroll branches with circular drip-pans, externally wired for electricity, hung as a single chandelier divided by chain suspension, 59cm high; also a SIMILAR PAIR OF SILVEREDMETAL TWIN-BRANCH WALL LIGHTS, the baluster back-plates with cherubim mask mounts, issuing two scroll branches with foliate circular drip-pans, internally wired for electricity, 30cm high (4) Note: These models are cast after a design by William Kent for Knole House, Kent. George Richards Elkington and Henry Elkington were the originators of silver-plating and by the 1830s they had patented the processes. The Directory of Gold and Silversmiths states that “Elkington Electroplate was soon accepted with the result that the firm allowed a number of manufacturers to use the technique under licence.” In 1868, Queen Victoria permitted much of the royal plate to be copied by Elkington’s and after that a convention was entered into by noble families in Britain and Europe whereby they agreed to allow the company to copy objects in their possession.

See lot 187 for companion double-tier chandelier.

£3,000-5,000

$4,800-8,000 23

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11 FB700/219 FINE SOUTH GERMAN LIMEWOOD MODEL OF A NEO-CLASSICAL PALACE

BY C. HERMAN BRUCKNER (1872-1912), LATE 19TH CENTURY the central segmented arch ornamented with quoins and rosettes, the dentil cornice and pilasters supporting a fretted balcony flanked by three windows with swagged sills and festooned pilasters, the second and third floors united by twelve fluted

Corinthian columns, each surmounted by an indented cornice applied with rosettes and lion’s mask motifs, the principal floor with a fretwork balcony and two rows of windows, the central three surmounted by a Neoclassical urn, the central triangular pediment decorated with palm fronds, rosettes and central timepiece, the pediment decorated with a band of scrolling leaves and

surmounted by angels raised on festooned plinths, the ridge with two winged victories holding laurel wreaths; along with approximately thirty-one carved figures of mounted soldiers, standing guards, dogs and the proprietor of the house with his family and his servants (qty) 124cm (48.8in) wide, 111cm (43.7in) high, 39cm (15.4in) deep

Provenance: Mr. & Mrs. Henry Spermon Christie’s New York, lot 217, 3rd February 1979 Literature: Skipwith, Peyton, “A Tale of Two Cities”, The Connoisseur, December 1981, illus. page 288 Malcolm S. Forbes, More than I Dreamed: A Lifetime of Collecting, Simon and Schuster, New York, 1989, pp. 178-179 Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, Vol. 279, No.7099, pp.37-42.

American Artist, January 2005, illus p. 22

£15,000-20,000 $24,000-32,000

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12 FB700/225 FINE FLEMISH LIMEWOOD HIGH-RELIEF CARVED PLAQUE 19TH CENTURY depicting an uprising in a townscape, within ripple moulded frame 95cm (37.4in) wide, 83cm (32.6in) high (including frame)

£3,000-5,000

$4,800-8,000

13 FB700/223 VICTORIAN MAHOGANY AND UPHOLSTERED SIDE CHAIR CIRCA 1880 the arched back and serpentine seat upholstered in close-nailed olive green leather upon turned tapering legs with brass cappings and castors £400-600

14 FB700/221 GEORGE III BLACK AND GILT JAPANNED CHEST MID 18TH CENTURY with allover chinoiserie decoration, the domed hinged lid applied with shell clasps opening to reveal a plain interior, the angles with brass strapwork clasps upon a panelled plinth 128cm (50.4in) wide, 69cm (27.2in) high, 56cm (22in) deep

£2,000-3,000

26

$3,200-4,800

$640-960

LY O N & T U R N B U L L

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15 FB700/358 MATTHEW NOBLE (BRITISH 1817-1876) BUST OF ALEXANDRA, PRINCESS OF WALES Marble, signed and dated ‘M. Noble Sc. London 1866’ 76cm (30in) high Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£2,000-3,000

$3,200-4,800

16 FB700/359 COUNTESS FEODORA VON GLEICHEN (BRITISH 1861-1922) BUST OF EDWARD ALBERT, PRINCE OF WALES AS PRESIDENT OF THE ROYAL COLONIAL INSTITUTE Marble, initialled and dated 1886, inscribed on front of socle ‘H.R.H. / The Prince of Wales / K.G. / President of the Royal / Colonial Institute/ 1886’, and raised on waisted marble socle and associated ebonised plinth Bust 64cm (25.2in) high, overall 85cm (33.5in) high

£2,000-3,000

$3,200-4,800

17 FB700/360 MATTHEW NOBLE (BRITISH 1817-1876) BUST OF EDWARD ALBERT, PRINCE OF WALES Marble, signed and dated ‘M. Noble Sc. London 1868’ 80cm (31.5in) high Provenance: The Royal Museum and Library, Larkhill Mansion, Peel Park, Manchester, 1870 Christie, Manson and Woods, London, March 20, 1984, lot 23 Note: Gawsworth Hall, Macclesfield, 11th edition, p. 47, no. 61 illus.

£2,000-3,000

$3,200-4,800

27

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18 FB700/138 BENJAMIN ROBERT HAYDON (BRITISH 1786-1846) QUEEN VICTORIA AND PRINCE ALBERT AS HIGHLAND LOVERS Oil on canvas 180cm x 142cm (70.9in x 55.9in) Provenance: Parke-Bernet, October 12, 1978, lot 133.

Note Known almost as well for his diary and autobiography (key testimonies in the development of English Romanticism) as for his epic historical paintings, Benjamin Robert Haydon's was a life rich in artistic triumph and personal tragedy. A self-styled 'genius' in the Romantic tradition, despite the early success of works exhibited at the Royal Academy (where he undertook his artistic training), he became embroiled in a life-long feud with the institution, into whose ranks he was never admitted. From 1808 Haydon became fascinated with the Elgin Marbles, and adopted their epic scale in his art, working exclusively on a single painting for six years to the exclusion of all other commissions, and his own impoverishment.

The present work, while perhaps less grandiose in scale, combines a

28

sense of the historical with a personal, romantic view of the individual. In it we find an artist's imaginative vision of the head of state of a nation and her consort, their union and dynasty key to the continuing prosperity of their realm not, however, in their robes of state, but in the simple guise of highland lovers. Reminiscent of the novels of Sir Walter Scott, whom both Victoria and Albert admired as children, the painting reminds us of the great passion which existed not only between the young Victoria and her husband (a marriage brought to a tragically early close by the latter's premature death), but also that which the couple held for Scotland, which would endure far beyond their first visit in 1842.

ÂŁ10,000-15,000 $16,000-24,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

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The Forbes Collection at Old Battersea House

19§ FB700/140 JULIAN BARROW (BRITISH b. 1939) BATTERSEA POWER STATION Signed, oil on canvas 30cm x 40cm (11.8in x 15.7in) Provenance: The Fine Art Society, London.

£400-600

$640-960

20 FB700/141 RAMSAY RICHARD REINAGLE (BRITISH 1775-1862) THE THAMES FROM BATTERSEA Oil on panel 27cm x 45cm (10.6in x 17.7in)

£2,000-3,000

21 FB700/144 AFTER WILLIAM BEILBY A VIEW AT BATTERSEA 1784 Aquatint 24cm x 28cm (9.4in x 11in) Provenance: The Fine Art Society, London, August 22, 1985.

£100-150

30

$160-240

22 FB700/142 WALTER GREAVES (BRITISH 1846-1930) OLD BATTERSEA BRIDGE Signed, pen and ink 19cm x 26cm (7.5in x 10.2in)

£400-600

$640-960

$3,200-4,800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

23 FB700/145 KEELEY HALSWELLE (SCOTTISH 1832-1891) THE ROCK OF GIBRALTAR Signed and inscribed, oil on canvas 36cm x 61cm (14.2in x 24in) Exhibited: Distant Prospects and Familiar Shores, Chichester Festivities, The Bishop’s Palace, Chichester, June 30-July 16, 1996, no. 11, illustrated on cover.

£3,000-5,000

$4,800-8,000

24 FB700/143 DANIEL TURNER (BRITISH fl. 1782-1801) A REGATTA AT BATTERSEA Signed, oil on canvas 47cm x 61cm (18.5in x 24in) Provenance: Sotheby’s, London, May 17, 1989, lot 260.

£4,000-6,000

$6,400-9,600

31

32

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25 FB700/146 SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876) THE PENNY BANK Signed and dated 1864, oil on canvas 104cm x 148cm (40.9in x 58.3in) Provenance: Hanover Square Gallery, New York, October 2, 1985.

Exhibited: The Royal Scottish Academy, no. 361, 1864.

Literature: James L. Caw, Scottish Painting Past and Present, 1670-1908, p. 113.

ÂŁ30,000-40,000

$48,000-64,000

33

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26 FB700/148 JAMES SMETHAM (BRITISH 1821-1889) THE ROSE OF DAWN Signed, oil on canvas 61cm x 35cm (24in x 13.8in) Provenance: Edmund Bates, Esq., 1879 Exhibited: Stone Gallery, Newcastle-uponTyne, 1971 Literature: Letters of James Smetham, London, 1891, p. 352.

Malins and Bishops, James Smetham and Francis Danby: Two 19th Century Romantic Painters, (London: Eric & Joan Stevens, 1974), pl. 14.

£4,000-6,000

27 FB700/215A AFTER GEORGE FREDERICK WATTS O.M., R.A. LOVE AND LIFE Mezzotint

28 FB700/215B AFTER DANIEL MACLISE THE PLAY SCENE FROM HAMLET Engraving, arched top

37cm x 20cm (14.5in x 8in) (plate

15.5cm x 28cm (6in x 11in)

size)

plus another 4 prints (5)

plus another, ‘Orpheus and Eurydice’ (2)

£300-500

£300-500

29-30 No lots

34

$480-800

$480-800

$6,400-9,600

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

31 FB700/149 JAMES SMETHAM (BRITISH 1821-1889) CHRIST AT EMMAUS Oil on panel, arched top 50cm x 39cm (19.7in x 15.4in) Provenance: Mr. Winders, 1856 Christie’s, London, December 10, 1963, lot 196.

Charles and Lavinia Handley-Read, London Exhibited: Royal Academy, London, 1852, no.23.

Victorian and Edwardian Decorative Art: The Handley-Read Collection, Diploma Galleries, The Royal Academy of Arts, Piccadilly, March 4April 30, 1972, no.A47, reproduced p.21.

The Paintings Watercolours & Drawings from the Handley-Read Collection, The Fine Art Society, London, 1974, no.74, reproduced.

The Royal Academy (1837-1901) Revisited, Metropolitan Museum of Art, New York, March 11-April 27, 1975; The Art Museum, Princeton University, New Jersey, May 10September 14, 1975; The High Museum of Art, Atlanta, September 27-October 26, 1975; Cincinnati Art Museum, Cincinnati, December 6, 1975-February 1, 1976; The Allen House, Louisville, February 14February 28, 1976, no.62, p.132, reproduced p.133.

The Pre-Raphaelite Era: 1848-1905, Delaware Art Museum, Delaware, April 9-May 30, 1976, no.3-15, p.56, reproduced p.57.

The Art of Seeing: John Ruskin and the Victorian Eye, Phoenix Art Museum, Arizona, May 27-October 10, 1993.

A Brush with the Millennium: Aspects of Christian Art Over Two Centuries, Chichester Festivities, The Bishop’s Palace, Chichester, England, July 7July 23, 2000, no. 5.

Literature: S. Smetham and W. Davies, Letters of James Smetham, London, 1891, p.16.

Christopher Forbes, “Images of Christ in Nineteenth-Century British Paintings in The Forbes Magazine Collection”, The Magazine Antiques, December 2001, vol. CLX, no. 6, pp. 794-803,reproduced, p. 802.

£4,000-6,000

$6,400-9,600 35

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32§ FB700/147 MARIANNE TOPHAM (BRITISH b. 1945) THE DINING ROOM, OLD BATTERSEA HOUSE Signed and dated ‘94, watercolour 35cm x 54cm (13.8in x 21.3in)

and two others by the same hand (3) Provenance: Christopher Wood Gallery, London, December 2, 1994.

Exhibited: Marianne Topham - London Interiors, Christopher Wood Contemporary Art, London, October 18-29, 1994, nos. 24, 26 and 29.

£5,000-8,000

36

$8,000-12,800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

33 FB700/139 AFTER SIR ANTHONY VAN DYCK KING CHARLES I Watercolour 75cm x 51cm (29.5in x 20.1in) Provenance: Christie’s, South Kensington, March 25, 2004, lot 32, reproduced.

£500-800

$800-1,280

37

Library

LY O N & T U R N B U L L

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34 FB700/156 CHARLES ROLT (BRITISH fl. 1845-1867) PROSPERO RELATING HIS HISTORY TO MIRANDA Signed and dated 1857, oil on canvas, arched top 37cm x 28cm (14.5in x 11in) Provenance: The Fine Art Society, London.

Exhibited: Royal Academy, 1857, no. 526.

The Victorian Imagination, The Bunkamura Museum of Art, Bunkamura, Japan, JanuaryFebruary 8, 1998; Shizuoka Prefectural Museum of Art, Shizuoka, Japan, April 11-May 24, 1998; Daimaru Museum Kobe, Kobe, Japan, May 28-June 9, 1998; Tsukuba Museum of Art, Ibaraki, Japan, June 14-July 14, 1998, no. 7, reproduced in colour and black and white.

ÂŁ6,000-8,000

$9,600-12,800

39

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35 FB700/152 AFTER JOHN MARTIN SATAN TEMPTING EVE Oil on canvas 47cm x 67cm (18.5in x 26.4in)

and three others by same hand, illustrations from Paradise Lost (4) Satan Contemplating Adam And Eve In Paradise and Satan Tempting Eve Provenance: Collection of R.T. Laughton Esq., ca.

1970.

Private Collection.

Phillips, London, June 16, 1998, lot 26, reproduced.

Exhibited: Festival of Britain Exhibition, Tyneside’s Contribution to Art, Laing Art Gallery, Newcastle, England, 1951.John Martin Exhibition, Laing

40

Art Gallery, Newcastle, England, October, 1970 Space and Light: Painters’ Perceptions from Turner to Tabner, Chichester Festivities, The Bishop’s Palace, Chichester, England, July 2July 18, 1999, no. 1.

The Conflict Between Satan And Death Provenance: Sotheby Parke-Bernet, London, March 18, 1964, lot 56.

Sotheby’s, London, June 10, 1970, lot 327.

Exhibited: Festival of Britain Exhibition, Tyneside’s Contribution to Art, Laing Art Gallery, Newcastle, England, 1951.

Literature: Thomas Balston, John Martin, 17891854, His Life and Works, 1947, pp.94-105.

Paradise: The Angel Gabriel Approaching Adam And Eve Provenance: Thomas Laughton, brother of Charles Laughton, the actor.

Sotheby’s, London, March 18, 1964, lot 64.

Christie’s, London, November 19, 1970, lot 248.

Exhibited: Festival of Britain Exhibition, Tyneside’s Contribution to Art, Laing Art Gallery, Newcastle, England, 1951.

Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky, August 29November 6, 1988; The Forbes Magazine Galleries, New York, November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens,

Memphis, Tennessee, May 6-June 18, 1989; Birmingham Art Museum, Birmingham, Alabama, July 1August 13, 1989; The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, September 2-October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida, October 28December 10, 1989; The Society of Four Arts, Palm Beach, Florida, January 5-February 4, 1990; Leeds Art Gallery, Leeds, England, June 15-July 29, 1990, no. 44, reproduced.

Literature: Thomas Balston, John Martin, 17891854, His Life and Works, 1947, no.94-105.

£3,000-5,000

$4,800-8,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House 36 FB700/153 PHILLIP WILSON STEER O.M. (BRITISH 1860-1942) THE BLACK DOMINO Signed and dated 1904, oil on canvas 110cm x 76cm (43.25in x 30in) Provenance: George Russell and then by descent.

The Fine Art Society, London, 1968.

The Fine Art Society, London, 1989.

Exhibited: New English Art Club, London, 1904, no. 89.

New English Art Club, Liverpool, April 1905, no. 41.

The Fine Art Society 1968, no. 4, reproduced.

Literature: Bruce Laughton, Philip Wilson Steer 1860-1942, Oxford, 1971.

ÂŁ10,000-15,000 $16,000-24,000

41

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37 FB700/155 FOLLOWER OF SIR WILLIAM ALLAN SIR WALTER SCOTT AT ABBOTSFORD Oil on canvas 45cm x 37cm (17.75in x 14.5in)

£600-900

38 FB700/152A FOLLOWER OF SIR EDWIN LANDSEER R.A. AT THE END OF THE DAY Oil on canvas 76cm x 127cm (30in x 50in)

£400-600

42

$640-960

$960-1,440

LY O N & T U R N B U L L

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39 FB700/154 GOURLAY STEELL R.S.A. (SCOTTISH 1819-1894) THE HUNTERS RETURN Signed and dated 1866, oil on canvas, arched top 122cm x 151cm (48in x 59.5in) Provenance: Sotheby’s, Scone Palace, April 13, 1981, lot 189, reproduced The Fine Art Society, London.

£5,000-8,000

$8,000-12,800

43

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40§ FB700/157 DAVID HEPHER (b. 1935) PECKHAM FLATS Signed and inscribed stretcher verso, oil on canvas 193cm x 275cm (76in x 108.25in) Exhibited: Walker Art Gallery, Liverpool Provenance: Louis K. Meisel Gallery, New York, June 2, 1983.

£3,000-5,000

$4,800-8,000

41§ FB700/157A GRAEME WILLSON (BRITISH b. 1951) HOMAGE TO JESSICA HAYLLAR ‘A COMING EVENT’ Oil, acrylic, pastel and collage on panel 73cm x 59cm (28.75in x 23.25in)

43 FB700/157D AFTER SIR GEORGE FREDERICK WATTS, O.M., R.A. STUDY FOR A HEAD OF SIR GALAHAD Lithograph, signed in the stone

£300-500

23cm x 16cm (9in x 6.25in)

$480-800

42 FB700/157C L** BERNARD (19TH CENTURY FRENCH) AN ORIENTAL GARDEN Signed, oil on canvas 36cm x 46cm (14in x 18in)

£200-300

$320-480

and two other prints (3) £200-400

44

$320-640

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The Forbes Collection at Old Battersea House

44 FB700/226 POLLARD OAK SIDE TABLE CIRCA 1890 the rectangular top with reeded edge, above a single frieze drawer, raised on pierced splayed trestle endsupports united by a platform stretcher 117cm (46.1in) wide, 78cm (30.7in) high, 56cm (22in) deep

£1,500-2,000

$2,400-3,200

45 FB700/231 GEORGE I STYLE MAHOGANY SIDE CHAIR CIRCA 1900 the padded arched back and bowed seat upholstered in blue fabric, raised on cabriole legs carved with lion-masks and terminating in hairy paw feet, modern castors £300-400

$480-640

46 FB700/227 FINE WILLIAM IV MAHOGANY WRITING TABLE CIRCA 1830 the rounded rectangular top with a gilt-tooled green leather writing surface, above three short panelled frieze drawers, on reeded tapering legs with brass cappings and castors 122cm (48in) wide, 75cm (29.5in) high, 53cm (20.9in) deep

£1,500-2,000

$2,400-3,200

45

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47 FB700/230 GEORGE III STYLE MAHOGANY PARTNER’S DESK OF RECENT MANUFACTURE the rectangular top inset with gilt-tooled brown leather writing surface, above an arrangement of nine short cockbeaded drawers around the kneehole, opposed by three short drawers and two panelled cupboards, raised on a plinth base 152.5cm (60in) wide, 78cm (30.7in) high, 92cm (36.2in) deep

£700-1,000

$1,120-1,600

48 FB700/234 GEORGE III MAHOGANY TEA TABLE CIRCA 1800 the rounded rectangular top with reeded edge above a single long frieze drawer, raised on square tapering legs 86cm (33.9in) wide, 72cm (28.3in) high, 43cm (16.9in) deep (closed)

£500-800

49 FB700/232 SET OF GEORGE III MAHOGANY QUARTETTO TABLES CIRCA 1800 each graduated table with rectangular top and reeded edge raised on ring-turned supports and splayed legs (4) largest 66cm (26in) wide, 79cm (31.1in) high, 33cm (13in) deep

£800-1,200

46

$1,280-1,920

$800-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

50 FB700/237C PAIR OF GEORGE III STYLE MAHOGANY AND UPHOLSTERED WING ARMCHAIRS 20TH CENTURY covered in patterned ivory and blue striped fabric, raised on moulded square legs united by H-shaped stretchers (2) £400-600

$640-960

51 FB700/235 SET OF FOUR WILLIAM IV MAHOGANY DINING CHAIRS CIRCA 1830 each with curved bar back on reeded supports, the stuff-over seat upholstered in green velvet, raised on reeded tapering legs (4) £500-800

$800-1,280

52 FB700/237 MAHOGANY AND STUDDED LEATHER FOLDING LIBRARY LADDER 20TH CENTURY of typical hinged form 31cm (12.2in) wide (when open), 205cm (80.7in) high

£300-500

$480-800

47

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53 FB700/233 GEORGE III BRASS-BOUND MAHOGANY CELLARET CIRCA 1790 the hinged lid opening to reveal a later baizelined interior, raised on square tapering legs with brass cappings and castors 46cm (18.1in) wide, 57cm (22.4in) high

£1,500-2,500

54 FB700/228 VICTORIAN STYLE MAHOGANY BALLOON BACK DINING CHAIR OF RECENT MANUFACTURE with foliate carved horizontal splat, close-nailed green leather stuff-over seat on lobed tapering legs; together with a GEORGE III STYLE MAHOGANY LADDER BACK OPEN ARMCHAIR, the serpentine seat upholstered in yellow watered silk, raised on chamfered square legs united by stretchers (2) £300-500 55 No lot

$480-800

$2,400-4,000

56 FB700/229 LATE VICTORIAN BRASS LOG BASKET AND COVER CIRCA 1900 of faceted cylindrical form with baluster finial, 87cm (34.3in) high; together with a VICTORIAN BRASS COAL BUCKET, of flared octagonal form with ring handles, lacking liner; and a COPPER BUCKET (3) £300-400

58 FB700/237A BRASS COLUMNAR CANDLESTICK 19TH CENTURY on square base with stiff-leaf capital, now mounted as a table lamp, 72cm (28.3in) high; together with another BRASS CANDLESTICK converted to a lamp, 41cm (16.1in) high (2) £80-120

137cm (54in) wide,

59 FB700/237B PAIR OF VICTORIAN BRASS CANDLESTICKS CIRCA 1890 each with a glass storm shade upon knopped cylindrical shaft and spreading base, one numbered 622 to the detachable socle (2)

45cm (17.7in) high,

50cm (19.7in) high

57 FB700/236 ARTS & CRAFTS BRASS CLUB FENDER CIRCA 1900 with close-nailed buttoned leather seats raised on slatted supports and moulded plinth

34cm (13.4in) deep

£1,000-1,500

$1,600-2,400

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 38-39.

£100-150

48

$130-200

$480-640

$160-240

60 FB700/237D FOUR BRASS ADJUSTABLE FLOOR LAMPS OF RECENT MANUFACTURE each with adjustable cowled shades (4) 114cm (44.9in) high

£100-150

$160-240

61 FB700/237F VICTORIAN CAST IRON FIRE GRATE 19TH CENTURY the arched back decorated in relief with a classical urn, the slatted sides with vase form finials raised on square tapering supports 49cm (19.3in) wide, 62cm (24.4in) high, 29cm (11.4in) deep

£200-300

$320-480

Drawing Room

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62 FB700/183 WILLIAM POWELL FRITH R.A. (BRITISH 1819-1909) LOVERS ON A CLIFF TOP Oil on panel 21cm x 18cm (8.25in x 7in) Provenance: Bonham’s, London, March 21, 2007, lot 57, reproduced p. 42.

£2,000-3,000

63 FB700/163 PAUL FALCONER POOLE (BRITISH 1807-1879) SCENE FROM THE TEMPEST Oil on canvas 64cm x 43cm (25.25in x 17in) Provenance: Christie’s, South Kensington, September 3, 2008, lot 182, reproduced p. 113 Note: This picture is a another version of the left-hand panel of lot 116.

£4,000-6,000

52

$6,400-9,600

$3,200-4,800

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64 FB700/160 WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT STUDY OF MISS ISABELLA WAUGH Oil on canvas, inscribed on torn label on stretcher at a later date

by Edith Holman Hunt: '[Fo]r Slubby with [lo]ve from Edith H[olman Hunt] Study of […] by W H[olman Hunt] made […]

Campden […]'

55cm x 35cm (21.75in x 13.75in) Note: Judith Bronkhurst has suggested that the facial resemblance between the sitter and Hunt's portraits of his motherin-law, first and second wives and brother-in-law suggests that this is a likeness of a Waugh sister, probably Isabella, born in 1843. The mention of 'Campden' on the label on the stretcher may indicate that the work was painted between March and August 1866, when Hunt and his first wife were living at 1 Tor Villa, Campden Hill.

Provenance: Given by Edith Holman Hunt to Sir John Macdonell, KCB ('Slubby' in inscription).

To his wife, Dame Agnes Macdonell, 1921.

To her daughter, Margaret Adler, 1925.

To her niece, Imogen Pilch, by 1957.

Christie's, London, 14 July 1972, lot 9.

Christie's, London, 5 March 1993, lot 102.

Lord Lloyd Webber Collection.

Exhibited: Lynn Roberts, "Nineteenth Century English Picture Frames II: The Victorian High Renaissance," International Journal of Museum Management and Curatorship, vol. V, 1986, p. 275, reproduced in frame, p. 280, fig.4.

Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné, Yale University Press, June 2006, vol. I, cat. no. 105, p. 206, reproduced in colour; vol. II, no. 20, p. 312..

£4,000-6,000

$6,400-9,600

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65 FB700/171 SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) THE PRINCESS CHAINED TO A TREE Signed with initials and dated 1866, oil on canvas 105cm x 91cm (41.25in x 35.75in) Provenance: Commissioned by Myles Birket Foster for “The Hill,” Witley.

Christie’s, London, April 28, 1894, lot #48/5.

Thomas Agnew & Sons, London.

Major C. F. Goldman Esq. by 1898.

William Hesketh Lever, 1st Viscount Leverhulme.

Anderson Galleries, New York, February 17, 1926, part II, lot 13.

Louis Bamberger, Newark, New Jersey.

The Newark Museum, New Jersey.

Sayn-Wittgenstein Fine Art, New York, 1985.

Literature: Allen Staley, The New Paintings of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement, New Haven: Yale University Press, 2011, p.36, reproduced in colour.

£500,000-800,000

54

$800,000-1,280.000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

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Exhibited: Maclean’s Gallery, London, 1895, no. 5.

Gooden’s Gallery, London 1896.

VII Internationale Kunstausstellung, Munich, Koeniglicher, Glaspalast, 1897, no. 226.

Exhibition of the Works of Sir Edward Burne-Jones, Bart., The New Gallery, London, 1898-9, no. 97.

The Pre-Raphaelites, Herron Museum of Art, Indianapolis, and Gallery of Modern Art, New York, 1964, no. 12, reproduced.

English Paintings of the Victorian Era, The Society of the Four Arts, Palm Beach, Florida, 1966, cat. no. 7, reproduced.

From Realism to Symbolism: Whistler and his World, Wildenstein & Co., New York, and Phildelphia Museum of Art, Philadelphia, 1971, cat. no. 56, reproduced.

The Victorian Rebellion, Lakeview Center for the Arts and Sciences, Peoria, Illinois, 1971, cat. no. 10, reproduced.

56

The Heatherley School of Fine Art: 150th Anniversary, Heatherley School of Fine Art, Chelsea, London, England, February 27-March 9, 1996, no.25, reproduced, p.50.

Symbolisme en Europe, Takamatsu City Museum, Takamatsu, Japan, November 1-December 8, 1996; The Bunkamura Museum of Art, Tokyo, Japan, December 14, 1996-February 10, 1997; Himeji City Museum, Himeji, Japan, February 15-March 30, 1997, no.43, reproduced in colour.

La Era Victoriana: un Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, December 1, 1997-March 30, 1998, no.16, reproduced in colour, p.119.

Edward Burne-Jones: Victorian Artist-Dreamer, The Metropolitan Museum of Art, New York, New York, June 1-September 6, 1998, no. 34, reproduced in colour; Birmingham Museums & Art Gallery, Birmingham, England, October 17, 1998-January 17, 1999; Musee

d’Orsay, Paris, March 1-June 6, 1999, no. 24, reproduced in colour.

El Espejo Simbolista: Europa y Mexico, Museo Nacional de Arte, Mexico City, Mexico November 25, 2004-April 25, 2005, no. 32, reproduced in colour.

Edward Burne-Jones - The Earthly Paradise, Staatsgalerie Stuttgart, October 24, 2009-February 7, 2010; Kunstmseum Bern, March 18-July 25, 2010, no. 32, reproduced in colour.

Literature: Burne-Jones’s autograph workrecord (Fitzwilliam Museum, Cambridge), under 1866.

Masters in Art, a Series of Reproduced Monographs,1901, London, part 19, II, p. 39.

Malcolm Bell, Sir Edward BurneJones: a Record and Review, 1903, pp. 35-37, 130 [Note: on p.37, it is incorrectly recorded that the dispersal sale at Christie’s took place on May 5, 1894. The correct date is April 28, 1894.].

O. von Schleinitz, Burne-Jones (Kunstler-Monographhien LV), Beilefeld and Leipzig, 1901, p.58.

Georgiana Burne-Jones, Memorials of Edward Burne-Jones, 1904, London, Vol. I, pp. 295-296.

F. de Lisle, Burne-Jones, London, 1904, pp.75-76, 167, 181.

Martin Harrison and Bill Waters, Burne-Jones, 1973, London, pp. 89, 117, 193.

Penelope Fitzgerald, Edward BurneJones, A Biography, 1975, London, p. 96.

Alistair Hicks, “Fruits of Capitalism,” Antique, Summer 1987.

R. Dorment, James McNeill Whistler, Tate Gallery, London, Musee D’Orsay, Paris, and National Gallery of Art, Washington, D.C., 1994-1995, cat. p.93.

Roxana Velasquez Martinez del Campo, “Imagenes de la era victoriana en colecciones mexicanas,” La Era Victoriana: un

Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, 1997, no.16, reproduced in color, p. 119.

“A Glimpse into the Victorian Era”, Mexico City Times, Saturday, December 20, 1997, Arts & Leisure section, p.3.

S. Wildman and J. Christian, Edward Burne-Jones: Victorian ArtistDreamer, The Metropolitan Museum of Art, New York, Museums and Art Gallery, Birmingham, and Musée D’Orsay, Paris, 1998-1999, cat. p. 19.

D. Elliott, Charles Fairfax Murray: the Unknown Pre-Raphaelite, Lewes, 2000, p. 19.

Doris Krumpl, “Bilder-Hausrat um Millionen Euro,” Der Standard, January 11, 2003, reproduced in colour.

“Im Bannkreis der Viktorianischen Kunst,” Handels Zeitung, January 22, 2003, p.20, reproduced.

Enzo Fabian, “L’Incanto di un’epoca,” AD: Architectural Digest, Italian version, January 2003, p. 202, reproduced in colour.

Sarah Baxter, “Forbes Dynasty split

by L25m art sale, The Sunday Times, London, January 26, 2003, p.25, reproduced in colour.

Barbar Amadasi, “Auction,” Vogue, Italian version, February, 2003, p. 208, reproduced in colour.

Robyn Asleson, “Reforming Modern Art: Pre-Raphaelitism, Aestheticism and Classicism,” The Forbes Collection of Victorian Pictures and Works of Art, February 19-20, 2003, p.163, detail reproduced in colour, p.138.

Lucille Grant,”Sale of the Century,” SW: Southwest Magazine, February, 2003, p.25, reproduced in colour.

Mattias Frehner, “St. George and the Dragon, 1865-67,” Edward BurneJones: The Earthly Paradise, Germany: Hatje Cantz, 2009, p. 51, detail reproduced in colour, p. 60, reproduced in colour, pp. 61, 217.

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66 FB700/170 ALBERT JOSEPH MOORE (BRITISH 1841-1893) STUDY OF DRAPERIES AND FLOWERS Oil on canvas 40cm x 56cm (15.75in x 22in) Provenance: Christie’s, London, June 22, 1984, lot 239, reproduced.

Christopher Wood Gallery, London, March 22, 1985.

£10,000-15,000 $16,000-24,000

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67 FB700/162A ATTRIBUTED TO ALFRED DE PRADES (BRITISH 1840-1895) PORTRAIT OF A JOCKEY (SAID TO BE ROBERT BASHAM) Inscribed verso, oil on card 19cm x 15cm (7.5in x 6in) Provenance: Christie’s, London, March 26, 1970, lot 146.

£400-600

$640-960

68 FB700/179 SIR FREDERIC LEIGHTON P.R.A., R.W.S. (BRITISH 1830-1896) STUDY OF AN ARAB’S HEAD, TANGIER Oil on board 18cm x 12cm (7in x 4.75in) Provenance: Artist’s Estate Sale, 1896, purchased The Fine Art Society.

Christie’s, South Kensington, March 3, 2005, lot 283.

£800-1,200

58

$1,280-1,920

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69 FB700/178 WILLIAM HOLMAN HUNT O.M., R.W.S. (BRITISH 1827-1910) STUDY OF THE ARTIST’S SISTER AND HER CHILD Oil on canvas 33cm x 45cm (13in x 17.75in) Provenance: Mrs. Sarah Wilson (née Hunt) and family, until 1961.

Jeremy Maas, London, by 1961.

Lady Antonia Fraser.

The Fine Art Society, London, June 1984.

Exhibited: The Pre-Raphaelites and their Contemporaries, 1962, The Maas Gallery, no. 127.

William Holman Hunt, March-June

1969, Liverpool, Walker Art Gallery, no. 16.

Victorian Childhood, Yale Centre for British Art, New Haven, Connecticut, November 12, 1986-January 4, 1987; Portland Art Museum, Portland, Oregon, February 11-May 3, 1987; The Forbes Magazine Galleries, New York, May 26 - December 30, 1987, no. 6, reproduced.

Kindred Spirits: Leading Groups of British Painters in the 19th and 20th Centuries, Chichester Festivities, England, July 4-20, 1993, no. 3.

La Era Victoriana: un Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, December 1, 1997-March 30, 1998, no.37, reproduced in colour, p.111.

Literature: Susan Casteras, Victorian Childhood, New York: Harry N. Abrams, Inc., 1986, plate 27.

Roxana Velasquez Martinez del Campo, "Imagenes de la era victoriana en colecciones mexicanas," La Era Victoriana: un Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, 1997, no.37, reproduced in colour p.111-113.

Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné, Yale University Press, June 2006, vol. I, cat. no. 67, p. 139, reproduced in colour.

£10,000-15,000 $16,000-24,000 59

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70 FB700/164 DANTE GABRIEL ROSSETTI (BRITISH 1828-1882) REGINA CORDIUM: A PORTRAIT OF MRS ALDAM HEATON Signed with a monogram, inscribed, and dated 1861, oil on panel 26.5cm x 22cm (10.5in x 8.75in) Provenance: Mr. and Mrs. John Aldam Heaton; by descent to their eldest daughter Winifred.

Mrs. Sydney Rawling.

Claude Heaton Rawling by 1929, and thence by descent to the present owner, the great grand-daughter of the sitter.

Christie’s, London, March 26, 1982, lot 86, reproduced.

Exhibited: Pictures, Drawings and Studies by the Late Dante Gabriel Rossetti, Burlington Fine Arts Club, 1883, no.48.

Paintings and Drawings of the 1860 Period, Tate Gallery, April-July, 1923, no.31.

Dante Gabriel Rossetti: Painter and Poet, Royal Academy, 1973, no.102.

The Victorian Imagination, The Bunkamura Museum of Art, Bunkamura, Japan, January-February 8, 1998; Shizuoka Prefectural Museum of Art, Shizuoka, Japan, April 11-May 24, 1998; Daimaru Museum Kobe, Kobe, Japan, May 28-June 9, 1998; Tsukuba Museum of Art, Ibaraki, Japan, June 14-July 14, 1998, no. 18, reproduced in colour and black and white.

Literature: H.C. Marillier, Dante Gabriel Rossetti, reproduced Memorial of His Art and Life, 1899, pp.108, 242, no.105.

Oswald Doughty and J.R. Wahl, Letters of Dante Gabriel Rossetti, 1965 and 1967, pp.423 and 424.

Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), 1971, p.81, no.129.

Virginia Surtees, Sublime and Instructive, Letters of John Ruskin to Louisa, Marchioness of Waterford, Anna Blunden and Ellen Heaton, 1972, p. 235.

Susan Casteras, Rossetti’s Embowered Females in Art, or Love Enthroned and “The Lamp’s Shrine,” Nineteenth Century Studies, Volume 2, p. 39, reproduced, p.41.

Paul Mitchel and Lynn Roberts, Frameworks: Form, Function and Ornament in European Portrait Frames, London: Paul Mitchell Limited, p. 370, reproduced no. 286.

Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 37.

“Caccia al Quadro: La raccolta Forbes alla Old Battersea House,” Ad Londra, December 1996, p. 60-75.

£80,000-120,000

60

$128,000-192,000

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71 SET OF FOUR SCOTTISH GEORGE III MAHOGANY DINING CHAIRS CIRCA 1770 each with shaped top rail centred by an open shell and carved with acanthus leaves above a pierced vase-shaped splat, the drop-in seat upholstered in red velvet, raised on leaf carved cabriole legs with claw-and-ball feet (4) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 37.

£4,000-6,000

62

$6,400-9,600

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72 FB700/239 EARLY GEORGE III MAHOGANY CARD TABLE CIRCA 1760 the rectangular top with projecting angles above a concave frieze drawer raised on foliate-carved cabriole legs ending in claw-and-ball feet 84cm (33.1in) wide, 72cm (28.3in) high, 41cm (16.1in) deep

£2,000-3,000

$3,200-4,800

73 FB700/244A RED AND GILT TÔLE PEINTE VASE SHAPED TABLE LAMP CIRCA 1900 with swan-neck mounted upon a square base, now mounted as a table lamp 42cm (16.5in) high, 75cm (29.5in) high (including shade)

£300-500

$480-800

74 FB700/248 EARLY GEORGE III MAHOGANY CARD TABLE CIRCA 1760 the shaped rectangular top with outset corners, above a plain concave frieze raised on cabriole legs with pad feet 84cm (33.1in) wide, 71cm (28in) high, 43cm (16.9in) deep

£800-1,200

$1,280-1,920

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75 FB700/240 GEORGE I CROSSBANDED AND FEATHERBANDED WALNUT BUREAU CIRCA 1720 the sloping fall-flap opening to reveal a well-fitted interior with four short drawers and eight pigeonholes about a central columned cupboard with pullouts, two short and two long drawers below upon replaced bracket feet, restorations 96.5cm (38in) wide, 102cm (40.2in) high, 51cm (20.1in)deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 37.

£3,000-4,000

$4,800-6,400

76 FB700/241 GEORGE III AND LATER BONHEUR DU JOUR PART 18TH CENTURY the later superstructure with four short drawers centred by a cupboard door remodelled as book spines, above three frieze drawers, raised on turned, tapered legs ending in pad feet, altered

146cm (57.5in) wide,

71cm (28in) wide,

91cm (35.8in) high,

93cm (36.6in) high,

56cm (22in) deep

43cm (16.9in) deep

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 38-39.

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 38-39.

£500-800

77 FB700/243 GEORGE II STYLE MAHOGANY SERPENTINE SIDEBOARD OF RECENT MANUFACTURE with one central drawer above a cutlery slide and flanked by panelled cupboard, two doors on square tapering legs with spade feet

£300-500

$800-1,280 78 No lot

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$480-800

79 FB700/244 PATINATED BRASS STANDARD LAMP OF RECENT MANUFACTURE the reeded shaft upon an octagonal stepped base, 170cm (66.9in) high (including shade), excluding fitments; together with a Victorian-style brass reading lamp, 146cm (57.5in) high, both fitted with pleated silk shades (2) £400-600

$640-960

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80 FB700/245 ADAM STYLE BRASS SERPENTINE FIRE GRATE 20TH CENTURY upon knopped standards with cast-iron arched back-plate 65cm (25.6in) wide

£800-1,200

$1,280-1,920

81 FB700/245A VICTORIAN PIERCED BRASS FENDER 19TH CENTURY with pierced sides centred by a flaming urn, 124cm (48.8in) wide; together with a PAIR OF BRASS ANDIRONS with fluted square standards surmounted by vase finials, 30cm (11.8in) high; and FOUR VARIOUS BRASS FIRE IRONS (7) £400-600

$640-960

65

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82 FB700/246 CONTINENTAL RED AND GILT LACQUER SIDE TABLE CIRCA 1800 the rectangular top above one frieze drawer decorated with floral trellis, raised on square tapering legs 56cm (22in) wide, 76cm (29.9in) high, 40cm (15.7) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£1,000-1,500

$1,600-2,400

83 FB700/247 IRISH GEORGE II MAHOGANY MULE CHEST CIRCA 1750 the hinged rectangular top with moulded edge, enclosing a void interior, below are two short open drawers raised on a foliate-carved decoration ending in leaf-carved cabriole legs terminating with hairy paw feet 134.5cm (53in) wide, 97cm (38.2in) high, 58cm (22.8in) deep

£3,000-5,000

84 FB700/250 CONTINENTAL OCTAGONAL CROSSBANDED ROSEWOOD AND OLIVEWOOD CENTRE TABLE CIRCA 1800 the shaped top with radiating veneers above four real and four dummy frieze drawers raised on turned baluster stem ending in a triform base with scroll feet 71cm (28in) wide

£2,000-3,000

66

$3,200-4,800

$4,800-8,000

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85 REGENCY ROSEWOOD CROSSBANDED BURRWOOD SOFA TABLE CIRCA 1815 the rounded rectangular drop leaf top above two short real and two opposing dummy frieze drawers, raised on twin endsupports and reeded splayed legs with brass cappings and castors 140cm (55.1in) wide, open, 70cm (27.6in) high, 69cm (27.2in) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 38-39.

£4,000-6,000

$6,400-9,600 67

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86 FB700/253F FOUR PAIRS OF LINED CHINTZ CURTAINS AND PELMETS OF RECENT MANUFACTURE decorated with brightly coloured flowers and foliage, 330cm (129.9in) drop approximately; together with FOUR MATCHING CUSHIONS (qty) £400-600

$640-960

87 FB700/253C PAIR OF TWO-SEATER UPHOLSTERED SOFAS OF RECENT MANUFACTURE upholstered in striped patterned blue fabric with tasselled aprons (2) 73cm (28.7in) wide Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol.

279, no. 7099, pp. 38-39.

£500-800

68

$800-1,280

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88 FB700/253G CHINESE PORCELAIN VASE REPUBLIC PERIOD the ovoid sides finely painted with peacocks amongst brightly coloured flowers and foliage, reverse bears text panel within a black geometric border, converted to a lamp 48cm (18.9in) high

£800-1,200

$1,280-1,920

89 FB700/253 FORBES FAMILY CARTE ALBUM 1860S AND LATER the album containing approximately 150 cartes, 7 prints(handtinted and albumen), majority with pencil captions on mounts, including photos of Col J Forbes and family members, members of Hay Gordon, Gordon Cummings families and The Times births and marriages, full green morocco covers, titled 'J.F.F.' in gilt on upper cover, gilt clasps broken contained within rectangular rosewood box, with hinged fretwork cover 35cm (13.8in) wide, 10cm (3.9in) high, 28cm (11in) deep Provenance: Christie's, South Kensington, October 30, 1986, lot 221 The Fine Art Society, London

£300-500

$480-800

90cm (35.4in) wide,

94 FB700/253D PAIR OF EASY UPHOLSTERED ARMCHAIRS OF RECENT MANUFACTURE upholstered in plain beige fabric, with loose squab cushions (2)

42cm (16.5in) high

£300-500

90 FB700/251 BESSARABIAN KELIM LATE 19TH/ EARLY 20TH CENTURY the cream field with allover pattern of polychrome floral sprigs, within corresponding border between bands

91 FB700/252 VICTORIAN PAINTED PAPIERMACHE TRAY ON STAND CIRCA 1860 painted with a scene of travellers on a country path, raised on later faux-bamboo splayed legs

92 FB700/253A CHROME AND BRASS COFFEE TABLE OF RECENT MANUFACTURE the plate glass top raised on square legs

304 (119.7in) x 188 (74in) cm

56cm (22in) wide,

£40-60

£500-800

53cm (20.9in) high,

$800-1,280

44cm (17.3in) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 38-39.

£500-800

$800-1,280

$65-100

93 FB700/253B PAIR OF SCHNEIDER GLASS VASES OF RECENT MANUFACTURE the mottled pink ovoid sides with twin clear glass scroll handles, raised on an applied foot, etched marks (2)

$480-800

95 FB700/225D VICTORIAN GOTHIC OAK PEDESTAL LATE 19TH CENTURY of octagonal form raised on a plinth base 42cm (16.5in) wide, 81cm (31.9in) high

£100-200

$160-320

24cm (9.4in) high

£30-50

$50-80 69

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97 FB700/159 SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) BRUNSWICKER STUDY Pencil, arched top 8cm x 6cm (3in x 2.5in)

£1,000-1,500

98 FB700/167 SIR HERBERT JAMES GUNN R.A., P.R.P., R.S.W. (BRITISH 1893-1964) PORTRAIT OF THE DUKE OF WINDSOR IN GARTER ROBES Black chalk on two joined sheets 100cm x 47cm (39.5in x 18.5in) Note: Study for the Garter painting in the Musee de L’Armee, Paris Provenance: Purchased from The Fine Art Society, London.

£4,000-6,000

70

$6,400-9,600

$1,600-2,400

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99 FB700/168 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) THREE-QUARTER LENGTH PORTRAIT OF QUEEN ELIZABETH Oil on canvas 91cm x 71cm (35.75in x 28in) Provenance: Bonham’s, Knightsbridge, September 12, 2006, lot 218, reproduced.

£4,000-6,000

$6,400-9,600

71

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100 FB700/166 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) FULL LENGTH PORTRAIT OF KING GEORGE VI Oil on paper 72cm x 46.5cm (28.3in x 18.3in) Provenance: Bonham’s, Knightsbridge, July 18, 2006, lot 203, reproduced.

£1,000-1,500

100A FB700/166 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) FULL LENGTH PORTRAIT OF KING GEORGE VI, STUDY 3 Oil on paper 72cm x 46.5cm (28.3in x 18.3in)

and a photographic print (2) Provenance: Bonham’s, Knightsbridge, July 18, 2006, lot 203, reproduced.

£2,000-3,000

72

$3,200-4,800

$1,600-2,400

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101 FB700/161 SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) ESCAPE OF THE HERETIC Signed with monogram, oil on canvas 25.5cm x 19cm (10in x 7.5in) Provenance: Purchased from the artist by Agnew on 18 July 1859 Thomas Plint His sale, Christie’s London, 8 March 1862, lot 296 EJ. Pilgeram Maas Gallery, London Christie’s London, 15 December 1972, lot 115 The Fine Art Society, London

74

Note: This is a smaller version of an example held at the Museo de Arte de Ponce, Puerto Rico.

Exhibited: The Works of Sir John E. Millais, Bart., P.R.A., Grosvenor Gallery, London, 1888, no. 75.

The Pre-Raphaelite Influence, Maas Gallery, London, 1973, no.11 The Royal Academy (1837-1901) Revisited, March 11-April 27, 1975, Metropolitan Museum of Art; May 10-September 15, 1975, The Art Museum, Princeton University; September 27-October 26, 1975, The High Museum of Art Atlanta; December 6-February 1, 1976, Cincinnati Art Museum; February 14-28, 1976, The Allen House, Louisville, Kentucky; no. 45.

Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky, August 29November 6, 1988; The Forbes Magazine Galleries, New York, November 22, 1988-April 16, 1989;

The Dixon Gallery and Gardens, Memphis, Tennessee, May 6-June 18, 1989; Birmingham Art Museum, Birmingham, Alabama, July -August 13, 1989; The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, September 2October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida, October 28-December 10, 1989; The Society of Four Arts, Palm Beach, Florida, January 5-February 4, 1990; Leeds Art Gallery, Leeds, England, June 15-July 29, 1990, no.49 Literature: M.H. Spielman, Millais and his Works, Wiliam Blackwood and Sons London 1898, pp.169, 183 J.G. Millais, The Life and Letters of Sir John Everet Millais, Methuen & Co., London 1899, VoI II p. 470 Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 41.

£40,000-60,000 $64,000-96,000

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102 FB700/162 SIR JOHN EVERETT MILLAIS P.R.A. (BRITISH 1829-1896) FOR THE SQUIRE Signed with a monogram and dated 1882, oil on canvas 85cm x 63cm (33.5in x 24.75in) Provenance: H. F. Makins, 1882.

By descent the Rt. Hon. Lord Sherfield, G.C.B., July 10, 1970.

Christie’s, London, July 10, 1970, no. 161, reproduced.

£500,000-800,000

76

$800,000-1,280,000

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Exhibited: The Grosvenor Gallery, London, 1883, no. 117.

The Works of Sir John E. Millais, Bart., PRA, Grosvenor Gallery, London, 1888, no. 75.

Work by the Late Sir John Everett Millais BART., PRA, Winter Exhibition, Royal Academy, 1898, no.

240.

On loan to the Metropolitan Museum of Art, New York, February 1973July 1974, loan no. L.1973.1.2.

The Art and Mind of Victorian England: Paintings from the Forbes Magazine Collection, University Gallery, University of Minnesota, Minneapolis, 1974, no. 35.

The Royal Academy (1837-1901) Revisited, March 11-April 27, 1975, Metropolitan Museum of Art; May 10-September 15, 1975, The Art Museum, Princeton University; September 27-October 26, 1975, The High Museum of Art Atlanta; December 6-February 1, 1976, Cincinnati Art Museum; February 14-28, 1976, The Allen House, Louisville, Kentucky; no. 46.

The Pre-Raphaelites and Their Times, January 24-February 24, 1985, Isetan Museum of Art, Tokyo; March 5-March 24, 1985, Hamamatsu City Museum; March 26-April 21, 1985, The Aichi Prefectural Art Gallery; May 1-20, 1985, Daimaru Museum of Art, Daimaru, Japan; May 25-June 23, 1985.

The Defining Moment: Victorian Narrative Paintings from the Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001;

78

Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 33, reproduced in colour.

John Everett Millais, Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, June 7-August 17, 2008; The Bunkamura Museum of Art, Bunkamura, Japan, August 30-October 26, 2008; no. 52, reproduced in colour.

Literature: Magazine of Art, 1883, p. 352.

Marion H. Spielmann, Millais and his Works, London, 1898, pp. 122, 179.

John Guille Millais, The Life and Letters of Sir John Everett Millais, London, 1899, Vol. II, pp. x1, 481, 495, detail reproduced p. 435.

“Mr. Forbes Adds A Tearjerker,” Evening News, London, July 10, 1970.

Terence Mullaly, “Ladbrooke Landscape Fetches 3,600 Gns.” The Daily Telegraph, London, July 11, 1970.

Christopher Wood, “The Great Victorian Revival,” Auction, November 1970, p. 39.

Christie’s Review of the Year, 1970, reproduced p. 67.

“The Sale Room,” Apollo, November 1970, p. 405, reproduced.

Michael Findlay, “Forbes Saves the Queen,” Arts Magazine, February 1973, p.30, reproduced p.27.

“It’s From Forbes!” Forbes, November 1, 1973, p. 69, November 15, 1973, p. 121, December 1, 1973, p. 67, reproduced.

The Art and Mind of Victorian England, Minneapolis, 1974, p. 56, reproduced in colour p. 7.

“University of Minnesota Looks at Victorian Era of England,” Free Press, Mankato, Minnesota, August 26, 1974, reproduced.

“University to Have Victorian Festival,” Gazette, Stillwater, Minnesota, August 27, 1974, reproduced.

Carole Nelson, “Exhibit Wins Respect for Long-Neglected Victorian Paintings,” St. Paul’s Sunday Pioneer Press, Family Life Section, September 29, 1974, reproduced p. 1.

“A Glimpse of Victoria’s World,” Minneapolis Tribune, September 22, 1974, reproduced.

Joseph T. Butler, “America: The Art and Mind of Victorian England,” Connoisseur, February 1975, p. 145, reproduced.

Christopher Forbes, The Royal Academy (1837-1901) Revisited, New York, 1975, p. 108, reproduced p.

109.

Celina Fox, “The Royal Academy Revisited,” Burlington Magazine, May 1975, p. 325, reproduced.

John Christian, The PreRaphaelites and Their Times, Tokyo, 1985, p. 39, reproduced in colour.

S.Casteras, ‘Victorian Childhood’, Antiquities, Winter, 1985, p. 57, illus.

S. Moore, ‘The Awakening Consciousness: The Forbes Collection of Victorian Painting’, Country Life, 5 June 1986, p. 1574, pl. 3.

M. Bennet, Artists of the PreRaphaelites Circle: The First Generation. Catalogue of Works in the Walker Art Gallery, Lady Lever Art Gallery and Sudley Art Gallery, London, 1988, p. 163.

G. Eliot, Silas Marner, Bantam Books, 1992.

The Journal of Pre-Raphaelite Studies, New Series III:2 Fall 1994, p.57.

C. Nelson and L. Vallone (eds); The Girl’s Own: Cultural Histories of the Anglo-American Girl, 18301915,London, 1994, pl. 1.

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103 AFTER SIR JOHN EVERETT MILLAIS P.R.A. FOR THE SQUIRE Engraving

104 FB700/177 JOHN WILLIAM GODWARD (BRITISH 1861-1922) A GRECIAN BEAUTY Signed verso, oil on board

36cm x 27cm (14.25in x 10.5in)

21cm x 12cm (8.25in x 4.75in)

and another two engravings (3)

Provenance: Sotheby’s Belgravia, November 19, 1980, lot 238, reproduced.

£300-500

$480-800

Exhibited: J. W. Godward: An exhibition, Christie’s, New York, New York, February 2-February 12, 1998

£3,000-5,000

$4,800-8,000

105 FB700/181 THOMAS FAED R.A., R.S.A. (SCOTTISH 1826-1900) A HIGHLAND LADDIE Signed, oil on canvas 16cm x 11cm (6.3in x 4.3in) Provenance: Sale of British & Continental Pictures etc: Bonhams & Butterfields, November 7, 2007, lot 184, reproduced.

£1,500-2,000

$2,400-3,200

79

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106 FB700/404C R&L AFTER W.C. LAWTON BUST OF EDWARD VII Parian, signed, impressed marks 55cm (21.7in) high Provenance: Tennants, Leyburn, lot 144, 29th March, 2007

£300-500

$480-800

107 FB700/401 ART UNION OF LONDON AFTER MORTON EDWARDS BUSTS OF ALBERT EDWARD, PRINCE OF WALES AND PRINCESS ALEXANDRA Parian, signed and dated 1864, impressed factory marks (2) 36.5cm (14.4in) high and 39cm (15.4in) high Provenance: Tennants, Leyburn, lots 105 and 252, 29th March 2007

£300-500

80

$480-800

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108 MARY THORNYCROFT (BRITISH, 1814-1895) QUEEN VICTORIA AND THE PRINCE OF WALES Bronze, raised on an hexagonal marble plinth, inscribed ‘Manufactured for presentation by Samuel Messenger, Birmingham to HRH the Princess Royal on her marriage, 1858’ bronze 54cm (21.3in) high overall, 60cm (23.6in) high

£2,000-3,000

$3,200-4,800

81

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109 FB700/388 EDWARD ONSLOW FORD (BRITISH 1852-1901) BUST OF QUEEN VICTORIA Bronze, signed 45cm (17.7in) high Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 61.

£800-1,200

$1,280-1,920

110 FB700/383 SYDNEY MARCH (BRITISH 1875-1968) QUEEN VICTORIA SEATED Bronze, inscribed ‘Elkington & Co., copyright, London 1901’ 29cm (11.4in) high

£800-1,200

$1,280-1,920

111 FB700/390 SIR JOSEPH EDGAR BOEHM R.A. (BRITISH 1834-1890) BUST OF QUEEN VICTORIA Bronze, signed 33cm (13in) high Note: The sculptor Sir Joseph Edgar Boehm RA, was one of Queen Victoria’s most favoured artists, becoming Sculptorin-Ordinary in 1880. He is best known for his portraits of nineteenth-century British courtiers, politicians and members of the Royal Family.

£800-1,200

82

$1,280-1,920

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112 FB700/371 BARON CARLO MAROCHETTI (ITALIAN 1805-1867) QUEEN VICTORIA ON HORSEBACK Bronze, signed, on moulded wooden plinth base 55cm (21.7in) wide, 50cm (19.7in) high Exhibited: The Noble Horse, The Bunkamura Museum of Art, Tokyo, September 2October 22, 2000, no. 87.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 65.

Note: This bronze reduction of the Monument to Queen Victoria in George Square, Glasgow, records Marochetti’s original composition as it was at the time of its inauguration in St. Vincent Place in 1854. The left hind leg is lifted off the ground as it is in the reproduction in the Illustrated London News (16th Sept.

1854). An account in the Building Chronicle dating to the same month and a newly discovered photograph of a working plaster model in the E. Gillick collection at the Henry Moore Institute also record this feature.

Marochetti altered the leg to sit flush with the ground in a reworking dating to 1866-8, at the time of its relocation.

£12,000-18,000 $19,200-28,8000

113 FB700/404B AFTER EDWARD WILLIAM WYON (BRITISH 1811-1885) BUST OF GLADSTONE Parian, signed, impressed registration mark for 1866

114 FB700/384 R.J. MORRIS QUEEN VICTORIA WITH CROWN Filled bronze, signed and inscribed ‘Jubilee 1887’

44cm (17.3in) high

25cm (9.8in) high

Provenance: Woolley & Wallis, Salisbury, lot 204, 21st May 2003

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 68.

£200-300

$320-480

£200-300

115 FB700/384A FRENCH SCHOOL BUST OF QUEEN VICTORIA Reconstituted marble, on black circular plinth, base inset with medallion with exergue ‘Lutet, Parisi, MDCCXVII’ Overall 41cm (16.1in)

£150-200

$240-320

$320-480

83

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116 FB700/175 PAUL FALCONER POOLE (BRITISH 1807-1879) SCENES FROM THE TEMPEST Oil on canvas 31cm x 63cm (12.25in x 24.75in) Provenance: J.S. Maas & Co., Ltd, London, April 2, 1981 Exhibited: Royal Academy, 1849, Nos. 383, 384, 385 (three images exhibited separately) A Brush with Shakespeare: The Bard in Painting 1780-1910, Montgomery Museum of Fine Arts, Alabama, December 11, 1985February 2, 1986; New York Public Library at Lincoln Centre, New York, March 10-April 13, 1986; Chicago Public Library Cultural Centre, April 26-June 14, 1986, no. 52, reproduced.

Note: See lot 63 for another version of the left-hand panel.

£4,000-6,000

$6,400-9,600 117 FB700/174 ALFRED W. ELMORE (BRITISH 1815-1881) THE GAMING TABLE Inscribed verso, oil on board 18cm x 15cm (7in x 6in)

£2,000-3,000

84

$3,200-4,800

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118 FB700/158 SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF ROBERT CATHCART OF DRUM Oil on canvas 127cm x 100cm (50in x 39.5in) Provenance: Miss Cathcart (daughter of the sitter), 1876.

W. Lockett Agnew, 1900.

Henry Hirsch, London, 1931.

Morris Kaplan, Chicago, 1970.

Sotheby’s, London, June 17, 1970, lot 77.

Exhibited: Raeburn, National Gallery, Edinburgh, 1876, no.48.

Paris Exhibition, British Pavillion, 1900.

Literature: W. Armstrong, Sir Henry Raeburn, 1901, p. 98.

W. Raeburn Andrew, Life of Sir Henry Raeburn, 1886, p. 108.

E. Pinnington, Sir Henry Raeburn, 1904, p.223, no.115.

J. Grieg, Sir Henry Raeburn, 1911, p. 41.

£10,000-15,000 $16,000-24,000

85

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119 FB700/182 ABRAHAM SOLOMON (BRITISH 1824-1862) THE LION IN LOVE Oil on board 23cm x 27cm (9in x 10.5in) Note: The present work is a preliminary sketch for the Royal Academy exhibit of 1858, no.558.

Provenance: Christie’s, South Kensington, September 3, 2008, lot 147, reproduced.

£2,000-3,000

120 FB700/169 ALBERT JOSEPH MOORE (BRITISH 1841-1893) AND OTHERS CLASSICAL FIGURES ON A BENCH Pastel on eight joined sheets 76cm x 140cm (30in x 55in) Provenance: Henry Moore and by descent.

With Julian Hartnoll, London, from whom acquired by the present owner in 1992. with Literature: A.L. Baldry, Albert Moore: His Life and Works, London, 1994, pp. 65, 106.

R. Asleson, Albert Moore, London, 2000, pp. 101, 229.

Exhibited: London, New Grafton Gallery, 1894.

London, Grafton Gallery, Albert Moore Memorial Exhibition, 1904.

Heatherley School of Fine Art: 150th Anniversary Exhibition, 1996, no. 32.

£4,000-6,000

86

$6,400-9,600

$3,200-4,800

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121 FB700/173 JAMES JACQUES JOSEPH TISSOT (FRENCH 1836-1902) RENÉE MAUPERIN, RENÉE AND REVERCHON SWIMMING IN THE SEINE Signed, oil paper laid on canvas, en brunaille 38cm x 27cm (15in x 10.5in) Note: The artist produced an etching derived from the present preliminary study, which was one of ten original etchings illustrating the special 1884 edition of the Goncourt brothers’ 1875 novel, Renee Mauperin, published by G. Charpentier et Cie, Paris, in an edition of 500 numbered copies.

Provenance: Sale of 19th Century European Paintings and Sculpture, Sotheby’s New York: Thursday, October 24, 1996, lot 373.

Heritage Auction Galleries, May 8-9, 2008, lot 33103, reproduced p. 53.

£8,000-12,000 $12,800-19,200

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122 FB700/176 SIR EDWARD COLEY BURNEJONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR THE MIRROR OF VENUS Oil on canvas 74cm x 120cm (29in x 47.25in) Provenance: George Howard, 9th Earl of Carlisle from the artist.

Rt. Hon. Earl of Carlisle, M.C. Barry Friedman Limited, New York.

The Fine Art Society, London, May 23, 1980.

Exhibited: Albert Moore and his Contemporaries, Laing Art Gallery, Newcastle-upon-Tyne, September 23-October 22, 1972, no. 90.

Shigera Aoki and the Late Victorian Art, Ishibashi Museum of Art, Japan, March 5-March 31, 1983; Tochigi Prefectural Museum of Fine Arts, Japan, April 6-April 24, 1983; Bridgestone Museum of Art, Japan, April 29-May 29, 1983; Hiroshima Museum of Art, Japan, June 3-June 26, 1983, no. 63, reproduced in colour, p. 72, reproduced in black and white, p. 148.

Victorian Imagination in Nineteenth Century British Art, Bunkamura Museum of Art, Japan, January 2February 8, 1998; Shizuoka Prefectural Museum of Art, Japan,

April 11-May 24, 1998; Kobe Daimara Museum, Japan, May 28June 9, 1998; Tsukuba Museum of Art, Ibaraki, Japan, June 14-July 24, 1998, no. 32, reproduced.

Edward Burne-Jones: The Earthly Paradise, Staatsgalerie Stuttgart, October 24, 2009-February 7, 2010; Kunstmuseum Bern, March 18-July 25, 2010, no. 57, reproduced in colour.

Literature: Malcolm Bell, Sir Edward BurneJones: A Record and Review, London: George Bell & Sons, 1898, pp. 39, 57, 130.

Penelope Fitzgerald, Edward BurneJones: A Biography, London: Michael Joseph, 1975, p. 107.

Martin Harrison and Bill Waters, Burne-Jones, London: Barrie & Jenkins, 1973, pp. 94, 107.

Grace Glueck, “Capitalist et Fier de l’Etre,” Connaissance des Arts, May, 1982, pp. 78-79.

Fabian Frohlich, “The Mirror of Venus,” Edward Burne-Jones: The Earthly Paradise, Germany: Hatje Cantz, 2009, pp. 97, reproduced in colour, pp. 100, 219.

£200,000-300,000 $320,000-480,000

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Garden Room

123 FB700/254 GEORGE I WALNUT SIDE TABLE CIRCA 1720 WITH ALTERATIONS the crossbanded rectangular top with moulded re-entrant corners above a concave frieze, raised on cabriole legs with pad feet 86cm (33.9in) wide, 74cm (29.1in) high, 59cm (23.2in) deep

£1,000-1,500

$1,600-2,400

124 FB700/265 TÔLE PEINTE CYLINDRICAL TABLE LAMP OF RECENT MANUFACTURE painted with a coat-of-arms with a printed shade 84cm (33.1in) high (including shade)

£200-300

$320-480

125 FB700/256 UNUSUAL GEORGE IV MAHOGANY KNEEHOLE DESK CIRCA 1825 the rectangular foldover top inset with gilt tooled green leather writing surface above an arrangement of nine short and one long drawer around the kneehole centred by a recessed cupboard, raised on brass cappings and castors 112cm (44.1in) wide, 79cm (31.1in) high, 51cm (20.1in) deep

£1,500-2,000

92

$2,400-3,200

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126 FB700/257 AGRA CARPET LATE 19TH CENTURY the crimson red field with allover scrolling blue strapwork lattice and palmette pattern, within abrash olive green palmette and foliate vine border between lemon and red bands 451 x 454 cm (177.6 x 178.7in) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£30,000-50,000

$48,000-80,000 93

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127 FB700/262 PAIR OF CHARLES II STYLE STAINED BEECH SIDE CHAIRS EARLY 20TH CENTURY the high arched backs and stuff-over seats covered in olive green velvet, raised on turned supports and moulded scroll feet (2) £400-600

$640-960

128 FB700/269 PAIR OF GEORGE III STYLE MAHOGANY AND LEATHER UPHOLSTERED ARMCHAIRS 20TH CENTURY the square backs, padded scroll arms and stuffed overseats covered in studded red leather, raised on chamfered square legs united by H-shaped stretchers (2) £400-600

$640-960

129 FB700/263 REGENCY STYLE MAHOGANY LIBRARY TABLE CIRCA 1900 the circular top inset with a gilt tooled green leather above eight alternating real and false drawers, the column ring turned support raised on quadripartite splayed legs with brass cappings and castors 134.5cm (53in) diameter, 75cm (29.5in) high Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£800-1,200

94

$1,280-1,920

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130 FB700/255 GEORGE III STYLE GILTWOOD SETTEE 19TH CENTURY the padded rectangular back, armrests and seat upholstered in cream striped ivory silk, with two bolster cushions, raised on square tapering legs with brass cappings and castors 208cm (81.9in) wide

£2,000-3,000

$3,200-4,800

131 FB700/264 GROUP OF FOUR VICTORIAN BLACK PAPIER-MÂCHÉ OCCASIONAL TABLES CIRCA 1890 comprising: TWO GRADUATED TABLES, the rectangular tops with painted decoration, raised on slender turned legs ending in downswept feet, 39cm wide, 68cm high, 30cm deep; together with a LARGER PAPIER-MACHE TABLE; and a SMALL CHINESE BLACK LACQUER SIDE TABLE (4) £200-300

132 FB700/266 LATE VICTORIAN MAHOGANY PIANO STOOL CIRCA 1900 with carved scroll arms, raised on splayed legs 59cm (23.2in) wide

£150-200

$240-320

133 FB700/267 PAIR OF CHINESE CELADON GROUND PORCELAIN BALUSTER VASES 20TH CENTURY painted with blossoming trees, mounted as lamps (one cracked) (2)

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 38-39.

134 FB700/268 VICTORIAN EBONISED PEDESTAL CIRCA 1880 the rectangular top raised on a Corinthian column support ending in a plinth base, 29cm (11.4in) wide, 113cm (44.5in) high; together with a MODERN BLACK AND TERRACOTTA PAINTED HEXAGONAL PEDESTAL, 40cm (15.7in) wide, 92cm (36.2in) high (2)

£400-600

£150-200

80cm (31.5in) high (including shade)

$640-960

$240-320

$320-480

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135 FB700/270 PAIR OF VENETIAN STYLE PAINTED WOOD BLACKAMOOR FIGURES

BY ANTHONY REDMILE, 20TH CENTURY the standing nude figures each holding an associated spear, raised on faux marble platform bases (2) 130cm (51.2in) high

£1,000-1,500

136 FB700/258 MID-VICTORIAN BLACK AND GILT PAPIERMÂCHÉ FIRESCREEN ATTRIBUTED JENNENS & BETTRIDGE, CIRCA 1860 painted with a view of Salisbury Cathedral within an ornate pierced shell border, raised on a baluster stem and quadripartite scrolling legs 82cm (32.3in) wide, 130cm (51.2in) high Note: This was previously exhibited at the B.A.D.A. Duke of York Fair as being by Jennens and Bettridge Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£1,000-1,500

96

$1,600-2,400

$1,600-2,400

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137 FB700/261 GEORGE I STYLE WALNUT WING ARMCHAIR EARLY 20TH CENTURY upholstered in gros point floral needlework with olive green velvet wings, raised on cabriole legs with trefoil pad feet Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p.

41.

£1,500-2,000

$2,400-3,200

138 FB700/270A THREE PAIRS OF LINED CURTAINS OF RECENT MANUFACTURE in a jade green material, each with corresponding tasselled tie backs (6) drop 330cm (130in) approx.

£200-300

$320-480

139 FB700/260 POLISHED STEEL CLUB FENDER EARLY 20TH CENTURY with close-nailed red leather seat raised on spiral twist supports and plinth base 185.5cm (73in) wide, 64cm (25.2in) high, 75cm (29.5in) deep Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 41.

£800-1,200

$1,280-1,920 97

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140 FB700/259 JOHN BROADWOOD & SONS ARTS & CRAFTS WALNUT GRAND PIANO DESIGNED BY CHARLES ROBERT ASHBEE (1863-1942) CIRCA 1904 numbered 47850 and applied with patinated brass pierced Celtic strapwork hinges on square tapering supports 155cm (61in) wide, 102cm (40.2in) high, 228.5cm (90in) long Provenance: Edward George Henry Montagu, 8th Earl of Sandwich, Hinchingbrooke House, Huntingdon

98

Note: The Broadwood Piano Co records state that this piano was finished by 12th March 1904 and delivered to Hitchingbrooke on 29th March of the same year. Ashbee's deliberately unconventional style around this time particularly focused on his designs for pianos. Both his wife and his mother were talented pianists and besides, 'artists and architects of advanced tastes had been interested in reforming the design of piano cases for some time'. Burne-Jones with W.A.S. Benson had produced a design in 1879 which replaced the deep curves and massive legs of the high Victorian era with a treatment closer to late 18th century harpsichords and these 'Reformed' or 'Artistic' forms provoked 'steady interest' from then onwards. Ashbee's first design was for his wife Janet in 1900 and was 'shocking' in its subversion of convention. As in the present example the cabinet work was carried out by Broadwood & Co. and the heavy cast hinges were made by

the Guild of Handicrafts. The form was square and reflected the piano forms of the late 18th century but with hinged doors to the front. This example, produced four years later retains many of the features of this original design with the case enclosing the more usual grand piano frame. These 'specials', as they were known at Broadwoods, were made to commission and were bespoke for each client.

Examples of Broadwood pianos designed by Ashbee are in the collections of the Huntingdon Library, Pasadena, Cheltenham Art Gallery and Museum and Standen House, Surrrey.

Literature: Crawford, Alan 'C.R. Ashbee: Designer & Romantic Socialist' Yale University Press 1985 Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 37.

£12,000-18,000 $19,200-28,800

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141 FB700/184 GAINSBOROUGH DUPONT (BRITISH 1754-1797) HALF LENGTH PORTRAIT OF HENRY FREDERICK, DUKE OF CUMBERLAND Oil on canvas, feigned oval 75cm x 63cm (29.5in x 24.75in) Provenance: Sotheby’s Private Treaty Sale, New York, June 27, 2006, lot 153.

£6,000-8,000

142 FB700/195 AFTER FRANZ XAVER WINTERHALTER HEAD AND SHOULDER PORTRAIT OF QUEEN VICTORIA Oil on canvas 53cm x 40cm (21in x 15.75in) Provenance: Skinner Auction, Boston, Massachusetts, November 12, 1999, lot 26, reproduced.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th – April 29th, 2001, no. 53.

£2,000-3,000

100

$3,200-4,800

$9,600-12,800

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143 FB700/187 AFTER SIR SAMUEL LUKE FILDES R.A. THE CORONATION PORTRAIT OF EDWARD VII Oil on canvas 160cm x 100cm (63in x 39.5in) Provenance: The Fine Art Society, London, 2001.

£2,000-3,000

$3,200-4,800

101

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144 FB700/192 WILLIAM SPOONER (19TH CENTURY BRITISH) THE GRAND REVIEW IN WINDSOR GREAT PARK Pencil and watercolour, heightened with white 25.5cm x 43.5cm (10in x 17in) Provenance: Phillips, London, May 26, 1981, lot 55.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 37,

£600-800

$960-1,280

145 FB700/191 ** PREVOST (19TH CENTURY FRENCH) RECEPTION AT BUCKINGHAM PALACE Signed, watercolour on brown paper 26cm x 40cm (10.25in x 15.75in) Exhibited: C.E.M.A. Exhibition, ‘London Seen by French Painters’, cat. no. 4 Provenance: Collection Hermès, no. 2028

£1,000-1,500

$1,600-2,400

146§ FB700/196 JULIAN BARROW (BRITISH b. 1939) OLD BATTERSEA HOUSE Signed and dated ‘03, oil on canvas 51cm x 61cm (20in x 24in) Provenance: Purchased from the artist.

£800-1,200

102

$960-1,920

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147 FB700/194 SIR GEORGE HAYTER (BRITISH 1792-1871) FULL LENGTH PORTRAIT OF QUEEN VICTORIA IN CORONATION ROBES Oil on canvas 127cm x 95cm (50in x 37.5in)

£20,000-30,000 $32,00-48,000

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148 FB700/188 HENRY NELSON O’NEIL A.R.A. (BRITISH 1817-1880) EASTWARD HO! 1857 Signed, oil on canvas 52cm x 41cm (20.5in x 16in)

and ‘Home Again 1858’, unsigned, two images in the same frame Note: Reduced replicas of two separate works which O’Neil exhibited separately at the Royal Academy: Eastward Ho!,1858 and Home Again, 1859.

Provenance: Sotheby’s, London, May 20, 1970, lot 48, reproduced.

Exhibited: Victorian Art, The Emily Lowe Gallery, Hofstra University, Hempstead, New York, October 29December 17, 1972, no. 83.

The Art and Mind of Victorian England: Paintings from the Forbes Magazine Collection, University Gallery, University of Minnesota, Minneapolis, 1974, no. 37.

The Royal Academy (1837-1901) Revisited, Metropolitan Museum of Art, New York, March 11-April 27, 1975; The Art Museum, Princeton University, New Jersey, May 10September 14, 1975; The High Museum of Art, Atlanta, September 27-October 26, 1975; Cincinnati Art Museum, Ohio, December 6, 1975February 1, 1976; The Allen House, Louisville, Kentucky, February 1428, 1976, no. 50.

The Pre-Raphaelite Era 1848-1914, Delaware Art Museum, Wilmington, April 12-June 6, 1976, no. 2-20.

32 Victorian Paintings from the Forbes Magazine Collection, The Fine Art Society, Glasgow, August 12-September 4, 1981; The Fine Art Society, Edinburgh, September 7-30, 1981

Childhood in Victorian England, 1999 Broadway, Denver, Colorado, September 6-28, 1985; The Forbes Magazine Galleries, December 3, 1985-May 10, 1986, no. 27 Victorian Childhood, Yale Centre for British Art, New Haven, Connecticut, November 12, 1986-January 4, 1987; Portland Art Museum, Portland, Oregon, February 11-May 3,1987; The Forbes Magazine Galleries, New York, May 26-December 30,1987.

From Waterloo to the Somme: Images of the Army, Whitworth Art Gallery, University of Manchester, Manchester, England, January 15February 27, 1988, no. 26.

Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky, August 29November 6, 1988; The Forbes Magazine Galleries, New York, November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee, May 6-June 18, 1989; Birmingham Art Museum, Birmingham, Alabama, July 1August 13, 1989; The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, September 2-October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida, October 28December 10, 1989; The Society of Four Arts, Palm Beach, Florida, January 5-February 4, 1990; Leeds Art Gallery, Leeds, England, June 15-July 29, 1990, no. 25.

The Defining Moment: Victorian Narrative Paintings from the Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware,

September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 37, reproduced in colour.

Literature: Graham Reynolds, Victorian Painting, London, 1966, p. 87.

Melvin Waldfogel, The Art and Mind of Victorian England, Minneapolis, 1974, pp. 19, 22, colour plate 37a “A Glimpse of Victoria’s world,” Minneapolis Tribune, September 22, 1974, reproduced Peter Altman, “Victorian Age Ideals Evident in Art Works,” The Minneapolis Star, September 28, 1974.

Lyndel King, “Heroism Began at Home,” Artnews, November, 1974, p. 45; “Victorian Art and Mind,” Apollo, December, 1974, p.527, reproduced.

Christopher Forbes, The Royal Academy (1837-1901) Revisited, New York, 1975, p. 114, reproduced p. 115, colour plates XVIII and XIX. David L. Shirley, “Victorian Art on Display at Princeton,” The New York Times, May 11, 1975.

Clyde Burnett, “Survey of Victorian Era English Art: A Good Show,” The Atlanta Journal and Constitution, October 5, 1975, p. 3-F. Roland and Betty Elzea, The PreRaphaelite Era 1848-1914, Wilmington, Delaware, 1976, p. 32, reproduced p. 33.

Great Victorian Pictures: Their Paths to Fame (exhibition catalogue), Arts Council of Great Britain, London, 1978, p.63.

Elizabeth Dickson, “The Collectors: Old Battersea House - Malcolm and

Christopher Forbes in London,” Architectural Digest, April 1979, p. 113, reproduced.

Christopher Wood, “Evelyn Waugh: A Pioneer Collector, The Connoisseur, September 1981.

Susan Moore, “The Awakening Consciousness,” Country Life, June 5, 1986, p. 1574, reproduced.

Susan P. Casteras, Victorian Childhood, New York, 1986, pp.4041, reproduced.

Susan Casteras, “Virtue Rewarded: Morality and Faith in Victorian Paintings,” Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, The JB Speed Museum, Louisville, Kentucky, 1988, p. 4, 23-24, reproduced.

J. W. M. Hichberger, Images of the Army: The Military in British Art 1815-1914, Manchester University Press, 1988, p. 170, reproduced.

Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 37.

£20,000-30,000 $32,000-48,000

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149 FB700/193 SIR GEORGE HAYTER (BRITISH 1792-1871) AFTER FRANZ XAVER WINTERHALTER THREE-QUARTER LENGTH PORTRAIT OF PRINCE ALBERT Oil on canvas 127cm x 95cm (50in x 37.5in) Note: After the original in the Royal Collection commissioned by Queen Victoria and executed in 1842.

Provenance: Stalker & Bros., Inc., October 26, 1983, lot 193, illustrated.

Exhibited: Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987-July 3, 1987; The University of Surrey at Guildford, Surrey: July 1987, No. 5.

£5,000-8,000 $8,000-12,800

150 FB700/186 JOHN SEYMOUR LUCAS (BRITISH 1849-1923) YOUR HIDDEN PORTRAIT Signed, oil on canvas 61cm x 45cm (24in x 17.75in)

£2,000-3,000

106

$3,200-4,800

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151 FB700/185 ATTRIBUTED TO SIR EDWIN LANDSEER R.A. (BRITISH 1802-1873) HECTOR, NERO AND DASH WITH THE PARROT, LORY Signed, oil on canvas 62cm x 75cm (24.5in x 29.5in) Note: After that held in the Royal Collection, commissioned by Queen Victoria.

Provenance: Muriel, Lady Forteviot: Sotheby's Belgravia, London, November 28, 1972, lot 153, reproduced.

Exhibited: Royal Academy, 1838, no. 90.

The Art and Mind Of Victoria England: Paintings from The Forbes Magazine Collection. University Gallery, University of Minnesota, Minneapolis, September 28 November 8, 1974, no. 27.

The Royal Academy (1837-1901) Revisited, March 11-April 27, 1975, Metropolitan Museum of Art; May 10-September 14, 1975, The Art Museum, Princeton University, New Jersey; September 27-October, 1975, The High Museum of Art, Atlanta; December 6, 1975-February 1, 1976, Cincinnati Art Museum, Ohio; February 14-28, 1976, The Allen House, Louisville, Kentucky, no.61.

The Pre-Raphaelite Era 1848-1905,

Delaware Art Museum, April 12June 6, 1976, no. 2-17.

European Dog Painting, Matsuzakaya Art Museum, Nagoya, April 25-May 14, 1996; Isetan Museum of Art, Tokyo, July 2-July 22, 1996; Navio Museum of Art, Osaka, August 30-September 29, 1996, no. 13.

Literature: The Art and Mind of Victoria England: Paintings from The Forbes Magazine Collection, University Gallery, University of Minnesota, Minneapolis, September 28 November 8, 1974, no. 27, p. 27 reproduced in color.

Christopher Forbes, The Royal Academy (1837-1901) Revisted, New York 1975, pp. 82, 84, reproduced p.

83 and in color Plat XI, p. 169.

Rowland and Betty Elzea, The PreRaphaelite Era 1848-1914, Delaware Art Museum, Wilmington, p. 32, reproduced p. 90.

Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 42.

Siân Morgan, “Art Gallery - Pets in Portraits,” Child Education, February 2002, vol. 79, no. 2, reproduced in color.

Deborah Jaffé, Victoria: Her Life, Her People, Her Empire, London, 2010, p. 27, reproduced in color.

William Secord, European Dog Painting, Japan, 1996, no. 13, reproduced in color p. 41

£5,000-7,000

$8,000-11,200

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152 FB700/190 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) STUDY FOR THE CORONATION PORTRAIT STUDY OF KING GEORGE VI Oil on canvas laid on board 79cm x 50cm (31in x 19.75in) Provenance: Bonham’s, Knightsbridge, July 18, 2006, lot 206, reproduced.

£2,000-3,000

152A FB700/190 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) STUDY FOR THE CORONATION PORTRAIT STUDY OF KING GEORGE VI: STUDY XXI Oil on canvas laid on board 79cm x 50cm (31in x 19.75in) Provenance: Bonham’s, Knightsbridge, July 18, 2006, lot 206, reproduced.

£1,500-2,000

108

$2,400-3,000

$3,200-4,800

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153 FB700/189 HENRY WALLIS (BRITISH 1830-1916) TIMON AND FLAVIS, FROM TIMON OF ATHENS Signed with initials, oil on panel 60cm x 48cm (23.5in x 19in) Note: Painted expressly for the Art Journal, London.

Provenance: Virtue & Company, Limited, London, 1876 Julian Hartnoll, 1971 Exhibited: The Pre-Raphaelites and their Times, Isetan Museum of Art, Tokyo, January 24-February 24, 1985; Hamamatsu City Museum, Hamamatsu, Japan, March 5-24, 1985; The Aichi Prefectural Art Gallery, Aichi, March 26-April 21, 1985; Daimaru Museum of Art, Daimuru, May 1-20, 1985; Yamanashi Prefectural Museum of Art, Yamanashi, May 25-June 23, 1985, no. 13, reproduced.

Literature: “Timon and Flavius: From the Picture in the Possession of the Publishers,” The Art Journal, 1876 (Vol. XV), illustrated with engraving after the painting by C. Cousen.

Pre-Raphaelite Trust Christie’s South Kensington, London, March 20, 1984, lot 78.

£5,000-8,000

$8,000-12,800

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154 FB700/197 EDITH GRACE WHEATLEY (BRITISH 1888-1970) THE CORONATION PORTRAITS OF QUEEN ELIZABETH II AND PRINCE PHILIP Signed, oil on canvas (2) 182cm x 151cm (71.75in x 59.5in) Provenance: Commissioned by Emile Littler in 1953 for the Palace Theatre, London.

Purchased from Robert Miller Fine Art, London, June 28, 2003.

Exhibited: Royal Society of Portrait Painters, London, 1959.

“The Queen” exhibited in Elizabeth II - Portraits of Sixty Years, National Portrait Gallery, London, 1986.

£12,000-18,000 $19,200-28,800

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155 FB700/405C L. JENNINGS RELIEF PROFILE ROUNDEL OF GEORGE VI Bronze, signed 22cm (8.7in) diameter

£200-300

$320-480

156 FB700/405B F.J. WILLIAMSON RELIEF PROFILE ROUNDEL OF QUEEN VICTORIA Bronze, signed and inscribed ‘Esher’ and ‘1837-1897’, mounted on a wooden board

157 FB700/405A R.W. MARTIN PAIR OF RELIEF PROFILE ROUNDELS OF A YOUNG AND OLD QUEEN VICTORIA Terracotta, signed and dated 1897, within an oak and overpainted frame (2)

26.5cm (10.4in) diameter

Each 14.5cm (5.7in) diameter

£200-300

£300-500

$320-480

$480-800 111

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158 FB700/394 COPELAND AFTER MATTHEW NOBLE (BRITISH, 1817-1876) BUST OF QUEEN VICTORIA Parian, signed and dated 1850, impressed factory marks 57cm (22.4in) high

£300-500

159 FB700/380A ARNOLD MACHIN (BRITISH 1911-1999) O.B.E., R.A. FOR ROYAL WORCESTER QUEEN ELIZABETH II Ceramic, numbered 339 of 1,000, printed Royal Worcester mark, bears inscription ‘To commemorate the Silver Jubilee 1952-1977’ 33.5cm x 21.5cm (13.2in x 8.5in) Provenance: Christies, lot 674, Sale 9887, 14th July 2004

£100-150

112

$160-240

$480-800

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160 SIR EDGAR BERTRAM MACKENNAL (AUSTRALIAN 1863-1931) QUEEN VICTORIA Bronze, the figure modelled standing in coronation robes on a pedestal above figures representing India, Africa, Australia and Canada, signed ‘Betram Mackennal, London, 1897’, inscribed ‘Published by Arthur L. Collie, 39B Old Bond Street, London/ March 10 1897’, also bearing foundry stamp for E. Gruet Jeune, Paris 57cm (22.4in) high

£3,000-5,000

$4,800-8,000

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161 FB700/404A THE ART UNION OF LONDON AFTER MORTON EDWARDS BUST OF PRINCE ALBERT Parian, signed and dated 1884, impressed factory marks, 36cm high; and a companion AFTER MARY THORNYCROFT, impressed factory marks, dated 1868, 38.5cm (15.2in) high (2) £300-500

$480-800

162 FB700/400 W.H. KERR & CO., AFTER E.J. JONES PAIR OF BUSTS OF QUEEN VICTORIA AND PRINCE ALBERT Parian, signed, printed factory marks (2) Victoria 33.5cm (13.2in) high, Albert 36cm (14.2in) high

£400-600

163 FB700/396 ENGLISH PARIAN FIGURE GROUP PRINCE OF WALES WITH A HOUND 25cm (9.8in) high

£150-250

$240-400

164 FB700/399 COPELAND AFTER MARSHALL WOOD BUST OF PRINCE ALBERT Parian, signed and dated 1868, impressed factory marks, 32cm (13in) high; and another COMPANION PARIAN FIGURE, 33cm (13in) high (2) £300-500

$480-800

$640-960

165 FB700/379 ENGLISH SCHOOL SMALL BUST OF QUEEN VICTORIA Alabaster, raised on a waisted marble plinth bust 18cm (7.1in) high overall, 26cm (10.2in) high

£200-400

$320-640

166 FB700/380 DAVID MCFALL R.A. (BRITISH 1919-1988) FOR WEDGWOOD BUST OF PRINCE CHARLES Black basalt, numbered 7 of an edition of 25, printed and impressed Wedgwood marks, inscribed ‘In celebration of the wedding of The Prince of Wales and Lady Diana Spencer – St. Paul’s Cathedral, 29th July 1981’ 53cm (20.9) high

£200-300

114

$320-480

Dining Room

167 FB700/275 SET OF EIGHT GEORGE II STYLE WALNUT AND UPHOLSTERED DINING CHAIRS 20TH CENTURY covered in yellow silk damask raised on cabriole legs, ending in pad feet (8) £2,000-3,000

168 FB700/273 SCOTTISH GEORGE IV MAHOGANY SIDEBOARD CIRCA 1825 the top with galleried superstructure flanked with two projecting drawers, above a central bowed drawer flanked by a cellaret drawer and cupboard between reeded stiles, raised on turned and reeded legs 230cm (90.6in) wide, 112cm (44.1in) high, 59cm (23.2in) deep

£1,500-2,500

116

$2,400-4,000

$3,200-4,800

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169 FB700/274 REGENCY STYLE MAHOGANY TRIPLE PEDESTAL DINING TABLE OF RECENT MANUFACTURE with two leaf insertions, the rounded rectangular top with reeded edge, raised on ring turned column supports ending in reeded downswept legs with brass cappings and castors 134cm (52.8in) wide, 74cm (29.1in) high, 268cm (105.5in) long, 378cm (148.8in) long extended

£2,000-3,000

$3,200-4,800

170 FB700/272 GEORGE IV MAHOGANY BOWFRONT SERVING TABLE CIRCA 1825 the gentle breakfront frieze centred by a lion-mask motif, raised on reeded tapering legs headed by stiff leaves, ending in bun feet 157.5cm (62in) wide, 94cm (37in) high, 62cm (24.4in) deep

£3,000-4,000

$4,800-6,400

117

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171 FB700/282 GOLDSCHEIDER PORCELAIN FIGURE EARLY 20TH CENTURY modelled as a young boy or fawn riding a camel, raised on a naturalistic oval base, printed marks 36cm (14.2in) high

£500-800

$800-1,280

172 FB700/281 AMPHORA BISQUE PORCELAIN FIGURE LATE 19TH CENTURY modelled as an Arab on camel back, raised on a naturalistic base, impressed marks 46cm (18.1in) high

£200-400

173 FB700/286 LARGE ROYAL DUX BISQUE PORCELAIN FIGURE EARLY 20TH CENTURY modelled as an Arab on camel back with a young boy by his side, applied pink triangle and printed marks 45cm (17.7in) high

£200-300

118

$320-480

$320-640

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174 FB700/284 AMPHORA BISQUE PORCELAIN FIGURE LATE 19TH CENTURY modelled as an Arab on camel back, impressed marks 33cm (13in) high

£200-400

$320-640

175 FB700/276 PAIR OF ROYAL DUX BISQUE PORCELAIN FIGURES EARLY 20TH CENTURY modelled as an Arab and companion, he holding water carrier and she selling fruit from baskets, applied pink triangles, impressed marks (2) Tallest 37cm (14.6in) high

£400-600

$640-960

176 FB700/277 PAIR OF AUSTRIAN BISQUE PORCELAIN FIGURES LATE 19TH CENTURY modelled as an Arab and his companion, printed blue crown marks (2) Tallest 38cm (15in) high

£300-500

$480-800

119

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177 FB700/286A PAIR OF AUSTRIAN BISQUE PORCELAIN FIGURES LATE 19TH CENTURY modelled as a Turk and companion, the draped standing figures each holding a basket, raised on a naturalistic base, printed blue crown mark (2) Tallest 34cm (13.4in) high

£400-600

$640-960

178 FB700/279 PARIS PORCELAIN FIGURE GROUP LATE 19TH CENTURY modelled as a knight and an Arab engaged in battle, raised on a naturalistic base 29cm (11.4in) high

£400-600

179 FB700/285 CONTINENTAL TERRACOTTA FIGURE EARLY 20TH CENTURY modelled as a robed figure, incised mark 43cm (16.9in) high

£300-500

120

$480-800

$640-960

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180 FB700/286B HERIZ CARPET LATE 19TH/EARLY 20TH CENTURY the red field with allover rosette and foliate vine pattern, within indigo rosette and foliate border between bands 431cm x 328cm (169.7 x 129.1in)

£600-900

181 FB700/271 LATE VICTORIAN SCRAPWORK TRIPLE FOLD SCREEN CIRCA 1890 each fold applied with coloured scraps of engravings of figures in contemporary dress 53cm (20.9in) wide, 176.5cm (69.5in) high each fold

£400-600

$640-960

182 FB700/278 ROYAL DUX PORCELAIN FIGURE EARLY 20TH CENTURY modelled as a recumbent camel and foal, applied pink triangle, impressed marks

£1,000-1,500

$1,600-2,400

184 FB700/287A PAIR OF CUT GLASS DECANTERS AND STOPPERS EARLY 20TH CENTURY The ovoid sides engraved with fruiting vines, 30cm (11.8in) high; together with ANOTHER CUT GLASS DECANTER AND STOPPER; and a TIFFANY AND CO GLASS JUG AND STIRRER (4)

185 FB700/287E PAIR OF GEORGE I STYLE WALNUT CONSOLE TABLES 20TH CENTURY the canted rectangular tops raised on cabriole legs, ending in pointed pad feet (2) 78cm (30.7in) wide, 76cm (29.9in) high, 33cm (13in) deep

£200-300

$320-480

30cm (11.8in) high

£150-250

$240-400

186 FB700/287C WALNUT VENEER HUMIDOR

BY DUNHILL, OF RECENT MANUFACTURE the hinged lid enclosing a compartmented interior 35cm (13.8in) wide, 15cm (5.9in) high, 21cm (8.3in) deep

14cm (5.5in) high

£200-300

183 FB700/283 MISCELLANEOUS GROUP OF ROYAL COMMEMORATIVE PORCELAIN including: a set of four Queen Victoria Diamond Jubilee plates with printed scenes, 1897; two pairs of Queen Victoria Golden Jubilee plates with printed portraits, 1887; a pair of Queen Victoria Diamond Jubilee shaped circular plates, 1897; a moulded glass Jubilee plate; two Doulton Harvest ware Queen Victoria Diamond Jubilee baluster jugs, 1897 and other assorted commemorative ware (qty)

$9600-1,440

$320-480

£40-60

$65-100

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187 FB700/287B LOUIS XV STYLE SILVERED-METAL SIXTEEN BRANCH CHANDELIER

BY ELKINGTON & CO., EARLY 20TH CENTURY The double baluster shaft surmounted by putti mounts from which issue two tiers of eight scroll branches each with foliate circular drip-pans, with on chain suspension 84 cm (33.1in) high Note: This model is after a design by William Kent for Knole House, Kent (see notes for lot 10)

£2,000-3,000

$3,200-4,800

188 FB700/378 FREDERICK WILLIAM POMEROY R.A. (BRITISH, 1856-1924) BUST OF QUEEN VICTORIA Bronze, signed and dated 1901 62cm (24.4in) high Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 73.

£800-1,200

189 FB700/287F FOUR PAIRS OF YELLOW SILK LINED CURTAINS AND PELMETS OF RECENT MANUFACTURE with foliate decoration (8) drop 330cm (130in) drop approx.

£400-600

122

$640-960

$1,280-1,920

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190 SET OF FOUR OLD SHEFFIELD PLATE CORINTHIAN COLUMN CANDLESTICKS LATE 19TH CENTURY of conventional form with reeded columns above flared square base, with circular detachable sconces with beaded rim (4) 25.5cm (10in) high

£200-400

$320-640

191 SET OF THREE MODERN SILVER AND WINE COASTERS MAKER’S MARK MCH, LONDON 2000 each with straight sides with moulded rim inset with turned wooden bases with central silver boss (one lacking) (3) 13cm (5.1in) diameter

£200-300

$320-480

192 PAIR OF BRITANNIA STANDARD SILVER SAUCE BOATS MAKER’S MARK JLC, LONDON 1936 of typical George III form with bellied bodies and everted scalloped rim, with S scroll handle, on three scrolled feet (2) 20cm (7.9in) long

£300-500

$480-800

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193 FB700/286H EDWARDIAN SILVER PLATED AND CUT GLASS EPERGNE EARLY 20TH CENTURY the central cut glass bowl surrounded by four smaller bowls, supported on scrolling branches, raised on gadrooned dish ring and four shell headed legs terminating in paw feet, joined by an undertier 16cm (6.3in) wide, 32cm (12.6in) high

£300-500

$480-800

194 FB700/286G COMPOSITE CANTEEN OF ONSLOW PATTERN SILVER PLATED CUTLERY MAINLY ROBERTS & BELK, SHEFFIELD comprising seventeen table forks; twenty three dessert forks; eighteen dessert spoons; twenty three soup spoons; seven serving spoons; a sauce ladle; five teaspoons; twenty four table knives; eighteen side knives; twenty four fish forks; six fish knives (qty) £300-500

$480-800

195 FB700/286D SILVER PLATED TEA AND COFFEE SERVICE MAKER’S MARK PSL, SHEFFIELD comprising a teapot; a coffee pot; a sugar bowl; and a milk jug, each of bulbous baluster form; also a PAIR OF SILVER ‘WISHBONE’ SUGAR TONGS; A STRAINER AND STAND; and A SCALLOPED CIRCULAR TRAY (7) £150-250

$240-400

196 FB700/286E SILVER PLATED TWINHANDLED TRAY MAKER’S MARK M&S of rounded rectangular form with gadrooned border with shell cast angles, 74cm (29.1in) wide; and a PAIR OF SILVER PLATED ON COPPER VASES, each of footed trumpet form with flared and gadrooned rim above twin lion’s head ring handles, on spreading circular base, 4cm (9.4in) high (3) £100-200

197 FB700/286I SILVER CAPSTAN PEPPER MILL LONDON 1975 of tapering conical form; A SILVER PLATED CAPSTAN PEPPER MILL of similar form; A PAIR OF PEPPERETTES, with blue glass liners in pierced holders; and A CAULDRON SALT, with blue glass liner, raised on three paw feet (5) £100-200

$160-320

$160-320

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199 FB700/205 HRH PRINCESS LOUISE STANDING WOMAN IN OUTDOOR CLOTHES Signed and dated 1858, watercolour on paper with embossed stamp of Osborne 27cm x 17cm (10.5in x 6.75in)

198 FB700/202 HRH PRINCESS VICTORIA, PRINCESS ROYAL (BRITISH 1840-1901) WOMAN IN A HAT Pencil 20.5cm x 15.5cm (8.1in x 6in)

£1,800-2,000

$2,880-3,200

200 FB700/200 JAMES PLUCKNETT (19TH CENTURY BRITISH) A STUDY FOR THE END OF THE BANQUETING ROOM, WARWICK CASTLE Signed, grisaille 32cm x 44cm (12.5in x 17.25in) Note: The paintings in lot 203 are featured in this scene.

Exhibited: Architectural drawings, April 16-July 19, 1986, Stubbs Books & Prints, Inc., New York, no. 71.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 35.

£300-500

126

$480-800

Provenance: Ian Hodgkins & Co., Ltd., England, Spring 1993, cataloge 68, lot 123.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 23.

£500-800

$800-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

201 FB700/203 HRH PRINCE ALBERT EDWARD, LATER PRINCE OF WALES (BRITISH 1841-1910) STUDY OF A CANDLESTICK Signed and dated ‘Monday 5th April’, watercolour 31cm x 15cm (12.25in x 6in) Provenance: Anon sale: Phillip’s, London, Scientific Instruments, Collectors’ Items & Royal Ephemera, August 12, 1987, lot 511, reproduced.

Exhibited: Queen Victoria: Powerful Ruler of the Mighty Empire, The Forbes Magazine Collection, Ronald Reagan Presidential Library & Museum, January 20-April 29, 2001, no. 6.

£400-600

$640-960

202 FB700/207 JAMES BAKER PYNE (BRITISH 1800-1870) A VIEW OF WINDSOR CASTLE FROM THE THAMES Signed and dated 1897, and numbered 225, oil on canvas, circular 26cm (10.25in) diameter Provenance: Ward; H. T. and C. M. Bowlby; Christie’s, London, May 2, 1986, lot 71, reproduced Exhibited: Space and Light: Painters’ Perceptions from Turner to Tabner, Chichester Festivities, The Bishop’s Palace, Chichester, England, July 2-July 18, 1999, no. 6.

£2,000-3,000

$3,200-4,800

127

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203 FB700/201 LATE 19TH CENTURY ENGLISH SCHOOL A PAIR OF PORTRAITS OF KING EDWARD VII AND QUEEN ALEXANDRA IN FANCY DRESS Oil on panel (2) 47cm x 34cm (18.5in x 13.4in) Note: Painted to commemorate a royal visit to Warwick Castle.

Provenance: Lord Brook, Warwick Castle, 1978 Warner Dailey, Badger & Jackal, London, February 12, 1985.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, nos. 10 and 11,

ÂŁ3,000-5,000

128

$4,800-8,000

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204 FB700/198 HENRY CAMPOTOSTO (BELGIAN 1833-1910) THE APOTHEOSIS OF QUEEN VICTORIA Signed, oil on panel 155cm x 107cm (61in x 42in) Sotheby’s Belgravia, December 12, 1978, lot 194, reproduced.

Exhibited: Collecting Queen Victoria, The Winter Antiques Show, The Armory, New York, New York, January 23February 1, 1987; The Forbes Magazine Galleries, New York, New York, February 12-May 16, 1987, no. 3; The Fine Art Society, London, England, June 9-July 3, 1987; The University of Surrey at Guildford, Surrey, England, July 1987.

The Nature of Diamonds, American Museum of Natural History, New York, New York, October 15, 1997May 15, 1998; San Diego Natural History Museum, San Diego, California, March-September 19, 1999.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 3.

Literature: E. F. Benson, Queen Victoria: A Biography, Chatto & Windus, London, 1987, reproduced.

Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 42.

£4,000-6,000

$6,400-9,600

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205 FB700/208 HENRIETTA MAY ADA WARD (BRITISH 18321924) AFTER BARON VON ANGELI THREE QUARTER PORTRAIT OF QUEEN VICTORIA Oil on canvas 147cm x 98cm (58in x 38.5in)

and an engraving after the original painting (2) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 50.

£5,000-8,000

206 FB700/206 AMEDEE FORESTIER (BRITISH 1854-1930) EDWARD VII AND ALEXANDRA Signed and dated ‘87, oil on canvas 50cm x 33cm (19.75in x 13in) Provenance: Neal Auction Company, New Orleans, October 17, 1992, lot 484, reproduced.

£2,000-3,000

130

$3,200-4,800

$8,000-12,800

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207 FB700/211 CHARLES BURTON BARBER (BRITISH 1845-1894) QUEEN VICTORIA WITH JOHN BROWN, AUGUST 26 1876 Oil on canvas 51cm x 61cm (20in x 24in)

Provenance: Sotheby’s at Hopetoun House, Edinburgh, November 11, 1980, lot 417, reproduced.

Exhibited: Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987-July 3, 1987; The University of Surrey at

Guildford, Surrey: July 1987, No. 8, reproduced in color.

The Defining Moment: Victorian Narrative Paintings from the Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The

Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 42, reproduced in colour.

Our Highland Home: Victoria and Albert in Scotland, Scottish National Portrait Gallery, Edinburgh, Scotland, March 18-June 5, 2005.

£20,000-30,000 $32,000-48,000

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208 FB700/209 HM QUEEN VICTORIA (BRITISH 1819-1901) AND HRH PRINCE ALBERT (GERMAN/BRITISH 18191861) AFTER PHILIPP VON FOLTZ TYROLESE WOMAN AND CHILD Oil on canvas, stamped on the reverse: Windsor Castle Inventory, 1872, no.1448 and Frogmore Room, 12, no. 84.

64cm x 51cm (25.25in x 20in) Note: Note: Presented by HM Queen Victoria to her mother, HRH The Duchess of Kent, and upon her death to her oldest son, HRH Albert Edward, Prince of Wales, later King Edward VII. The king in turn presented it to his sister, HRH Princess Beatrix, in whose estate sale at Kensington Palace it was included in 1944.

This picture was the first lot sold at Sotheby’s Belgravia, 1971.

Provenance: Sotheby's Belgravia, London, October 19, 1971, lot 1.

The Fine Art Society, London (Agent).

Exhibited: Victorian Art. The Emily Lowe Gallery, Hofstra University, Hempstead, Long Island, New York, October 29-December 17, 1972, no. 99.

The Art and Mind of Victoria England: Paintings from the Forbes Magazine Collection. University Gallery, University of Minnesota, Minneapolis, September 28November 8, 1974, no. 42.

Royal Performance: An Exhibition of Works of Art by Kings and Queens and Their Families from Tudor Times to the Present Day. Hartlebury Castle, Kidderminster, October 4 - 26, 1980, no. 36.

Queen Victoria and Prince Albert and the Great Exhibition of 1851.

Campbell House Museum, St. Louis, Missouri, May 12 - August 31, 1989, no. 1 of “Victoriana.”

Collecting Queen Victoria, Winter

Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987-July 3, 1987; The University of Surrey at Guildford, Surrey: July 1987, no. 12.

The Painter was a Lady. The Forbes Magazine Galleries, New York: October 6, 1986-January 31, 1987.

Queen Victoria: Powerful Ruler of a Mighty Empire. The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 151.

Literature: Art Journal, vo. 21, 1859.

“Going, Going, Gone: The Month in Review.” Auction, January 1972, p. 7.

Victorian Art. Emily Lowe Gallery, Hofstra University, New York, 1972, no. 99, reproduced.

Jeanne Paris. “Victorian Exhibit a Pure Delight.” Long Island Press, November 19, 1972, p. 22.

The Art and Mind of Victorian England: Painting from The Forbes Magazine Collection. University Gallery, University of Minnesota, Minneapolis, 1974, no. 42, pp. 62-3, reproduced.

Carole Nelson. “Exhibit Wins

Respect for Long-Neglected Victorian Paintings.” St. Paul's Pioneer Press, September 29, 1974, Family Living Section, p. 3, reproduced.

Lyndel King. “Minneapolis: Heroism Begins at Home.” Artnews, November, 1974, p. 45.

Royal Performance: An Exhibition of Works of Arts by Kings and Queens and their Families from Tudor Times to the Present Day. Hartlebury Castle, Kidderminster, 1980, no. 39, reproduced.

Jane Roberts, Royal Artists. From May Queen of Scots to the Present Day, London, 1987, pp. 103, 217.

£5,000-8,000

132

$8,000-12,800

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209 FB700/136 ATTRIBUTED TO ALEXANDER VAN GAELEN (BRITISH 1670-1728) WILLIAM III’S PROCESSION TO THE HOUSES OF PARLIAMENT Oil on canvas 56cm x 88cm (22in x 34.6in) Provenance: Sotheby’s, London, July 1, 2004, lot 51.

£2,000-3,000

$3,200-4,800

210 FB700/199 FRANCOIS FLAMENG (FRENCH 1856-1923) QUEEN VICTORIA Signed, grisaille 83cm x 57cm (32.75in x 22.5in)

and an engraving on silk of the same subject (2) Provenance: The Calton Gallery, Edinburgh, August 30, 2000.

£2,000-3,000

$3,200-4,800

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211 FB700/204 ** MEYER (19TH/20TH CENTURY GERMAN) PORTRAIT OF KAISER WILHELM II Signed and dated 1914, oil on canvas 31cm x 23cm (12.25in x 9in)

£800-1,200

212 FB700/212 AFTER SIR ANTHONY VAN DYCK HEAD STUDY OF PRINCESS MARY Oil on canvas 39cm x 31cm (15.5in x 12.25in) Note: Princess Mary (1631-1660) was the 3rd child and eldest daughter of Charles I of England, Scotland and Ireland.

She married Willem II, Prince of Orange-Nassau (16261650) and was mother of King William III of England, Scotland and Ireland (1650-1702). Known both as Mary Stuart and Mary of Orange, she was the first daughter of a British Sovereign to hold the title Princess Royal.

Provenance: Christie’s, South Kensington, March 4, 2004, lot 278, reproduced.

£1,000-1,500

134

$1,600-2,400

$1,280-1,920

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213 FB700/210 THEODORE BLAKE WIRGMAN (BRITISH 1848-1925) PEACE WITH HONOUR Oil on canvas 65cm x 76cm (25.5in x 30in)

plus an engraving after this painting (2) Note: The present work depicts Queen Victoria and Disraeli in the visitors’ sitting room at Osborne, July 1878, following the signing of the Berlin Treaty.

Provenance: Sotheby’s, London, March 4, 1992, lot 129, reproduced.

Literature: Christopher Wood, Dictionary of Victorian Painters (Woodbridge, England: Antique Collector’s Club, 1985), p. 525.

£8,000-12,000

$12,800-19,200 135

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214 FB700/213 AFTER SIR ANTHONY VAN DYCK HALF-LENGTH PORTRAIT KING CHARLES I Oil on panel 30.5cm x 25.5cm (12in x 10in)

and a companion of his wife, Queen Henrietta Maria, a pair (2) Provenance: Sotheby’s, London, May 12, 1999, lot 168, reproduced.

£3,000-5,000

136

$4,800-8,000

Breakfast Room

215 FB700/214 JOHN LEECH (BRITISH 1817-1864) MARRIED FOR MONEY – THE HONEYMOON Signed with initials, oil on canvas 56cm x 76cm (22in x 30in) Provenance: Sotheby’s, London, November 5, 1997, lot 31.

£3,000-5,000

$4,800-8,000

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216 FB700/215 JOHN LEECH (BRITISH 1817-1864) DID YOU EVER? Signed, oil on canvas 51cm x 76cm (20in x 30in) Provenance: Phillips, London, April 4, 2000, lot 92, reproduced.

£2,000-3,000

217 FB700/214A JOHN LEECH (BRITISH 1817-1864) HOLD HARD, MASTER GEORGE Colour lithograph with handwritten vignette, signed to margin 35cm x 60cm (13.75in x 23.5in)

£300-500

138

$480-800

$3,200-4,800

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218 FB700/288 CONTINENTAL GREEN PAINTED METAL HANGING LANTERN 20TH CENTURY in the Chinese taste 70cm (27.6in) high approximately Provenance: Mallett, New Bond Street, London

£1,500-2,000

218A SUITE OF TABLE GLASSWARE OF RECENT MANUFACTURE to include red and white wine glasses, water glasses, champagne flutes, associated liquere glasses etc (qty)

220 FB700/289B CONTINENTAL STAINED BEECH SIDE TABLE OF RECENT MANUFACTURE the tray top raised on square tapering legs united by an under tier

£100-200

82cm (32.2in) high,

$160-240

219 FB700/289A CONTINENTAL STAINED BEECHWOOD CIRCULAR BREAKFAST TABLE OF RECENT MANUFACTURE with one frieze drawer, raised on square tapering legs united by an H-shape stretcher

107cm (42.1in) wide, 37cm (14.6in) deep

£100-200

$160-320

122cm (48in) diameter,

221 FB700/289 SET OF SIX STAINED BEECHWOOD KITCHEN CHAIRS OF RECENT MANUFACTURE with ladder backs and rush seats, raised on slightly splayed legs (6)

76cm (30in) high

£100-200

£200-300

$160-320

222 FB700/289C ADDERLEYS LTD. ‘KIMBERLEY’ PATTERN PART TEA SERVICE 20TH CENTURY transfer decorated with flower sprays within a gilt enhanced blue border, comprising: fourteen teacups and fifteen saucers; eleven side plates, a milk jug, a slop-bowl and two cake plates, brown printed mark (qty) £20-40

$30-65

$2,400-3,200

223 FB700/289D ROYAL WORCESTER ‘HYDE PARK’ PATTERN PORCELAIN DINNER SERVICE OF RECENT MANUFACTURE comprising: twenty tea cups and eighteen saucers, twenty coffee cans and sixteen saucers, nineteen dessert bowls and nine underplates, sixteen side plates, seventeen soup bowls, twenty sandwich plates, fifteen luncheon plates, thirty-three dinner plates, milk jug, gravy jug, three vegetable tureens, a covered tureen, one small and two large oval serving dishes, a circular serving dish and two oval stands (qty) £400-600

$640-960

$320-480

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Main Staircase and First Floor Landing

224 FB700/290 GEORGE II STYLE MAHOGANY GAMES TABLE EARLY 20TH CENTURY the rectangular top with green leather inset and four counter wells, above a shaped frieze raised on cabriole legs with pad feet 74cm (29.1in) high, 56cm (22in) deep

£500-800

$800-1,280

225 FB700/292 GEORGE III MAHOGANY SIDE TABLE POSSIBLY IRISH, 18TH CENTURY the rectangular top with eggand-dart moulded frieze, raised on lion’s mask carved cabriole legs ending in hairy paw feet 119cm (46.9in) wide, 75cm (29.5in) high, 71cm (28in) deep

£2,000-3,000

142

$3,200-4,800

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226 FB700/367 MATTHEW NOBLE (BRITISH 1817-1876) BUST OF QUEEN VICTORIA Marble, signed and dated 1859 69.5cm (27.4in) high Provenance: Cawthrow Antiques Ltd., London, 1979.

The Fine Art Society Limited, London (agent).

Exhibited: Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987July 3, 1987; The University of Surrey at Guildford, Surrey: July 1987, no. 19.

£2,000-3,000

$3,200-4,800

227 FB700/369 MATTHEW NOBLE (BRITISH 1817-1876) BUST OF PRINCE ALBERT Marble, signed and dated 1858 80cm (31.5in) high Provenance: Cawthrow Antiques Ltd., London, 1979.

The Fine Art Society Limited, London (agent).

£2,000-3,000

$3,200-4,800

228 FB700/298B NEAR PAIR OF GRANITE COLUMNS EARLY 20TH CENTURY each of cylindrical form raised on a square base (2) one 117cm (46.1in) high, 24cm (9.4in) diameter, the other is 112cm (44.1in) high, 26cm (10.2in) diameter

£500-800

$800-1,280

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229 FB700/297 GEORGE III STYLE BRASS HEXAGONAL LANTERN 20TH CENTURY on chain suspension; together with ANOTHER SIMILAR, of shaped pentagonal form (2) 39cm (15.4in) high approx

£500-800

$800-1,280

230 FB700/291 MAHOGANY TRIPLE-FOLD SCREEN OF RECENT MANUFACTURE with eight glazed panels inset with modern prints depicting Royal children, the reverse with foliate silk damask panels 46cm (18.1in) wide (each fold)

£600-800

$960-1,280

231 FB700/294 WALNUT, EBONY AND MARQUETRY PEDESTAL 17TH CENTURY AND LATER of stepped tapering form, the moulded top above panelled foliate reserves, raised on later bracket feet, alterations 38cm (15in) wide, 103cm (41in) high Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 42.

£1,500-2,500

144

$2,400-4,000

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232 FB700/296 MID VICTORIAN EBONISED OAK SIDE TABLE CIRCA 1850 the inverted breakfront top painted with fauxmarble slab, the stiff-leaf carved moulded edge raised on four monopodia scroll supports surmounted by leopard heads and ending in paw feet 257cm (101.2in) wide, 85cm (33.5in) high, 81cm (32in) deep

ÂŁ3,000-5,000

$4,800-8,000

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233 FB700/293 FINE GEORGE IV BRASS-MOUNTED ROSEWOOD SIDE CABINET CIRCA 1825 the rectangular top above a panelled frieze inlaid with leaf stiles, above a pair of glazed doors enclosing a shelved interior, flanked by turned pilasters centred by brass balusters, raised on reeded toupie feet, the back stamped ‘VR/1866/WINDSOR CASTLE/ROOM 153’ Provenance: Almost certainly supplied to King George IV for Windsor Castle, and by descent to King George VI (d.1952) Christie’s London, 15 June 2000, lot 187 115cm (45.3in) wide, 28cm (11in) deep, 82cm (32.3in) high

£5,000-8,000

234 FB700/295 SET OF THREE REGENCY BROWN PAINTED AND PARCEL GILT SIDE CHAIRS CIRCA 1815 the bar backs with painted geometric stringing and foliage, above caned seats raised on turned tapering legs (3) £400-600

146

$640-960

235 FB700/298 GROUP OF ROYAL COMMEMORATIVE WARES 19TH/20TH CENTURY including: various Royal commemorative wares; three printed tin boxes; commemorative beakers and busts etc. (qty) £400-600

$640-960

235A FB700/405D ENGLISH SCHOOL BUST OF KING GEORGE VI Plaster, raised on a stepped oak plinth bust, 22cm (8.7in) high, overall, 46cm (18.1in) high

£100-200

$160-320

$8,000-12,800

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236 FB700/298A HERIZ CARPET 20TH CENTURY the red field woven with large indigo, red and ivory medallion suspending pendants, ivory spandrels, within indigo rosette and foliate vine border between bands 373cm x 266cm (146.9 x 104.7in)

ÂŁ500-800

$800-1,280

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237 FB700/130 HENRY NELSON O’NEIL (BRITISH 1817-1880) THE VOLUNTEER Signed, oil on panel 37cm x 50cm (14.6in x 19.7in) Note: The present lot is a study for a larger version at Tate Britain.

Provenance: Christie’s, London, 15th March 1980, lot 73.

Exhibited: Virtue Rewarded: Victorian Paintings from The Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky: August 29, 1988-November 6, 1988; The Forbes Magazine Galleries, New York: November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee: May 6, 1989-June 18, 1989; Birmingham Museum, Birmingham, Alabama: July 1, 1989-August 13, 1989; The Sterling and Francine Clark Institute, Williamstown, Massachusetts: September 2, 1989-October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida: October 28, 1989-December 10, 1989, no. 4, reproduced.

Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 37.

£4,000-6,000

238 FB700/128 SIR GEORGE FREDERICK WATTS O.M., R.A. (BRITISH 1817-1904) STUDY FOR THE MIDDAY REST Oil on canvas 43cm x 61cm (16.9in x 24in)

£3,000-5,000

148

$4,800-8,000

$6,400-9,600

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239 FB700/137 STUDIO OF SIR THOMAS GAINSBOROUGH (BRITISH 1727-1788) HALF LENGTH PORTRAIT OF THE RIGHT HONOURABLE AUGUSTUS HARVEY, LORD OF THE ADMIRALTY Oil on canvas 75cm x 61cm (29.5in x 24in) Provenance: Christie’s, London, June 19, 1970, lot 45.

Note: Originally catalogued as an autographed work in the above sale.

See lot 437 for a mezzotint of a fulllength study of this subject.

Literature: Christopher Buckley, "The Highlander: Aboard Malcolm Forbes' Remarkable Yacht", Architectural Digest, January 1987, pp. 100-109; 152, reproduced, p.

105.

£8,000-12,000 $12,800-19,200

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240 FB700/129 SIR GEORGE FREDERICK WATTS O.M., R.A. (BRITISH 1817-1904) STUDY FOR THE MIDDAY REST Oil on canvas 112cm x 66cm (44.1in x 26in)

£4,000-6,000

150

$6,400-9,600

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241 FB700/131 FRANK HOLL R.A., (BRITISH 1845-1888) DOUBTFUL HOPE Signed and dated 1875, oil on canvas 96.5cm x 137.5cm (38in x 54.1in) Provenance: L. H. Lefevre, October 5, 1905.

Christie’s, London, June 3, 1981, lot 44, reproduced.

Exhibited: Virtue Rewarded: Victorian Paintings from The Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky: August 29, 1988-November 6, 1988; The Forbes Magazine Galleries, New York: November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee: May 6, 1989-June 18, 1989; Birmingham Museum, Birmingham, Alabama: July 1, 1989-August 13, 1989; The Sterling and Francine Clark Institute, Williamstown, Massachusetts: September 2, 1989October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida: October 28, 1989-December 10, 1989, no. 4, reproduced.

The Substance or the Shadow:

Images of Victorian Womanhood, April 14-June 13, 1982, Yale Center for British Art, New Haven, no. 41.

Childhood in Victorian England, The Best of Corporate Art in America, 1999 Broadway, Denver, Colorado, September 6-28, 1985, no. 20.

Victorian Childhood, The Forbes Magazine Galleries, New York, December 5, 1985-May 19, 1986.

The Defining Moment: Victorian Narrative Paintings from The Forbes Magazine Galleries, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida,

January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 24, reproduced in colour.

Literature: Susan P. Casteras, The Substance or the Shadow: Images of Victorian Womanhood, New Haven, 1982, pp. 14, 19, 77, reproduced Pl.5.

Laurel Bradley, “The Substance or the Shadow: Images Of Victorian Womanhood” at the Yale Centre for British Art,” ARTS (June 1982): 129, reproduced fig. 5.

£40,000-60,000 $64,000-96,000

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242 FB700/132 LADY ELIZABETH BUTLER (BRITISH 1846-1933) ON THE MORNING OF WATERLOO THE CUIRASSIERS’ LAST REVEILLE Signed with monogram and dated 1914, oil on canvas 106.5cm x 142cm (41.9in x 55.9in)

Provenance: Mrs. Elizabeth Kingscote (the artist’s daughter) On loan to The British Legion, Officers’ Club Presented to The British Legion, Barrow Branch by Capt. Sir John Fisher, 1964 Exhibited: The Waterloo Centenary Exhibition, Leicester Galleries, June 1915, no.

213 (Catalogue no. 11)

£15,000-25,000 $24,000-40,000

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243 FB700/133 ALFRED GUILLAUME, COUNT D’ORSAY (FRENCH 1801-1852) FULL LENGTH PORTRAIT OF ARTHUR WELLESLEY, 1ST DUKE OF WELLINGTON Oil on canvas 233.5cm x 145cm (91.9in x 57.1in) Provenance: Count D’Orsay.

Sir Edward Sherlock Gooch, Bt., godson of the Duke of Wellington.

Sotheby’s, Contents of Benacre Hall, Suffolk, May 9, 10 & 11, 2000, lot 555, reproduced p. 276.

Note: The Duke is portrayed in his mid seventies standing on a magnificent colonnade balcony with a distant view across a park. Wellington is known to have been pleased with this portrait and is quoted as saying, ‘at last, I have been painted like a gentleman’.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 5.

£12,000-18,000 $19,200-28,800

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244 FB700/134 FREDERICK JAMES SHIELDS A.R.W.S. (BRITISH 1833-1911) SKETCH FOR THE DRUMMER BOY’S DREAM Signed with monogram and inscribed, watercolour 29cm x 48cm (11.4in x 18.9in) Provenance: Sotheby’s, London, November 11, 1998, lot 296, reproduced.

154

Exhibited: The Defining Moment: Victorian Narrative Paintings from The Forbes Magazine Galleries, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida,

January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 41, reproduced in colour.

£2,000-3,000

$3,200-4,800

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245 FB700/135 THOMAS JONES BARKER (BRITISH 1815-1882) KING PEDRO V OF PORTUGAL AND BRAZIL, VISITING THE WOUNDED 1858 Signed with initials and dated 1858, oil on canvas 68.5cm x 99cm (27in x 39in) Provenance: Christie’s, London, March 14, 1997, lot 78, reproduced.

£5,000-8,000

$8,000-12,800

155

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246 FB700/134A JERRY BARRET (BRITISH 1851-1883) FLORENCE NIGHTINGALE AT SCUTARI Oil on canvas 56cm x 85cm (22in x 33.5in)

and a key to the figures in the scene (2) Provenance: The Fine Art Society, London, 1984

156

Exhibited: Virtue Rewarded: Victorian Paintings from The Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky: August 29, 1988-November 6, 1988; The Forbes Magazine Galleries, New York: November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee: May 6, 1989-June 18, 1989; Birmingham Museum, Birmingham, Alabama: July 1, 1989-August 13, 1989; The Sterling and Francine Clark Institute, Williamstown, Massachusetts: September 2, 1989October 15, 1989; The Naples Fine Arts Center Galleries, Naples,

Florida: October 28, 1989-December 10, 1989, no. 1, reproduced.

The Defining Moment: Victorian Narrative Paintings from The Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England,

July 28-November 10, 2001, no. 3, reproduced in colour.

Literature: Jeremy Maas, The Victorian Art World in Photographs, London, 1984, p. 12.

ÂŁ40,000-60,000 $64,000-96,000

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247 FB700/111 CHARLES WEST COPE (BRITISH 1881-1890) FAMILY PORTRAIT OF MARGARET, MAY, AND EMILY ATKINSON Signed and dated 1841, oil on panel 62cm x 75cm (24.4in x 29.5in) Provenance: Herbert Masters.

Phillips, London, November 28, 2000, lot 116, reproduced p.110.

ÂŁ2,500-4,000

$4,000-6,400

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248 FB700/150 ATTRIBUTED TO SAMUEL PALMER (BRITISH 1805-1881) HEAD OF CHRIST Oil on panel 35cm x 23.5cm (13.8in x 9.3in) Note: Traditionally identified as a self-portrait by the artist.

Exhibited: Artists and Models: Two Centuries of Faces and Figures, Chichester Festivities 1998, The Tudor Room, The Bishop’s Palace, Chichester, July 2-19, 1998, no. 4, reproduced in colour.

Literature: Paintings in The Forbes Magazine Collection”, The Magazine Antiques, December 2001, vol. CLX, no. 6, pp. 794803, reproduced, p. 794.

£10,000-15,000 $16,000-24,000

249 FB700/108 ATTRIBUTED TO ALFRED W. ELMORE (BRITISH 1815-1881) DISCOVERED Oil on panel 72cm x 55cm (28.3in x 21.7in) Provenance: Parke-Bernet Galleries, New York, June 3-4, 1971, lot 34.

£2,000-3,000

158

$3,200-4,800

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250 FB700/110 SIR HUBERT VON HERKOMER R.A. (BRITISH 1849-1914) HWFA MON, ARCH-DRUID OF WALES Signed with initials and dated ‘96, pencil and watercolour in an elaborately carved and gilded frame created by the artist 59cm x 37cm (23.2in x 14.6in) Provenance: Baron & Baroness Schröder, Dell Park, Englefield, Surrey Christie, Manson, and Woods, April 30, 1979, lot 337, reproduced.

Exhibited: Herkomer exhibition, Watford Museum, Watford, Herts, England, February 15-March 10, 1982.

Painting the Dragon, National Museum & Gallery Cardiff, Cardiff, Wales, April 8-July 9, 2000, no. 13, reproduced in colour.

Literature: Alfred L. Baldry, Hubert von Herkomer, CVO, RA: A Study and a Biography, London, 1901, p.59, reproduced.

Miranda J. Green, Exploring the World of the Druids, Thames and Hudson, London, reproduced.

£8,000-12,000 $12,800-19,200

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251 WILLIAM THEED THE YOUNGER (BRITISH 1804-1891) BUST OF QUEEN VICTORIA Bronze, signed and dated 1864, bearing Elkington & Co. foundry mark, raised on a hexagonal plinth decorated with flower swags and putto within architectural panels Bust, 38cm (15in) high, overall, 64cm (25.2in) high

£2,000-3,000

$3,200-4,800

252 WILLIAM THEED THE YOUNGER (BRITISH 1804-1891) BUST OF PRINCE ALBERT Bronze, signed, bearing Elkington & Co. foundry mark, raised on a hexagonal plinth decorated with flower swags and putto within architectural panels Bust, 38cm (15in) high, overall, 64cm (25.2in) high

£2,000-3,000

160

$3,200-4,800

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253 MARY THORNYCROFT (BRITISH 1814-1895) PRINCE OF WALES AS SUMMER Bronze, signed and dated 1846, raised on a circular marble plinth Bronze, 57cm (22.4in) high, overall, 60cm (23.6in) high Note: After one of the four marble statues

by Mary Thornycroft portraying the Royal children as Seasons.Originally John Gibson was given the work but as he was busy at the time, he suggested to the Queen that Mary Thornycroft, also in Rome at the time, be given the commission. The 1846 originals are at Osborne House.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 78.

£3,000-4,000

$4,800-6,400

254 MARY THORNYCROFT (BRITISH 1814-1895) PRINCESS VICTORIA AS AUTUMN Bronze, raised on a circular marble plinth Bronze, 57cm (22.4in) high, overall, 60cm (23.6in) high Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 78.

£3,000-4,000

$4,800-6,400

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255 FB700/363 FRANCIS JOHN WILLIAMSON (BRITISH 1833-1920) PRINCESS ALICE OF ALBANY Marble, signed, inscribed ‘Esher’ and dated 1884 73cm (28.7in) wide, 64cm (25.2in) high

Note: Princess Alice, Countess of Athlone (1883-1981) was the the last surviving grandchild of Queen Victoria. She also held the titles of Princess of Saxe-Coburg and Gotha and Duchess in Saxony from birth, as well as a Princess of Teck by marriage, until 1917 when she was commanded to relinquish them by the Letters Patent of George V. She was godmother to Queen Beatrix of the Netherlands, who was the granddaughter of her first cousin, Queen Wilhelmina of the Netherlands.

Provenance: Sotheby’s, London, October 1, 1986, lot 263, reproduced.

Exhibited: Royal Academy, London, 1884, no.

1810, by command of H.M. The Queen.

£3,000-5,000

$4,800-8,000

256 FB700/364 PETER TURNERELLI (IRISH 1774-1839) BUST OF PRINCESS CHARLOTTE Marble, signed and dated 1817 51cm (20.1in) high Note: Peter Turnerelli was an Irish-born sculptor of Italian origin who studied under Peter Francis Chenu and joined the Royal Academy schools.

From 1797 to 1800 he taught modelling to the daughters of George III and was subsequently Sculptor-in-Ordinary to the Royal Family. Princess Charlotte, the only child of George IV and Caroline of Brunswick, died in 1817 at the age of 21 after giving birth to a stillborn son. Her death precipitated the change in the line of succession eventually leading to Princess Victoria’s ascension in 1836. The date on the piece most likely indicates it was executed by Turnerelli as a memorial.

£800-1,200

$1,280-1,920

257 FB700/372 MANNER OF MATTHEW NOBLE (BRITISH 1817-1876) BUST OF A MILITARY GENTLEMAN Bronze, with tortoiseshell socle on an ivory column Bust, 13cm (5.1in) high, overall, 28cm (11in) high Provenance: Shepard Gallery, New York, February 22, 1985.

£500-700

162

$800-1,120

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258 FB700/361 LAWRENCE KOE (BRITISH 1868-1913) BUST OF PRINCE GEORGE Marble, signed and dated ‘95 45cm (17.7in) high Note: Prince George later became King George V.

£1,000-1,500

$1,600-2,400

259 FB700/370 SYDNEY MARCH (BRITISH 1875-1968) BUST OF KING EDWARD VII Bronze, signed and dated 1901, bears inscription ‘This is the second copy cast to the order of A.C. Garrick Esquire, the first having been cast for His Majesty/ Elkington & Co., London 1901’ 40cm (15.7in) high

£800-1,200

$1,280-1,920

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261 FB700/117 ORLANDO NORIE (BRITISH 1832-1901) THE QUEEN’S PROCESSION PASSING HYDE PARK CORNER - JUNE 21, 1887 Signed, pencil and watercolour 24cm x 50cm (9.4in x 19.7in)

260 FB700/118 ORLANDO NORIE (BRITISH 1832-1901) THE 8TH HUSSARS Signed and inscribed, pencil, watercolour and bodycolour 19.5cm x 30cm (7.7in x 11.8in) Note: Inscribed verso by Queen Victoria ‘To darling Arthur with every good wish & blessing for the New Year 1894 from his devoted Mama VRI’ .

Provenance: Phillips, London, Instruments, Collectors’ Items & Royal Ephemera, August 12, 1987, lot 506

£500-800

164

$800-1,280

Provenance: The Duke of Cambridge Christie’s, London, December 18, 1979, lot 31, reproduced.

Exhibited: From Waterloo to the Somme, The Whitworth Art Gallery, University of Manchester, January 15-February 27, 1988, no.

25.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 29.

£1,000-1,500

$1,600-2,400

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262 FB700/126 AMEDEE FORESTIER (BRITISH 1854-1930) QUEEN VICTORIA LYING IN STATE AT OSBORNE HOUSE Signed and dated 1901, watercolour 33cm x 48cm (13in x 18.9in) Provenance: Christie's, October 15, 1983, lot 219.

The Fine Art Society, London (Agent).

Exhibited: Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine

Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987-July 3, 1987; The University of Surrey at Guildford, Surrey: July 1987, no. 4.

Style of Empire: Great Britain, 18771947, Miami-Dade Community College, Miami, Florida, 1985, no. 64.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 13.

ÂŁ3,000-5,000

$4,800-8,000

165

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263 FB700/125 FRANCIS OWEN SALISBURY (BRITISH 1874-1962) KING GEORGE V WITH THE PRINCE OF WALES VISITING THE BATTLEFIELDS OF FRANCE 1916 Oil on canvas, arched top 91.5cm x 61cm (36in x 24in) Provenance: The British Council of Churches Christie’s, London, September 25, 1985, lot 63, reproduced.

Literature: Souren Melikian, “Society Portraits

by Salisbury: Unwitting Parody”, International Herald Tribune, September 28-29, 1985, p. 6.

£3,000-5,000

166

$4,800-8,000

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264 FB700/127A FRANCIS OWEN SALISBURY (BRITISH 1874-1962) EDWARD, PRINCE OF WALES Coloured chalk 47cm x 37cm (18.5in x 14.5in) Note: This is a study for lot 263.

£300-500

$480-800

265 FB700/120 SIR GERALD FESTUS KELLY P.R.A. (BRITISH 1879-1972) SKETCH FOR THE STATE PORTRAIT OF KING GEORGE VI, 1941 Oil on canvas 122cm x 91.5cm (48in x 36in)

£2,000-3,000

$3,200-4,800

167

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266 FB700/116 JOHN EVAN HODGSON R.A. (BRITISH 1831-1895) THE QUEEN, GOD BLESS HER! Signed and dated ‘80, oil on panel, arched top 65cm x 90cm (25.6in x 35.4in) Provenance: Phillip’s, London, June 22, 1970, lot P197.

Exhibited: Royal Academy, London, England, 1885, no. 265.

The Art and Mind of Victorian England; Paintings from the Forbes Magazine Collection, September 28November 8, 1974, University Gallery, University of Minnesota, Minneapolis, Minnesota, no. 20, reproduced p.87.

The Royal Academy (1837-1901) Revisited, Metropolitan Museum of Art, New York, New York, March 11April 27, 1975; The Art Museum, Princeton University, Princeton, New Jersey, May 10-September 14, 1975; The High Museum of Art, Atlanta, Georgia, September 27-October 26, 1975; Cincinnati Art Museum, Cincinnati, Ohio, December 6 1975February 1, 1976; The Allen House, Louisville, Kentucky, February 1428, 1976, no. 26, reproduced.

From Waterloo to the Somme: Images of the Army, Whitworth Art Gallery, University of Manchester, Manchester, England, January 15February 27, 1988, no. 18.

Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky, August 29November 6, 1988; The Forbes

Magazine Galleries, New York, November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee, May 6-June 18, 1989; Birmingham Art Museum, Birmingham, Alabama, July -August 13, 1989; The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, September 2October 15, 1989; The Naples Fine Arts Centre Galleries, Naples, Florida, October 28-December 10, 1989; The Society of Four Arts, Palm Beach, Florida, January 5-February 4, 1990; Leeds Art Gallery, Leeds, England, June 15-July 29, 1990, no. 3, reproduced.

The Defining Moment: Victorian Narrative Paintings from the Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 23, reproduced in colour.

Literature: Academy Notes, 1885, p.9, reproduced, p.43.

Michael A. Findlay, “Forbes Saves the Queen,” Arts Magazine, February 1973, p.30, reproduced p.29.

“A Glimpse of Victoria’s World,” Minneapolis Tribune, Minneapolis, Minnesota, September 22, 1974, p.22, reproduced.

Nessa Forman, “Paintings for Better or Worse: Victoria’s England, God Bless it, is Surfacing Again,” The Sunday Bulletin, Philadelphia, Pennsylvania, July 27, 1975.

Clyde Burnett, “Survey of Victorian Era English Art a Good Good Show,” The Atlanta Journal, Atlanta, Georgia, Sunday, October 5, 1975, Section F, p.3.

Sarah Landsdell, “Royal Academy Paintings Will Visit for a Style-toStyle in Louisville,” Courier-Journal & Times, Sunday, February 1, 1976, section H. Christopher Wood, Victorian Panorama: Paintings of Victorian Life, London, England, 1976, p.245, reproduced.

Peter Johnson, “Tale of the Riverbank,” Art and Antiques, October 16-November 5, 1981, p. 20.

Peter Johnson, Gordon of Khartoum, Wellingborough, 1985, p. 138, reproduced.

Susan Casteras, “Virtue Rewarded: Morality and Faith in Victorian Paintings,” Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, Louisville, Kentucky, 1988, p.4.

Joseph A. Kestner, Masculinities in Victorian Painting, Hants, England, 1995, reproduced, p.225.

£6,000-8,000

$9,600-12,800

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267 FB700/114 LASLETT JOHN POTT (BRITISH 1837-1898) ON THE MARCH FROM MOSCOW Signed and dated 1873, oil on canvas 81cm x 120cm (31.9in x 47.2in) Provenance: T. Smith, Esq. Christie’s, London, November 19-20, 1970, lot 287.

Exhibited: Royal Academy, 1873, no. 337.

Nottingham, 1878, no. 174.

Literature: Art Journal, 1873, p.198.

James Dafforne, “The Works of Laslett John Pott”, Art Journal, 1877, p. 259, reproduced.

£4,000-6,000

170

$6,400-9,600

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268 FB700/115 19TH CENTURY ENGLISH SCHOOL THREE-QUARTER LENGTH PORTRAIT OF BENJAMIN DISRAELI (1804-1881) FIRST EARL OF BEACONSFIELD Oil on canvas 99cm x 73.5cm (39in x 28.9in) Provenance: Christie’s, London, March 6, 2003, lot 379, reproduced.

£2,000-3,000

$3,200-4,800

171

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269 FB700/121 WILLIAM FREDERICK YEAMES (BRITISH 1835-1918) AND WHEN DID YOU LAST SEE YOUR FATHER? Oil on panel 42cm x 54cm (16.5in x 21.3in) Note: This is a preliminary study for the finished picture which hangs in the Walker Art Gallery, Liverpool.

£6,000-8,000

270 FB700/122 CHARLES SPENCELAYH (BRITISH 1865-1958) THE DOCTOR’S VISIT Signed with initials, oil on board 15cm x 20cm (5.9in x 7.9in) Provenance: Tajan, Hôtel Drouot, Paris, March 26, 2008, lot 174, reproduced.

£1,000-1,500

172

$1,600-2,400

$9,600-12,800

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271 FB700/112 CHARLES HUNT (BRITISH 1829-1900) MY MACBETH Signed and dated 1863, oil on canvas 51cm x 66cm (20.1in x 26in) Provenance: M. Newman Ltd., London Berry-Hill Galleries, Inc., New York Note: The artist had painted a copy of the Art Journal into the scene after his painting received rave reviews in the said periodical

Exhibited: The Victorian Scene, M. Newman Ltd., London, 1962 The Art and Mind of Victorian England: Paintings from the Forbes Magazine Collection, University Gallery, University of Minnesota, Minneapolis, September 28November 8, 1974, no. 23 reproduced.

The Royal Academy (1837-1901) Revisited, Metropolitan Museum of Art, New York, March 11-April 27, 1975; The Art Museum, Princeton University, New Jersey, May 10September 14, 1975; The High Museum of Art, Atlanta, September 27-October 26, 1975; Cincinnati Art Museum, Cincinnati, December 6,

1975-February 1, 1976; The Allen House, Louisville, February 14February 28, 1976, no. 29, reproduced.

A Brush with Shakespeare: The Bard in Painting 1780-1910, Montgomery Museum of Fine Arts, Alabama, December 11, 1985February 2, 1986; New York Public Library at Lincoln Centre, New York, March 10-April 13, 1986; Chicago Public Library Cultural Centre, April 26-June 14, 1986, no. 34.

Literature: Mario Amaya, “Nineteenth Century Art: The Opening Vista,” Apollo, Vol. LXXVI, no. 10 (new series), December 1962, p. 807.

Anthony Powell, “Best Bad Painters in the World,” Daily Telegraph, February 3, 1972.

Melvin Waldfogel, “Introduction,” The Art and Mind of Victorian England: Paintings from the Forbes Magazine Collection, University of Minnesota, Minneapolis, 1974, p. 19., reproduced plate no. 23.

Christopher Wood, The Dictionary of Victorian Painters, London, 1978, p.632, reproduced.

Richard D. Altick, Paintings from Books: Art and Literature in Britain, 1760-1900, Ohio State University Press, Columbus, 1988, p. 317, reproduced plate no. 235.

£5,000-8,000

$8,000-12,800

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272 FB700/109 SIR WILLIAM FETTES DOUGLAS P.R.S.A (SCOTTISH 1822-1891) THE WIDOW’S MITE Signed and dated 1851, oil on canvas, arched top 65cm x 90cm (25.6in x 35.4in)

£3,000-5,000

174

$4,800-8,000

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273 FB700/123 ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AWAITING THE VERDICT Signed, oil on canvas 135cm x 182cm (53.1in x 71.7in)

£20,000-30,000 $32,000-48,000

175

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274 FB700/119 HRH PRINCESS VICTORIA, LATER EMPRESS FREDERICK OF GERMANY (BRITISH 1840-1901) STILL LIFE OF FRUIT Signed and dated 1873, oil on canvas 40.5cm x 56cm (15.9in x 22in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 41.

£4,000-6,000

275 FB700/124 ERNEST CROFTS R.A. (BRITISH 1847-1911) THE CHARGER OF KING EDWARD VII Signed with initials, oil on canvas 47cm x 57cm (18.5in x 22.4in) Provenance: Neal Auction, New Orleans, Louisiana, December 3-4, 2005, lot 110, reproduced.

£600-900

176

$960-1,440

$6,400-9,600

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276 FB700/113 19TH CENTURY BRITISH SCHOOL THE YOUNG HUNTSMAN Oil on canvas, possibly laid on board 112cm x 66.5cm (44.1in x 26.2in)

£2,000-3,000

$3,200-4,800

177

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277 FB700/127 HENRY A. HAWKINS (BRITISH c. 1800-1881) THE CRUCIFIXION Oil on canvas 114.5cm x 183cm (45.1in x 72in)

Provenance: Christie's London, 14th July 1972, lot 151 (as by John Martin) With The Fine Art Society, London Exhibited: Possibly Royal Academy, 1835, no. 788 Virtue Rewarded: Victorian Paintings from the Forbes Magazine Collection, J.B. Speed Art Museum, Louisville, Kentucky, August 29November 6, 1988; The Forbes Magazine Galleries, New York, November 22, 1988-April 16, 1989; The Dixon Gallery and Gardens, Memphis, Tennessee, May 6-June 18, 1989; Birmingham Art Museum, Birmingham, Alabama, July-August 13, 1989; The Sterling and Francine Clark Art Institute, Williamstown,

Massachusetts, September 2October 15, 1989; The Naples Fine Arts Center Galleries, Naples, Florida, October 28-December 10, 1989; The Society of Four Arts, Palm Beach, Florida, January 5-February 4, 1990; Leeds Art Gallery, Leeds, England, June 15-July 29, 1990, no.

43 (as by John Martin).

Literature: C. Forbes, 'Images of Christ in the Nineteenth-Century: British Paintings in the Forbes Magazine Collection', Antiques, December 2001, vol. clx, no. 6, pp. 800-1, illus. p. 798.

ÂŁ10,000-15,000 $16,000-24,000

179

The Nest 278 FB700/342K WILLIAM HENRY TYLER (BRITISH, ACTIVE 1878-1893) BUST OF PRINCESS MARY OF TECK Bronze, signed and dated 1893, bearing foundry mark ‘Cie. Des bronzes, Bruxelles’, raised on a green marble column, with gilt incised signature bust 16.5cm (6.5in) high, overall 33cm (13in) high

£400-600

$640-960

279 FB700/342F SYDNEY MARCH (BRITISH 1875-1968) BUST OF QUEEN ALEXANDRA Bronze, signed and dated 1903, inscribed ‘Elkington & Co., London’ 43cm (17in) high

£800-1,200

$1,280-1,920

280 FB700/342I JOSEF MUHR (AUSTRIAN 1873-1912) BUST OF EDWARD VII Bronze, signed and dated 1908, bearing foundry mark ‘Jnha. Jos. Selzer/ Kunstergiesserei/ Th. Th. Srpek/ Wien X.’, raised on an ebonised plinth, with presentation plaque to Arthur Walsh bust 29cm (11.4in) high, overall 55cm (21.7in) high

£300-500

180

$480-800

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281 SIR GEORGE JAMES FRAMPTON R.A. (BRITISH 1860-1928) BUST OF QUEEN MARY Bronze, signed and dated 1913, mounted on a rouge marble column with gilt metal mounts, incised to column ‘MR’ bust, 20.5cm (8.1in), overall 54cm (21.3in) high

£1,500-2,000

$2,400-3,200

181

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282 FB700/342B GROUP OF BEDROOM FURNITURE AND UPHOLSTERY OF RECENT MANUFACTURE comprising: an UPHOLSTERED ARMCHAIR, with loose covers in a flower sprig pattern; a KIDNEY-SHAPED DRESSING TABLE AND STOOL, with matching covers, the table with glass preserve, 115cm wide, 70cm high, 60cm deep; THREE PAIRS OF MATCHING CURTAINS WITH PELMETS, approx 305cm drop; and a DOUBLE BED HEADBOARD, CANOPY AND COVER, in matching material (qty) £800-1,200

182

$1,280-1,920

284 FB700/342E VICTORIAN STYLE UPHOLSTERED CHAISE/ OTTOMAN OF RECENT MANUFACTURE covered in a red patterned fabric with buttoned back

283 FB700/342D VICTORIAN MILCHE GLASS OIL LAMP BASE 19TH CENTURY recently converted to a table lamp, 33cm (13in) high excluding fittings; and THREE FURTHER TABLE LAMPS (4)

166cm (65.4in) wide

£40-60

£200-300

$64-96

$320-480

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285 FB700/342A RED PAINTED OPEN ARMCHAIR FOR PRINCE CHARLES’ INVESTITURE AS PRINCE OF WALES DESIGNED BY LORD SNOWDON, CIRCA 1969 with impressed gilt Prince of Wales feathers and motto ‘Ich Dien’, impressed clover mark and dated 1969 Provenance: The Robert and Rosemary Turner Collection, Phillips, 20th January, 1998, lot 240

£300-500

$480-800

286 FB700/342H CHILD’S ROCKING RAM DESIGNED BY VERNON GIBBERD, LATE 20TH CENTURY with sheepskin seat 65cm (25.6in) high

£150-250

$240-400

287 FB700/342L QUEEN ANNE STYLE WALL MIRROR OF RECENT MANUFACTURE the black painted frame enclosing divided plate, the upper plate engraved with an urn issuing fruit

288 FB700/342J PAIR OF REGENCY STYLE BEDSIDE TABLES OF RECENT MANUFACTURE the raised tops with faux bamboo supports above a single frieze drawer on slightly splayed legs (2)

106 x 51cm (41.7 x 20in)

50cm (19.7in) wide,

£50-100

$80-160

72cm (28.3in) high, 53cm (20.9in) deep

£200-300

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289 FB700/35 JOHN BYAM LISTON SHAW A.R.W.S. (BRITISH 1872-1919) SURROUNDED BY MY TOYS Signed and dated 1917, pencil and watercolour 52cm x 64cm (20.5in x 25.25in) Provenance: Christopher Wood Galleries, London Sotheby’s, London, Wednesday, September 21, 1988, lot 295, reproduced

£2,000-3,000

290 FB700/34 THOMAS MATTHEWS ROOKE (BRITISH 1842-1942) SAVOYARD HOSPITALITY Signed, watercolour and bodycolour on paper 34cm x 50.5cm (13.5in x 20in) Provenance: The Fine Art Society, London, October 26, 1984.

Exhibited: The New Gallery, 1889.

£2,000-3,000

184

$3,200-4,800

$3,200-4,800

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291 FB700/37 WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT OF FANNY HUNT Signed with monogram and dated 1866, coloured chalk and wash on paper laid down on canvas 71cm x 53cm (28in x 30in) Note: Judith Bronkhurst suggests that the fact that Hunt chose to exhibit the present work in his 1906-07 retrospective exhibitions, rather than the full-face chalk portrait executed in 1866, demonstrates its poignancy and personal significance for him as the last representation of his beloved first wife.

Note: Fanny Hunt was the artist’s first wife.

Provenance: The artist in 1907.

Christies, London, 28th November 1990, lot 15.

Exhibited: Collected Works of W. Holman Hunt, Manchester City Art Gallery, 1906, no. 80.

Collected Works of W. Holman Hunt, Leicester Galleries, London, 1906, no. 45.

Literature: Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné, Yale University Press, June 2006, vol. II, cat. no. D426, p. 128, reproduced in colour.

£8,000-12,000 $12,800-19,200

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292 FB700/39 WILLIAM DE MORGAN (BRITISH 1839-1917) DESIGN FOR A PLATE Watercolour, circular 23.5cm x 22cm (9.75in x 8.75in) Note: In the mid-1920s Old Battersea House was vacated by St. John’s College and purchased by Battersea Council, who proposed to demolish the house and erect a block of council flats. The fight to save Old Battersea was led by Col. Charles G. Stirling and his wife, Wilhelmina, who, after an Act of Parliament, succeeded in saving the house and moved in themselves in 1931, renting it from the Council. The Stirlings arrived with a large collection of paintings by Mrs. Stirling’s sister, Evelyn De Morgan, together with a collection of ceramics by Evelyn’s husband, William De Morgan, and furniture from the circle of William Morris, as well as good Jacobean furniture. Mrs. Stirling lived at Old Battersea House until her death in 1965, just short of her 100th birthday. Before her death she formed the De Morgan Foundation, to which she bequeathed her collection. It is today on view at West Hill Library in Wandsworth.

£2,000-3,000

293 FB700/38 EDWARD THOMPSON DAVIS (BRITISH 1833-1867) SHOWING OFF TO ADVANTAGE Signed, oil on panel 30cm x 25cm (11.75in x 9.75in)

£600-800

186

$960-1,280

$3,200-4,800

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294 FB700/36 CHARLES GREEN R.I. (BRITISH 1840-1898) THE BRICK FIELD Signed, pencil and watercolour heightened with bodycolour 47cm x 77cm (18.5in x 30.25in) Provenance: Christie’s, South Kensington, July 13, 1980, lot 58.

The Fine Art Society Private Collection.

Exhibited: Institute of Painters in Watercolours, London, 1872, no. 170.

The Fine Art Society, London, 1988, no.18.

Literature: Art Journal, 1872, p.160.

£8,000-12,000 $9,600-19,200

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295 FB700/43 SIR EDWARD COLEY BURNEJONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR ‘THE DEPTHS OF THE SEA’ Signed with initials, black and white chalk on buff paper 18cm x 17cm (7in x 6.75in)

£1,500-2,000

296 FB700/42 SIR WILLIAM QUILLER ORCHARDSON R.A., H.R.S.A. (SCOTTISH 1832-1910) REFLECTIONS Inscribed, black chalk on buff paper, with chalk study for ‘The Rivals’ verso 89cm x 66cm (35in x 26in) Provenance: Sotheby’s, London, January 28, 1971, lot 60.

Exhibited: Royal Academy, 1896, no. 71.

£1,500-2,000

188

$2,400-3,200

$2,400-3,200

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297 FB700/41 RICHARD DADD (BRITISH 1819-1887) SKETCH OF POLYPHEMUS Signed, inscribed, and dated 1852, pencil and watercolour 25.5cm x 35.5cm (10in x 14in) Provenance: N.G. Ley; Sotheby’s, London, 19th November 1970, lot 193 Christie’s London, 18th March 1980, lot 111.

Exhibited: Victorian Art, The Emily Lowe Gallery, Hofstra University, Hempstead, New York, October 29December 17, 1972, no. 68.

The Late Richard Dadd, Tate Gallery, London, Ferens Art Gallery, Hull, Municipal Art Gallery, Wolverhampton, and City Art Gallery, Bristol, 1974-5, no. 107, illustrated.

Princeton Alumni Collections: Works on Paper, 1981.

Literature: D. Greysmith, Richard Dadd: The Rock and Castle of Seclusion, London, 1973, pp. 79, 173, pl. 44.

P. Allderidge, Richard Dadd, London, 1974, no. 45, pp. 53, 102-103, illustrated.

£10,000-15,000 $16,000-24,000

189

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298 FB700/46 SIR LESLIE MATTHEW WARD (SPY) (BRITISH 1851-1922) MEHEMED TEWFIK, KHEDIVE OF EGYPT Signed and dated in inscription 1883, watercolour 30.5cm x 17.5cm (12in x 7in)

and another by the same hand, Ahmed Arabi (2) ÂŁ1,500-2,000

190

$2,400-3,200

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299 FB700/45 SIR LESLIE MATTHEW WARD (SPY) (BRITISH 1851-1922) ROBERT ARMSTRONG YERBURGH. M.P. Lithograph 18.5cm x 33.5cm (7.25in x 13.2in)

and another three portrait prints (4) £300-500

300 FB700/31A W** H** TOWNSEND (SCOTTISH 1803-1849) HALF-LENGTH PORTRAIT OF JAMES FORBES, F.R.S.E. Lithograph 30cm x 20cm (11.75in x 8in)

and a series of portrait silhouettes, ink on paper, plus another engraving (3) £200-400

$320-640

$480-800

301 FB700/44 GEORGE JOHN PINWELL (BRITISH 1842-1875) STUDY FOR ‘THE FIDDLER AND THE FLOWER GIRL’ Signed with monogram, pencil and watercolour 12cm x 15cm (4.75in x 6in) Provenance: The artist’s studio sale, Christies, London, March 1976, lot 36.

£600-800

$960-1,280

191

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302 FB700/40 CHARLES HODGE MACKIE R.S.A., R.S.W., P.S.S.A. (SCOTTISH 1862-1920) THE JAPANESE DOLL Signed, oil on canvas 50cm x 46cm (19.75in x 18in) Provenance: The Fine Art Society, London, April 13, 1983.

Exhibited: Childhood in Victorian England, The Best of Corporate Art in America, September 6-28, 1985, 1999 Broadway, Denver, Colorado, no. 23.

ÂŁ2,000-3,000

192

$3,200-4,800

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303 FB700/46A JULES PIERRE JOLLIVET (FRENCH 1794-1871) QUEEN VICTORIA ENTHRONED Signed, oil on slate 106.5cm x 117cm (42in x 46in) Note: A student of Gros and Depeine, Jules Pierre Jollivet specialised in mythological and historical scenes, and received the Légion d’Honneur in 1851. A number of his works, commissioned by King Louis-Philippe, are included in the collections of the Musée National des Châteaux de Versailles, and the Louvre.

£1,200-1,800

$1.920-2,880 193

Blue Bedroom 304 FB700/300 ARTS AND CRAFTS OAK FIRESCREEN CIRCA 1900 the pierced spindle top above three gilt embossed leather panels centred by Prince of Wales feathers and initialled ‘AE’ (for Albert Edward), raised on splayed supports 84cm (33.1in) wide, 127cm (50in) high

£1,000-1,500

$1,600-2,400

305 FB700/301 EARLY GEORGE III MAHOGANY BEDSIDE COMMODE CIRCA 1760 the rectangular top above a tambour slide and a converted deep drawer below raised on square legs 49cm (19.3in) wide, 72cm (28.3in) high, 43cm (17in) deep

£500-800

306 FB700/306D UPHOLSTERED EASY ARMCHAIR OF RECENT MANUFACTURE covered in blue pattern fabric with blue piping £200-300

$320-480

$800-1,280

307 FB700/302 AMERICAN QUEEN ANNE STYLE CHERRYWOOD BUREAU ON STAND 19TH CENTURY the fall front enclosing a fitted interior, above three long graduated drawers, the base with two further drawers above a shaped apron, raised on cabriole legs terminating in pad feet 46cm (18.1in) wide, 94cm (37in) high, 33cm (13in) deep

£400-600

$640-960 195

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308 FB700/303 CAST-IRON FIRE GRATE EARLY 20TH CENTURY with outswept square tapering standards surmounted by vase finials, with a foliate back-plate 79cm (31.1in) wide

£400-600

$640-960

309 FB700/305 FRENCH EMPIRE STYLE PATINATED BRASS AND ORMOLU FENDER 19TH CENTURY the rectangular plinth surmounted by two conforming griffin standards linked by chain support 96cm (37.8in) wide

£800-1,200

311 FB700/306 PAIR OF BRASS KNOPPED STANDARD FIRE DOGS 19TH CENTURY a set of four brass fire-irons, hung on a central reeded shaft and ball standard (6)

310 FB700/304 FRENCH PROVINCIAL FRUITWOOD OCCASIONAL TABLE 19TH CENTURY the shaped rectangular top raised on a square tapering baluster stem and tripod base

35cm (13.8in) high

60cm (23.6in) wide,

£400-600

67cm (26.4in) high, 49cm (19.3in) deep

£200-300

196

312 FB700/306A GEORGE III RECTANGULAR STOOL CIRCA 1760 upholstered in close-nailed green leather, raised on square chamfered legs 53cm (20.9in) wide,

$640-960

45cm (17.7in) high, 44cm (17.3in) deep

£100-150 $320-480

$160-240

$1,280-1,920

313 FB700/306C DUTCH DELFT BLUE AND WHITE COVERED VASE 20TH CENTURY converted to a lamp, painted with an exotic bird and foliage 36cm (14.2in) high; together with a GREEN GLAZE POTTERY LAMP, 72cm (28.3in) high including shade (2) £30-50

$48-80

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The Forbes Collection at Old Battersea House

314 FB700/306E STUMPWORK PANEL 17TH CENTURY worked as the king, flanked by two female courtiers within a landscape with castle in the background, box framed 31 x 42cm (12.2 x 16.5in)

£800-1,200

$1,280-1,920

315 FB700/304B FOUR PAIRS OF LINED CURTAINS OF RECENT MANUFACTURE with all over green and blue foliate decoration (8) 296cm (116.5in) drop approx

£200-300

316 FB700/299 NAVAL WOOL WORK PICTURE EARLY 20TH CENTURY woven with ten naval ensigns beneath a coronet, 37 x 42cm (14.6 x 16.5in) ; another, with four ensigns beneath a crown, 40 x 47cm (15.7 x 18.5in); ‘The Kings Royal Rifle Corps’; and another bearing the inscription ‘England Expects Every man To Do His Duty/ In Remembrance Of My Cruise In China And Japan’ (4) £1,000-1,500

$320-480

317 FB700/299A GROUP OF FIVE FIRST WORLD WAR PERIOD NAVAL AND MILITARY ITEMS EARLY 20TH CENTURY including: a bronzed ‘In memoriam’ cast plaque for Pte Charles Henry Ainsworth, within oak frame, 42 x 32cm (16.5 x 12.6in); a framed series of menus and other souvenirs from the Hesperus and the Harbinger, 45 x 57cm (17.7 x 22.4in); two framed printed handkerchiefs, depicting the Lusitania and the Mauretania, both dated 1907, 33 x 38cm (13 x 15in); and a framed printed memorial for Pte William Williams, dated 1916, 47 x 38cm (18.5 x 15in)(5) £200-300

$320-480

$1,600-2,400

197

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318 FB700/94 FOLLOWER OF SAMUEL WALTERS SHIPPING OFF THE COAST Oil on canvas 71cm x 112cm (28in x 44.1in)

£2,000-3,000

319 FB700/97 19TH CENTURY CONTINENTAL SCHOOL SHIP IN STORMY SEAS Oil on canvas 43cm x 63.5cm (16.9in x 25in)

£1,000-1,500

198

$1,600-2,400

$3,200-4,800

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320 FB700/98 ATTRIBUTED TO SIR FRANCIS GRANT (SCOTTISH 1803-1878) PORTRAIT OF GENTLEMAN WITH NEWFOUNDLAND DOG Oil on canvas 127cm x 101.5cm (50in x 40in)

£2,000-3,000

$3,200-4,800

199

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321 FB700/106A ENGLISH SCHOOL A BATTLESHIP Watercolour 50cm x 72cm (19.7in x 28.3in)

another by the same hand, ‘A Steamship’; and ‘The Last Journey From Osborne House to Portsmouth, Queen Victoria’s Funeral’, lithograph (3) £300-500

$480-800

322 FB700/104 ROBERT HENRY SMITH (20TH CENTURY BRITISH) THE SURRENDER OF THE GERMAN FLEET 1919 Signed, watercolour 34cm x 61cm (13.4in x 24in)

£300-500

$480-800

322A FB700/101 E** A** SUQUET (19TH CENTURY SCHOOL) OFF FISHERS ISLAND Signed and dated ‘91, watercolour 30cm x 50cm (11.8in x 19.7in)

£200-300

200

$320-480

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323 FB700/99A EARLY 20TH CENTURY BRITISH SCHOOL A STEAMSHIP Watercolour 11.5cm x 16cm (4.5in x 6.3in)

another by the same hand; and an engraving ‘The Royal Yacht Squadron at Cowes’ (3) £100-200

$160-320

324 FB700/105 CHARLES PEARS (BRITISH 1873-1958) PASSING THE BARRAGE Signed 1915, gouache 8cm x 43cm (13.4in x 24in)

and two other works mounted within the same frame £300-500

$480-800

325 FB700/99 ROBERT HENRY SMITH (20TH CENTURY BRITISH) ACTION OFF THE BELGIAN COAST Signed, watercolour 18cm x 33cm (7.1in x 13in)

two works mounted within one frame and another by the same hand £300-500

$480-800

201

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326 FB700/100 CLARKSON FREDERICK STANFIELD (BRITISH 1793-1867) NAILING THE STANDARD Signed and inscribed, pencil and watercolour 41cm x 32cm (16.1in x 12.6in)

£1,000-1,500

326A FB700/106 ENGLISH SCHOOL STUDY OF BRITISH WAR SHIPS Watercolour

327 FB700/103A NAÏVE PAINTING OF A MIDSHIPMAN Watercolour with bodycolour on paper

18cm x 33cm (7.1in x 13in)

37cm x 23cm (14.6in x 9.1in)

seven images mounted within two frames (2)

£200-300

£300-500

202

$480-800

$320-480

$1,600-2,400

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328 FB700/95 ALFRED EDWARD CHALON R.A. (BRITISH 1780-1860) THE MIDSHIPMAN Signed and dated 1837, watercolour 39.5cm x 28cm (15.6in x 11in)

£1,000-1,500

$1,600-2,400

203

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329 FB700/103 VICTOR EECKHOUT (BELGIAN 1821-1879) THREE FIGURE SUBJECTS Signed and dated, watercolours (3) 28cm x 18.5cm (11in x 7.3in)

£500-800

204

$800-1,280

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330 FB700/96 THOMAS BROOKS (BRITISH 1818-1891) RESIGNATION Signed and dated 1863, and signed and inscribed verso, oil on canvas 91.5cm x 68cm (36in x 26.8in) Provenance: The Fine Art Society, London, 1984 Exhibited: The Defining Moment: Victorian Narrative Paintings from The Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001, no. 4, reproduced in colour.

ÂŁ3,000-5,000

$4,800-8,000

205

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331 FB700/102 19TH CENTURY ENGLISH SCHOOL A NAVAL ENGAGEMENT BETWEEN GREEK AND TURKISH FLEETS Oil on canvas 101.5cm x 152.5 (40in x 60in)

Note: This picture possibly depicts the naval Battle of Navarino was fought on 20 October 1827, during the Greek War of Independence (1821–32) in Navarino Bay (modernday Pylos), on the west coast of the Peloponnese peninsula, in the Ionian Sea. A combined Ottoman and Egyptian armada was destroyed by a combined British, French and Russian naval force. It is notable for being the last major naval battle in history to be fought entirely with sailing ships.

£3,000-5,000

206

$4,800-8,000

Master Bedroom 332 FB700/307 EARLY GEORGE III CROSSBANDED MAHOGANY BEDSIDE COMMODE CIRCA 1760 the rectangular top with threequartered pierced gallery above a pair of doors and a deep drawer, raised on square tapering legs 55cm (21.7in) wide, 80cm (31.5in) high, 49cm (19.3in) deep

£500-800

$800-1,280

333 FB700/309 LATE GEORGE III DEMI LUNE CARD TABLE CIRCA 1800 the foldover top opening to reveal a baize-lined playing surface, raised on square tapering legs with spade feet 75cm (29.5in) wide, 72cm (28.3in) high, 43cm (16.9in) deep

£800-1,200

334 FB700/310A QUEEN ANNE STYLE WALNUT SIDE CHAIR EARLY 20TH CENTURY upholstered in foliate petitpoint needlework, raised on shell-capped cabriole legs

335 FB700/313 DUTCH MAHOGANY AND STAINED BEECH SIDE TABLE 19TH CENTURY with concave frieze drawer raised on square tapering legs

£100-150

40cm (15.7in) wide,

73cm (28.7in) high,

70cm (27.6in) high,

35cm (13.8in) deep

$160-240

27cm (10.6in) deep

£300-400

336 FB700/314 GEORGE III STYLE MAHOGANY BEDSIDE CHEST OF RECENT MANUFACTURE with four cockbeaded drawers, on bracket feet 42cm (16.5in) wide,

£200-400 $480-640

$1,280-1,920

$320-640

337 FB700/315 CHARLES II STYLE STAINED BEECH RECTANGULAR STOOL EARLY 20TH CENTURY the seat with gros point needlework of a vase of flowers, on bobbin-turned supports united by conforming stretchers 82cm (32.3in) wide, 38cm (15.in) high, 33cm (13in) deep

£200-300

$320-480

207

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338 FB700/308 LATE VICTORIAN MAHOGANY FOURPOSTER BED CIRCA 1880 the moulded cornice raised on tapering and foliate-carved supports with stiff-leaf capitals on a canted square base with bun feet, with deep red and ivory silk hangings, later elements 290cm (114.17in) high, 180cm (70.9in) wide, 214cm (84.3in) long approx Note: Old Battersea House has played host to a number of famous guests over the years.

Elizabeth Taylor used the house as her London base, and spent her seventh honeymoon here with husband Larry Fortensky. Nancy and Ronald Reagan were visitors as were Prince Charles, King Hussein of Jordan, Margaret Thatcher and Warren Buffet to name but a few.

Elizabeth Taylor always slept in this bed in the Master bedroom.

ÂŁ8,000-12,000 $12,800-19,200

209

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339 FB700/310 GEORGE I WALNUT SIDE CHAIR CIRCA 1720 the waved top rail above a solid baluster splat, drop-in seat on shell-capped cabriole legs with pad feet

339A FB700/312 GEORGE II MAHOGANY TRIPOD TABLE CIRCA 1750 the circular tilt-top on bird cage action, the tapering columns support on a tripod base with pad feet

£200-300

68cm (26.8in) diameter,

$320-480

70cm (27.6in) high

£500-800

340 FB700/315D FOUR PAIRS OF LINED CREAM SILK CURTAINS AND PELMETS OF RECENT MANUFACTURE with red foliate pattern borders (8) drop 320cm (126in) approx.

£200-300

$320-480

341 FB700/311 GEORGE I WALNUT BUREAU EARLY 18TH CENTURY the fall front enclosing an interior fitted with nine short drawers, pigeonholes around a central cupboard with column pull outs, below an arrangement of two short and three long graduated drawers on later bracket feet 84cm (33.1in) wide, 100cm (39.4in) high, 44cm (17.3in) deep

£800-1,200

342 FB700/315A VICTORIAN STYLE BRASS MOUNTED MAHOGANY READING LAMP OF RECENT MANUFACTURE with galleried oval shelf upon triform base 155cm (61in) high

£100-150

210

$160-240

$1,280-1,920

343 FB700/315B WHITE CRACKLE GLAZE TABLE LAMP OF RECENT MANUFACTURE of baluster form, 59cm high (including shade); together with TWO OTHER MODERN TABLE LAMPS (3)

344 FB700/315C EASY ARMCHAIR AND OTTOMAN OF RECENT MANUFACTURE covered in pale blue fabric; together with a SMALL UPHOLSTERED BEDROOM CHAIR (3)

£30-40

£50-100

$48-64

$80-160

$800-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

345 FB700/89 SOPHIE ANDERSON (FRENCH 1823-1903) MY TURN TO PLAY MOTHER Signed with initials, oil on canvas 61cm x 51cm (24in x 20.1in) Provenance: Christie’s, London, March 5, 1993, lot 124A, reproduced.

Exhibited: The Defining Moment: Victorian Narrative Paintings from The Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The Forbes Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 1, reproduced in colour.

£6,000-9,000

$9,600-14,400

211

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346 FB700/92 JOHN RITCHIE (BRITISH fl. 1858-1875) DEFENDING THE WEAK Signed with a monogram, oil on canvas 50cm x 40cm (19.7in x 15.7in)

£1,500-2,000

347 FB700/81 THOMAS ALEXANDER FERGUSON GRAHAM (SCOTTISH 1840-1906) STURY FOR ‘ORPHEUS & EURYDICE’ Oil on canvas 57cm x 46cm (22.4in x 18.1in)

£1,500-2,000

212

$2,400-3,200

$2,400-3,200

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348 FB700/88 MATTHIAS ROBINSON (BRITISH fl. 1856-1884) THE BATTLE OF THE BOLSTERS Signed with initials, oil on canvas 29cm x 45cm (11.4in x 17.7in) Provenance: Christie’s, London, July 11, 1969, lot 82.

The Fine Art Society, London, December 11, 1970.

Exhibited: Royal Academy, 1863, no. 667.

The Art and Mind of Victorian England: Paintings from the Forbes Magazine Collection, University Gallery, University of Minnesota, Minneapolis, 1974, no. 41.

The Royal Academy (1837-1901) Revisited, March 11-April 27, 1975, Metropolitan Museum of Art; May 10-September 14, 1975, The Art Museum, Princeton University, New Jersey; September 27-October, 1975, The High Museum of Art, Atlanta; December 6, 1975-February 1, 1976, Cincinnati Art Museum,

Ohio; February 14-28, 1976, The Allen House, Louisville, Kentucky; no.61.

Childhood in Victorian England, September 6-28, 1985, 1999 Broadway, Denver, Colorado, no. 29; December 3, 1985-May 10, 1986, The Forbes Magazine Galleries, New York.

Victorian Childhood, November 12, 1986-January 4, 1987, Yale Centre for British Art, New Haven, Connecticut; February 11-May 3, 1987, Portland Museum, Portland, Oregon.

Literature: Art Journal, 1863, p. 112.

Christopher Wood, The Dictionary of Victorian Painters, London, 1971, reproduced p. 361, 1978, reproduced p. 707.

The Art and Mind of Victorian England, Minneapolis, 1974, p. 21.

Christopher Forbes, The Royal Academy (1837-1901) Revisited, New York 1975, p.130, reproduced p.131.

“The Collectors: Old Battersea House,” Architectural Digest, April 1979, reproduced p. 114.

Susan P. Casteras, Victorian Childhood, New York, 1986, p. 24, reproduced plate 9 & p. 25 (detail).

£3,000-5,000

$4,800-8,000

213

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349 FB700/87 CHARLES ROBERT LESLIE R.A. (BRITISH 1794-1859) STUDY FOR ‘SANCHO PANZA IN THE APARTMENT OF THE DUCHESS’ Watercolour 35cm x 43cm (13.8in x 16.9in)

£600-800

350 FB700/86 CHARLES ROBERT LESLIE R.A. (BRITISH 1794-1859) STUDY FOR ‘SANCHO PANZA IN THE APARTMENT OF THE DUCHESS’ Oil on canvas 37cm x 46cm (14.6in x 18.1in)

£2,000-3,000

214

$3,200-4,800

$960-1,280

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351 FB700/82 ALICE WALKER (19TH CENTURY BRITISH) WOUNDED FEELINGS Signed, oil on canvas 101.5cm x 76.5cm (40in x 30.1in) Provenance: Sotheby’s, London, 27th June 1978, lot 90.

Exhibited: British Institution, London, 1862, no. 204 ‘The Painter was a Lady’: Works of the Victorian and Edwardian Eras from the Forbes Magazine Collection, The Forbes Magazine Galleries, New York, 1986-7, no. 29.

Painting Women, Victorian Women Artists, Rochdale Art Gallery, Rochdale; Camden Arts Centre, London; Victoria Art Gallery, Bath; City Art Gallery, Southampton, 19878, no. 20.

Early Victorian Dress, Metropolitan Museum of Art, New York, 1988-9.

A Struggle for Fame: Victorian Women Artists and Authors, Yale Centre for British Art, 1994.

Ladies of the Brush, The Forbes Magazine Galleries, New York, 1994-5.

The Defining Moment: Victorian Narrative Paintings from the Forbes Magazine Collection, Mint Museum of Art, Charlotte, North Carolina, January 15-April 2, 2000; Cheekwood Museum of Art, Nashville, Tennessee, May 12August 6, 2000; Delaware Art Museum, Wilmington, Delaware, September 7, 2000-January 7, 2001; Tampa Art Museum, Tampa, Florida, January 27-April 22, 2001; The FORBES Magazine Galleries, New York, New York, May 2-July 7, 2001; Russell-Cotes Art Gallery and Museum, Bournemouth, England, July 28-November 10, 2001, no. 50.

£5,000-8,000

$8,000-12,800

215

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352 FB700/91 WALTER DENDY SADLER (BRITISH 1854-1923) AT THE SMITHY Signed, oil on canvas 76cm x 51cm (29.9in x 20.1in) Provenance: Christie’s, South Kensington, November 27, 1984, lot 152, reproduced The Fine Art Society, London.

£3,000-5,000

353 FB700/93 JOHN SEYMOUR LUCAS (BRITISH 1849-1923) SELF PORTRAIT Signed and dated 1888, oil on canvas 51cm x 33.5cm (20.1in x 13.2in)

£2,000-3,000

216

$3,200-4,800

$4,800-8,000

LY O N & T U R N B U L L

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354 FB700/85 CHARLES ROBERT LESLIE R.A. (BRITISH 1794-1859) SANCHO PANZA IN THE APARTMENT OF THE DUCHESS Signed, oil on canvas 61.5cm x 76cm (24.2in x 29.9in)

£4,000-6,000

$6,400-9,600

217

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355 FB700/83 ATTRIBUTED TO ARTHUR BOYD HOUGHTON (BRITISH 1836-1875) THE RAILWAY STATION Oil on canvas 33cm x 25cm (13in x 9.8in)

£1,500-2,500

356 FB700/90 SIR GEORGE CLAUSEN R.A. (BRITISH 1852-1944) THE BROWN JUG Signed and dated 1902, oil on canvas 51cm x 40.5cm (20.1in x 15.9in) Provenance: The Fine Art Society, London, March 20, 1985.

Exhibited: Goupil Gallery, 1902, no. 14 The Fine Art Society, London, 1973, no. 13.

Literature: The Art Journal, 1902, p. 389.

£5,000-8,000

218

$8,000-12,800

$2,400-4,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

357 FB700/84 HENRY CHARLES BRYANT (BRITISH 1835-1915) LEAVING HOME Signed, oil on canvas 30cm x 35cm (11.8in x 13.8in) Provenance: Christie’s, South Kensington, April 22, 1999, lot 58, reproduced.

£2,000-3,000

$3,200-4,800

219

Black Bedroom 358 FB700/391 MARY THORNYCROFT (BRITISH, 1814-1895) BUST OF PRINCE ALFRED Marble, signed and dated 1848 45cm (17.7in) high Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 77.

£1,500-2,500

$2,400-4,000

359 FB700/321 BLACK OVERPAINTED STEEL CLUB FENDER OF RECENT MANUFACTURE with close nailed green leather upholstery raised on square uprights on a moulded base 180cm (70.9in) wide, 51cm (20.1in) high, 53cm (20.8in) deep

£400-600

360 FB700/316 VICTORIAN CREAM-PAINTED AND PARCEL-GILT PRIE DIEU CIRCA 1880 upholstered in red and indigo gros-point foliate needlework, raised on lobed and foliate covered supports ending in brass cuppings and castors £300-500

$480-800

361 FB700/317 ARTS & CRAFTS MAHOGANY AND EBONISED TORCHERE STAND CIRCA 1890 the turned tapering stem hung with chain links raised on tripod splayed legs; together with an ARTS & CRAFTS OAK TORCHERE STAND (2)

362 FB700/323 PAIR OF GEORGE III STYLE MAHOGANY AND INLAID DWARF BOOKCASES OF RECENT MANUFACTURE the rectangular tops above two frieze drawers and open shelves, raised on plinth bases (2)

24cm (9.4in) diameter,

31cm (12.2in) deep

90cm (35.4in) high

£200-300

222

107cm (42.1in) wide, 84cm (33.1in) high,

£300-400 $320-480

$480-640

$640-960

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

363 PAIR OF CARVED OAK FIGURES 19TH CENTURY modelled as classical male and female standing nudes (2) 97 (38.2in) and 95cm (37.4in) high

ÂŁ1,000-1,500

$1,600-2,400

223

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364 FB700/320 LOUIS XVI STYLE GREY-PAINTED FAUTEUIL LATE 19TH CENTURY upholstered in green foliate velvet raised on squat tapering legs headed by flowerheads £300-500

$480-800

365 FB700/319 GEORGE III OAK SIDE TABLE MID 18TH CENTURY the rectangular top above, frieze drawer on tapered legs with pad feet 67cm (26.4in) wide, 73cm (28.7in) high, 48cm (18.9in) deep

£500-800

366 FB700/324 GEORGE I STYLE WALNUT AND LEATHER BOUND BACHELOR’S CHEST OF RECENT MANUFACTURE the fold over top centred by a star motif above three long graduated draws raised on shaped bracket feet 62cm (24.4in) wide, 75cm (29.5in) high, 40cm (15.7in) deep

£200-300

367 FB700/324A VICTORIAN EBONISED FIRE SCREEN/WORK TABLE LATE 19TH CENTURY the pierced swan neck pediment above hinged screen with inset later photographic panel depicting Princess Alexandra, raised on upright supports and downswept legs 55cm (21.7in) wide,

$320-480

118cm (46.5in) high

£150-250

224

$240-400

$800-1,280

368 FB700/324B PAIR OF FAUX BURR WOOD TABLE LAMPS OF RECENT MANUFACTURE 68cm (26.8in) high (including shades); together with a SIMILAR SMALLER PAIR; and a PAIR OF TÔLE PEINTE LAMPS, 57cm (22.4in) high including the shade; together with ANOTHER TABLE LAMP, wooden, 51cm (20.1in) high including shade (7) £100-150

$160-240

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

369 FB700/318 AESTHETIC STYLE EBONISED AND POLYCHROME PAINTED BONHEUR DU JOUR CIRCA 1880 the rear superstructure with a pair of cupboards, doors and four short drawers centred by a mirrored recess, below a gallery rail, the doors painted with birds amongst foliage on a gilt ground, the top with leather writing inset above frieze drawer raised on turned tapering legs united by a galleried undertier 108cm (42.5in) wide, 124cm (48.8in) high, 59cm (23.2in) deep

£500-800

$800-1,280

370 FB700/324C THREE PAIRS OF LINED BLACK FLORAL PRINT CURTAINS OF RECENT MANUFACTURE with matching tasselLed tie backs and edging (6)

372 FB700/324E CHROME AND BRASS CONSOLE TABLE OF RECENT MANUFACTURE the plate glass top raised on square legs

373 FB700/324F STEEL INTEGRAL FIRE GRATE AND DOGS 18TH CENTURY grate partially lacking

135cm (53.1in) wide,

£100-150

drop 326cm (128.3in) approx.

371 FB700/324D REGENCY STYLE EBONISED AND UPHOLSTERED LIBRARY CHAIR OF RECENT MANUFACTURE upholstered in close nailed green leather, raised on sabre legs

£200-300

£100-150

37cm (14.6in) deep

$320-480

$160-240

72cm (28.3in) high,

£50-100

97cm (38.2in) wide

$160-240

$80-160

225

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374 FB700/75 DAVID SCOTT R.S.A. (SCOTTISH 1806-1849) THE PATRIARCH Oil on canvas 48cm x 33cm (19in x 13in)

£1,500-2,500

375 FB700/79 WILLIAM ETTY R.A. (BRITISH 1787-1849) FULL LENGTH STUDY OF DAVID Oil on board 68cm x 42cm (26.8in x 16.5in) Provenance: Christie’s South Kensington, 15th September 1994, lot 38.

£2,000-3,000

226

$3,200-4,800

$2,400-4,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

376 FB700/74 WILLIAM ETTY R.A. (BRITISH 1787-1849) STUDY FOR DAVID Oil on panel 66cm x 48cm (26in x 19in) Provenance: Christie’s South Kensington, 15th September 1994, lot 33.

£2,000-3,000

$3,200-4,800

227

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377 FB700/77 WILLIAM EDWARD FROST R.A. (BRITISH 1810-1877) A NYMPH Pen, ink and watercolour 18cm x 11.5cm (7in x 4.5in)

£400-600

$640-960

378 FB700/73 AFTER SIR FREDERIC LEIGHTON P.R.A., R.W.S. THE BATH OF PSYCHE Oil on canvas 190cm x 64cm (74.75in x 25.25in)

£600-800

228

$960-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

379 FB700/80 JOHN EATON WALKER (BRITISH d. 1868) THE SON OF WILLIAM TELL Signed and indistinctly dated, oil on canvas 60.5cm x 45cm (23.8in x 17.7in) Provenance: Christie’s, South Kensington, November 27, 1997, lot 210, reproduced.

Exhibited: The British Institution, 1863, no. 392.

£2,000-3,000

$3,200-4,800

229

LY O N & T U R N B U L L

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380 FB700/71 AFTER FRANZ XAVER WINTERHALTER PORTRAIT OF THE YOUNG KING EDWARD VII Mezzotint, circular 58cm x 43.5cm (22.75in x 17in) (sheet size)

£300-500

$480-800

382 FB700/72 AFTER STEPHEN CATTERSON SMITH THE YOUNGER FULL-LENGTH PORTRAIT OF QUEEN VICTORIA OF BRITAIN AND IRELAND Mixed-method engraving 67.9cm x 47cm (26.75in x 18.5in) Note: Published by J. Cranfield, 1857 to commemorate the Queen’s visit to the Great Exhibition at Dublin.

230

381 FB700/67A WILLIAM HEATH (BRITISH 1795-1840) QUEEN VICTORIA’S ASCENSION DAY SALUTE, HYDE PARK Pen, ink, and watercolour 39cm x 51cm (15.5in x 20in) Provenance: The Fine Art Society, London.

Literature: Deborah Jaffé, Victoria: Her Life, Her People, Her Emphire, London, 2010, reproduced in colour.

Provenance: J. Maas & Son, Ltd., London

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 19.

£300-500

£400-600

$480-800

$640-960

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

383 FB700/78 ATTRIBUTED TO WILLIAM ETTY R.A. (BRITISH 17871849) SELF PORTRAIT Oil on canvas laid down on panel, oval 26cm x 21cm (10.2in x 8.3in) Provenance: Christie’s, South Kensington, September 9, 1999, lot 51, reproduced.

£600-800

$960-1,280

384 FB700/65 AFTER EDMUND THOMAS PARRIS QUEEN VICTORIA AT THE OPERA Oil on board 32cm x 24cm (12.5in x 9.5in) Exhibited: A Tribute to Queen Victoria in Celebration of the 150th Anniversary of her Accession, including many items from The Forbes Magazine Collection, The Fine Art Society, London, June 8-July, 1987, reproduced on cover.

Collecting Queen Victoria, Winter Antiques Show, The Armory, New York, January 23-February 1, 1987; The Forbes Magazine Galleries, New York, February 12-May, 16, 1987;

The Fine Art Society, London, June 9- July 3, 1987; The University of Surrey at Guildford, Surrey, July, 1987, no. 10.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 32.

Literature: Jenner, Michael, Rule Victoria, Heritage, February/March 1998, No. 79, reproduced in colour, p.17.

£1,500-2,000

$2,400-3,200

231

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

385 FB700/68 AFTER FRANZ XAVER WINTERHALTER PRINCE ALBERT Oil on canvas 155.5cm x 99cm (61.25in x 39in)

£2,000-3,000

386 FB700/69.

J.M. THOMPSON AFTER ALFRED EDWARD CHALON R.A. QUEEN VICTORIA IN HER ROBES OF STATE Oil on canvas 135cm x 108cm (53in x 42.5in) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 42.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, cover image.

£3,000-5,000

232

$4,800-8,000

$3,200-4,800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

387 FB700/64 JENNENS & BETTRIDGE AFTER EDMUND THOMAS HARRIS CORONATION OF QUEEN VICTORIA, EARLY 19TH CENTURY Oil on papier mâché panel, rectangular 82.5cm x 115.5cm (32.5in x 45.5in)

Provenance: Sotheby's Belgravia, London, October 24, 1978, lot 195, reproduced.

The Fine Art Society, London (agent).

Note: Jennens & Bettridge, the firm run

by Theodore Hyla Jennens and John Bettridge between 1816 and 1864, were famous for the range of papier-mâché goods manufactured in their factory at 99 Constitution Hill, Birmingham. They also had premises at 6 Halkin Street West, Belgrave Square, London. Having acquired Henry Clay’s Birmingham

manufactory in 1816 the company went on to flourish and become the most famous partnership in the industry, producing a range of products, including writing boxes, trays, fans and larger pieces of furniture such as chairs, tables and sofas.

Guildford, Surrey: July 1987, no. 7, illustrated in color.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 22.

Exhibited: Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art Society, London: June 9, 1987-July 3, 1987; The University of Surrey at

Literature: Andrew Morton, Theirs is The Kingdom: The Wealth of The Windsors, London, 1989, pp. 36-37, reproduced in color.

£3,000-5,000

$4,800-8,000

233

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388 FB700/67 ALFRED SCHWARZ (GERMAN 1867-1951) HALF LENGTH PORTRAIT OF KAISER WILHELM II Signed, oil on board 79cm x 63cm (31in x 24.75in)

£3,000-5,000

389 FB700/70 AFTER PAUL HIPPOLYTE DELAROCHE THE PRINCES IN THE TOWER Oil on canvas 88cm x 105cm (34.5in x 41.25in) Note: After the original in the Louvre, Paris.

£1,000-1,500

234

$1,600-2,400

$4,800-8,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

390 FB700/66 MANNER OF EDMUND THOMAS PARRIS (BRITISH 1793-1873) CORONATION OF QUEEN VICTORIA Oil on canvas 165cm x 233.5cm (65in x 92in) Provenance: Anon Sale: Christie’s, London, November 28, 1986, lot 71, reproduced.

The Fine Art Society, London.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 31.

£4,000-6,000

$6,400-9,600

235

State Bedroom 391 FB700/328 GEORGE IV MAHOGANY AND INLAID SOFA TABLE CIRCA 1825 the rounded rectangular drop flap top above two short and two short opposing dummy frieze drawers, raised on end-supports with splayed legs united by a pole stretcher, ending in brass cappings and castors 140cm (55.1in) wide, open, 69cm (27.2in) high, 71cm (28in) deep

£800-1,200

$1,280-1,920

392 FB700/330 VICTORIAN ROSEWOOD STOOL MID 19TH CENTURY the rectangular stuff-over seat raised on shaped x-framed supports united by a pole stretcher 57cm (22.4in) wide

£300-400

393 FB700/330A GEORGE III MAHOGANY BEDSIDE CABINET CIRCA 1790 the top with three-quarter gallery above a tambour shutter and frieze drawer upon square tapering supports, 35.5cm (14in) wide, 79cm (31.1in) high, 32cm (12.6in) deep; also a QUEEN ANNE STYLE WALNUT AND CROSSBANDED BEDSIDE CABINET, 41cm (16.1in) wide, 80cm (31.5in) high, 33cm deep (13in) (2) £300-400

238

$480-640

$480-640

394 FB700/337B GEORGE IV MAHOGANY THREE TIER WHATNOT CIRCA 1825 the three rectangular tiers with turned upright supports, below a single apron drawer raised on turned legs with brass cappings and castors

395 FB700/337C SIGNED FRAMED PHOTOGRAPH OF QUEEN VICTORIA 1899 depicting HerMajesty seated in a library chair, holding a fan, signed and dated September 5th, 1899

395A FRAMED MANUSCRIPT LETTER HM QUEEN VICTORIA TO MAJOR GENERAL SIR ORDE WINGATE KCMG IN CAIRO January 4th, 1899, on Osborne House notepaper, 4pp., with envelope

45cm (17.7in) wide,

30 x 18cm (11.8 x 7.1in) without

103cm (40.6in) high,

frame

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 130.

38cm (15in) deep

£400-600

£150-250 $640-960

$240-400

£200-300

$320-480

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

396 FINE GEORGE IV BRASSMOUNTED ROSEWOOD AND UPHOLSTERED BERGERE the scroll back, downswept arms and loose seat upholstered in blue striped velvet raised on shaped profile supports with bun feet and mounted with brass anthemion ÂŁ1,000-1,500

$1,600-2,400

239

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

397 PAIR OF GLAZED EARTHENWARE DOOR HANDLES MADE FOR THE ROYAL YACHT, VICTORIA & ALBERT II, CIRCA 1855 each decorated with a painted band depicting foliate motifs, enclosing a panel with gilt cipher of entwined initials VA and surmounted by a crown and lion (2)

Note: HMY Victoria and Albert II, a 360 foot steamer, was launched on 16 January 1855 and was a Royal Yacht of the Sovereign of the United Kingdom until 1900, owned and operated by the Royal Navy . She displaced 2,470 tons, and could make 15 knots on her paddles. There were 240 crew. HMY Victoria and Albert II was scrapped in about 1904.

£200-300

$320-480

398 DIAMOND JUBILEE NAVAL REVIEW, SS TEUTONIC 'THE WHITE STAR ROYAL MAIL STEAMSHIP.TEUTONIC. (H.M. ARMED CRUISER).

At the Naval Review, Spithead, June 26, 1897. In commemoration of the sixtieth year of the reign of Queen Victoria.', London. Stas. Walery and Co. 1898. Oblong Folio [ 20 x 15 ins]. (For Private Circulation Only), including photographs, each with descriptive text £200-300

399 FB700/327A VICTORIAN NOVELTY AMBER GLASS PAPER WEIGHT LATE 19TH CENTURY modelled as a crown resting on a velvet cushion 10cm (3.9in) high; together with a VICTORIAN NOVELTY BRASS INKWELL modelled as a crown, 17cm (6.7in) high (2) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no.

7099, p. 42.

£400-600

240

$640-960

$320-480

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

400 FB700/329 PAIR OF LATE VICTORIAN MAHOGANY SIDE CHAIRS CIRCA 1890 the rectangular padded back and seat upholstered in green needlework initialled ‘RH’, with trellis pierced top rail and conforming apron, raised on turned tapering legs united by an H-stretcher (2) Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p.

42.

£300-500

$480-800

401 FB700/327 VICTORIAN VERONA MARBLE AND BRASS TABLE LAMP LATE 19TH CENTURY the Corinthian pilaster raised on stepped square base 47cm (18.5in) high (excluding fittings)

£200-300

$320-480

402 FB700/325 VICTORIAN POLISHED STEEL AND BRASS FENDER LATE 19TH CENTURY of rectangular form, centred by a coronet finial, raised on three lion-paw feet 123cm (48.4in) wide, 28cm (11in) high

£600-800

$960-1,280

241

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

403 FB700/332 IMPRESSIVE MAHOGANY AND PAINTED COMPOSITE FOUR POSTER BED 19TH CENTURY AND LATER the arched cornice and urnshaped finials painted with foliate scrolls, suspending drapery swags and pelmets, raised on stiff leaf carved and reeded upright supports with fielded panel square section block feet, ornate blue and yellow silk tasselled drapes 183cm (72in) wide, 310cm (122in) high, 213cm (83.9in) long Literature: Joy Billington, “Forbes: The London Collection”, The Illustrated London News, Spring, 1991, vol. 279, no. 7099, p. 42.

Louise Jury, "Forbes Family London Home", Evening Standard, June 9, 2009, p. 18.

£10,000-15,000

242

$16,000-24,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

404 FB700/331 EMPIRE STYLE GREEN PAINTED AND GILT-METAL SIX BRANCH CHANDELIER EARLY 20TH CENTURY the central dish with anthemion mounts and issuing three twinbranch arms each with shaped foliate socles, surmounted by trumpeting angels and supported by a fluted shaft beneath a circular corona applied with masks and linked by chain suspensions centred by lion-mask motifs 96.5cm (38in) high Literature: Louise Jury, "Forbes Family London Home", Evening Standard, June 9, 2009, p. 18.

£1,500-2,000

$2,400-3,200

405 FB700/333 SET OF FOUR EMPIRE STYLE MAHOGANY AND GILTWOOD CURTAIN POLES OF RECENT MANUFACTURE each centred with flowerhead and stiff-leaf mounts with stylised anthemion terminals, and hung with blue and yellow silk tasselled drapes and toile nets (4) each pole, 198cm (78in) wide

£4,000-6,000

$6,400-9,600

243

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

406 FB700/377 PETER ROUW (BRITISH 1771-1852) RELIEF PROFILE MEDAL OF GEORGE IV AS PRINCE REGENT Bronze, signed and inscribed to the reverse ‘Georgius Princeps Walliarum Theatri Regiis Instaurandi Auspiciis In Hortis Benedictinis Londini Fundamenta Sua Manu Locavit MDCCCVIII’, mounted on velvet within an oak frame

Note: The reverse bearing label with inscription ‘The die from which this medal was struck was made for the purpose commemorating the laying of the foundation of Covent Garden Theatre. The foundation stone was laid by the Prince of Wales, and in it a medal from the die was deposited. 18 medals only were disposed of as follows: 1 to the King; 1 in the foundation stone; 1 to the Duke of Northumberland; 1 to R. Smirke R.A.; 1 to Sir Thomas Lawrence R.A.; 1 to B. Payne Knight; 1 to the British Museum; 1 to Oxford; and 1 to Cambridge; and 1 other/ George IV 1808’

9cm (3.5in) diameter

£300-400

407 FB700/377A AFTER CHARLES BELL BIRCH A.R.A. (BRITISH, 1832-1893) RELIEF PROFILE ROUNDEL OF QUEEN VICTORIA Bell metal, signed, inscribed to the reverse, ‘Published 30 July 1889’, 16.5cm (6.5in) diameter; also TWO ‘BOIS DURCI’ ROUNDELS depicting Lord Derby and Lord Brougham; and another of Shakespeare (4) each 11.5cm (4.5in) diameter

£200-300

$320-480

408 FB700/376 PAIR OF RELIEF BUSTS OF QUEEN VICTORIA AND PRINCE ALBERT 19TH CENTURY Wax, mounted on velvet within a stained oak frame Busts, 6.75cm (2.7in) high Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 42.

£200-400

244

$320-640

$480-640

Ann Birkin (born 1816), Hosiery Weaver and Hosiery Embroideress to Her Majesty Queen Victoria for sixty years. Photographed in 1898.

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

409 FB700/341 PAIR OF QUEEN VICTORIA’S SILK STOCKINGS 19TH CENTURY embroidered with initials ‘VR’, framed, 93 x 35cm (36.6 x 13.8in); together with a framed and glazed pair of photographs and bearing inscription ‘John Meakin (born 1816) and Ann Birkin (born 1816)/ Hosiery Weaver and Hosiery Embroideress for Her Majestys (sic) the Queen/ for sixty years: both photographed in 1898’, 32 x 46cm (12.6 x 18.1in) (2) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 151.

£500-800

$800-1,280

410 FB700/341B PAIR OF QUEEN VICTORIA’S BLACK AND CREAM SILK MOURNING STOCKINGS 19TH CENTURY embroidered ‘VR20’ and crowned, framed 104 x 41cm (40.9 x 16.1in)

£500-800

$800-1,280

411 FB700/341D PAIR OF QUEEN VICTORIA’S IVORY SILK STOCKINGS 19TH CENTURY embroidered ‘VR20’ and crowned, framed 48 x 35cm (18.9 x 13.8in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 150.

£2,000-3,000

246

$3,200-4,800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

412 FB700/341C PAIR OF QUEEN VICTORIA’S KID GLOVES 19TH CENTURY embroidered ‘VR’ in silver thread, framed 39 x 28cm (15.4 x 11in)

£300-500

$480-800

413 FB700/341A QUEEN VICTORIA’S WHITE SILK AND LACE NIGHTGOWN CIRCA 1870 embroidered ‘VR 28’ and crowned, framed 104 x 96cm (40.9 x 37.8in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 149.

£800-1,200

$1,280-1,920

414 FB700/341E QUEEN VICTORIA’S SILK BLOOMERS 19TH CENTURY embroidered ‘VR2’, framed 89 x 85cm (35 x 33.5in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 148.

Literature: Louise Jury, "Forbes Family London Home", Evening Standard, June 9, 2009, p. 18.

£2,000-3,000

$3,200-4,800

247

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415 FB700/341F TWO PRINTED COMMEMORATIVE SILK FACSIMILE NEWSPAPER SHEETS 19TH CENTURY pertaining to Her Majesty’s journey to Jersey, September 11th 1846, the sheets with beaded pearl borders, framed 86cm x 115cm (33.8in x 45.3in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 145.

£500-800

$800-1,280

416 FB700/341G FRAMED CORONATION PASS TICKET 19TH CENTURY 30 x 25cm (11.8 x 9.8in) (including frame): together with a MEMORIAL PRINT OF QUEEN VICTORIA, titled ‘In Memoriam of our beloved Queen Victoria’ 44 x 31cm (17.3 x 12.2in) (2) £100-150

$160-240

417 FB700/341H THIRTY-SIX ASSORTED CERAMIC PORTRAIT MEDALLIONS 19TH/20TH CENTURY mounted on velvet and set within two frames, depicting kings and queens of Britain (2) 37 x 29cm (14.6 x 11.4in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, nos. 170 and 171.

£150-250

248

$240-400

418 FB700/339 NOVELTY EARTHENWARE TOILET BRUSH HOLDER 20TH CENTURY moulded in the form of a seated Queen Victoria 38cm (15in) high

£100-150

$160-240

419 FB700/338 CONTINENTAL MAHOGANY WALL MIRROR 19TH CENTURY with arched pediment above a rectangular plate with stiffleaf carved decoration 108 x 52cm (42.5 x 20.5in)

£100-150

$160-240

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

420 FB700/47 EDMUND THOMAS PARRIS (BRITISH 1793-1873) QUEEN PHILIPPA PLEADING WITH EDWARD III Signed and dated 1836, oil on canvas 73cm x 102cm (28.75in x 40.25in) Provenance: Christies, London, April 26, 1974, lot 191.

Sotheby’s Arcade Auctions, New York, Sale 1091, April 24, 1984, lot 108.

Exhibited: A Tribute to Queen Victoria in Celebration of The 150th Anniversary of Her Ascension, Including many items from The Forbes Magazine Collection, The Fine Art Society, London, June 8July 3, 1987, illustrated on cover.

Collecting Queen Victoria, Winter Antiques Show, The Armory, New York: January 23, 1987-February 1, 1987; The Forbes Magazine Galleries, New York: February 12, 1987-May 16, 1987; The Fine Art

Society, London: June 9, 1987-July 3, 1987; The University of Surrey at Guildford, Surrey: July 1987, No. 10.

The Pursuit Of Leisure: Victorian Depictions Of Pastimes, Djanogly Art Gallery, Nottingham, November 1December 14, 1997; Royal Albert Memorial Museum, Exeter, December 27, 1997-March 21, 1998; The Burton Art Gallery & Museum, Bideford, England, March 27, 1998, no. 32, illustrated in color.

Literature: Michael Jenner, “Our Island Story,” Heritage, February/March 1998, no.

79, p. 17, illustrated in color.

E. F. Benson, Queen Victoria: An Illustrated Biography, London, 1987, reproduced.

Sheila Pickles, Ed., The Grand Tour, New York, p. 23.

£5,000-8,000

$8,000-12,800

249

LY O N & T U R N B U L L

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421 FB700/54 HRH PRINCESS VICTORIA, LATER EMPRESS FREDERICK OF GERMANY (BRITISH 1840-1901) WOMAN HOLDING A HAWK Signed with initial and dated 25 March 1855, ink on paper 23cm x 13cm (9in x 5in) Provenance: Sotheby’s, Sussex, July 7, 1992, lot 1762, reproduced.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire, The Forbes Magazine Collection, Ronald Reagan Presidential Library & Museum, January 20-April 29, 2001, no. 39.

£500-800

422 FB700/53 HRH PRINCESS HELENA (BRITISH 1846-1923) FIGURE ON HORSEBACK Signed Helena and dated 1881, pencil and watercolour 26cm x 22cm (10.25in x 8.75in)

£500-800

250

$800-1,280

$800-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

423 FB700/52 HRH PRINCESS LOUISE (BRITISH 1848-1939) MAIDENHOOD Pencil, watercolour and bodycolour 66cm x 40.5cm (26in x 16in) Note: The present work was painted by Princess Louise for her mother, Queen Victoria, in honour of her birthday, May 24th, 1869. It was inspired by the following lines of Henry Wadsworth Longfellow’s poem ‘Maidenhood’ which was included in his Ballads and Other Poems. “Standing with Reluctant Feet/Where the Brook and River Meet/Womanhood and Childhood Fleet!”

Provenance: HM Queen Victoria, to whom given on 24th May 1869, her 50th birthday.

Sotheby’s, London, May 31, 2001, lot 300, reproduced.

Literature: Catalogue of Paintings, Sculpture and Other Works of Art at Osborne House, 1876, p. 285.

£2,000-3,000

$3,200-4,800

251

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

424 FB700/50 AFTER FRANZ XAVER WINTERHALTER PRINCE ALBERT Colour lithograph 44.5cm x 33.7cm (17.5in x 13.25in)

£100-150

425 FB700/48 AFTER FRANZ XAVER WINTERHALTER PRINCE ARTHUR Oil on canvas, oval 76cm x 63.5cm (30in x 25in) Literature: Louise Jury, "Forbes Family London Home", Evening Standard, June 9, 2009, p. 18.

£3,000-5,000

252

$4,800-8,000

$160-240

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

426 FB700/51 SIR GEORGE HAYTER (BRITISH 1792-1871) THE CORONATION OF KING GEORGE IV Signed and dated 1821, oil on panel 35.5cm x 49.5cm (14in x 19.5in)

£3,000-5,000

$4,800-8,000

253

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

427 FB700/55 JOSEPH NASH R.I. (BRITISH 1808-1878) QUEEN VICTORIA AND PRINCE ALBERT AT THE GREAT EXHIBITION Signed, and inscribed and dated 1851, pencil and watercolour 20cm x 33cm (8in x 13in) Provenance: Nicholas Bagshawe, Southampton, Hampshire, May 30, 1996.

£1,500-2,000

428 FB700/56 CIRCLE OF EUGÈNE LOUIS LAMI (FRENCH 1800-1890) STUDY OF A BANQUETING HALL Watercolour 33cm x 46cm (13in x 18in)

£300-500

254

$480-800

$2,400-3,200

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

429 FB700/58 HRH PRINCESS VICTORIA, LATER EMPRESS FREDERICK OF GERMANY (BRITISH 1840-1901) PRINCESS HELENA Pencil and wash, circular 30.5cm x 30.5cm (12in x 12in) Note: Inscribed lower left by Sir Joseph Noel Paton: ‘This study of Princess Helena was made in my room at Windsor Castle by the Crown Princess of Prussia, and presented to me by HRH on the eve of her departure from England, 1863.’

Provenance: The Fine Art Society, London, September 21, 1982 Exhibited: The Painter Was a Lady, The Forbes Magazine Galleries, New York, October 6, 1986-January 31, 1987.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 45.

£2,000-3,000

$3,200-4,800

430 FB700/57 HRH PRINCESS VICTORIA, LATER EMPRESS FREDERICK OF GERMANY (BRITISH 1840-1901) THE GOOD KNIGHT BAYARD Inscribed, pencil, pen and ink, and watercolour on coloured paper, arched top 33cm x 24cm (13in x 9.5in) Provenance: Madame Rollande de la Sange Isabella Tylor Juliet Mary Morse Her late Royal Highness, the Princess Royal Christie’s, London, November 21, 1978, lot 76.

Exhibited: Royal Performance, The State Rooms, Hartlebury Castle, Worcestershire, England, October 1980.

The Painter Was a Lady, The Forbes Magazine Galleries, New York, October 6, 1986-January 31, 1987.

A Struggle for Fame: Victorian Women Artists and Authors, Yale Center for British Art, New Haven, Connecticut, March 1-May 8, 1994.

The Noble Horse: From Pegasus to Thoroughbred, The Bunkamura Museum of Art, Tokyo, Japan, September 2-October 22, 2000, no. 27.

Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 42.

£2,000-3,000

$3,200-4,800

255

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

431 FB700/62 AFTER FRANZ XAVER WINTERHALTER QUEEN VICTORIA IN HER ROBES OF STATE Engraving, oval 50cm x 52cm (19.75in x 20.5in),

and a companion, Prince Albert, a pair, each with facsimile signature (2) £800-1,200

432 FB700/59 AFTER EDMUND THOMAS PARRIS ROYAL PORTRAIT OF QUEEN VICTORIA Engraving, in elaborate gilt frame 32cm x 24cm (12.5in x 9.5in)

and a companion, a portrait of William IV, a pair (2) £1,000-1,500

256

$1,600-2,400

$1,280-19,200

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

433 FB700/60 AFTER ALFRED EDWARD CHALON R.A. FULL LENGTH PORTRAIT OF PRINCESS CHARLOTTE Oil on canvas 75cm x 61cm (29.5in x 24in)

£1,000-1500

$1,600-2,400

257

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

434 FB700/63A WILLIAM MARSHALL CRAIG (BRITISH CIRCA 1765-CIRCA 1834) AFTER A PAINTING BY SIR WILLIAM BEECHEY CAROLINE AMELIA ELIZABETH OF BRUNSWICK, LATER QUEEN CHARLOTTE Grisaille, oval 19cm x 13cm (7.5in x 5in)

£150-250

$240-400

435 FB700/63 ** LEBLOND (19TH CENTURY BRITISH) QUEEN VICTORIA AND PRINCE ALBERT WITH THEIR SON PRINCE ALBERT EDWARD Pen and ink; and two others by the same hand (3) £800-1,200

436 FB700/61 AFTER FRANZ XAVER WINTERHALTER QUEEN VICTORIA AND TWO CHILDREN Engraving, in elaborate gilt frame 45cm x 43cm (17.75in x 17in)

£800-1,200

258

$1,280-1,920

$1,280-1,920

Back Stairs 437 FB700/33A AFTER THOMAS GAINSBOROUGH PORTRAIT OF THE RIGHT HONOURABLE AUGUSTUS HARVEY, LORD OF THE ADMIRALTY Mezzotint 50cm x 35cm (19.75in x 13.75in)

and four other prints (5) Note: See also lot 239.

£300-500

$480-800

438 FB700/29 AFTER SIR GEORGE HAYTER MARRIAGE OF QUEEN VICTORIA AND PRINCE ALBERT Engraving 56cm x 86cm (22in x 34in)

and another by the same hand, together with a key to each scene (4) £500-800

$800-1,280

259

439 FB700/27 HENRY CHARLES SEPPINGS WRIGHT (BRITISH 1850-1937) THE CONFIRMATION OF PRINCESS MARGARET OF CONNAUGHT Signed and dated ‘98, grisaille 40cm x 32cm (15.75in x 12.5in)

£1,000-1,500

$1,600-2,400

259

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

440 FB700/28 JOHN CHARLES ROBINSON (BRITISH 1824-1913) & EDWIN PEARCE (19TH CENTURY BRITISH) DESIGN FOR MATTHEW NOBLE’S MONUMENT TO QUEEN VICTORIA, BOMBAY Signed and dated 1869, sepia 126cm x 70cm (49.5in x 27.5in) Provenance: Charles and Lavinia Handley-Read.

The Fine Art Society, London.

Stuart Pivar.

Sotheby’s, New York, July 17, 1997, lot 271, reproduced.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire. The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 28.

£2,000-3,000

441 FB700/32 A** STUART HILL (BRITISH ACTIVE CIRCA 1918) THE THAMES AT BATTERSEA Signed, oil on panel 100cm x 75cm (39.5in x 29.5in) Provenance: Christie’s, London, Thursday, November 12, 1987, lot 76, reproduced.

Exhibited: London: The New English Art Club, no. 96

£400-600

260

$640-960

$3,200-4,800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

442 FB700/30 SELECTION OF PHOTOGRAPHS OF OLD BATTERSEA HOUSE 19TH CENTURY AND LATER showing interiors of the hall and exterior views, when the house formed part of St John’s College £500-800

$800-1,280

443 FB700/31 ERIC MERRELL (AMERICAN b. 1978) BATTERSEA BRIDGE Woodcut, signed in pencil to margin 23cm x 27cm (9in x 10.5in)

£200-300

$320-480

261

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

444 FB700/25 HRH PRINCESS VICTORIA, LATER EMPRESS FREDERICK OF GERMANY (BRITISH 1840-1901) SCENE FROM RICHARD III Signed, inscribed and dated 1857, pencil, pen and ink 28cm x 31cm (11in x 12.25in)

£1,000-1,500

$1,600-2,400

445 FB700/24 AFTER CHARLES ROBERT LESLIE THE CORONATION OF QUEEN VICTORIA Engraving 58.5cm x 110cm (23in x 43.5in)

£300-500

$480-800

446 FB700/22 R** HIND (19TH CENTURY BRITISH) QUEEN VICTORIA PRESENTING THE VICTORIA CROSS TO A DISABLED SOLDIER Signed, pencil and grey wash 18.5cm x 23.5cm (7.25in x 9.25in)

£300-500

262

$480-800

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

447 FB700/26 FRANK LYNCH (19TH/20TH CENTURY BRITISH) THE DUKE OF YORK, PRINCES EDWARD AND GEORGE AND THE YOUNG DUKE OF GLOUCESTER, 1901 Signed, pencil and grey wash 22cm x 16.5cm (8.75in x 6.5in)

£200-300

$320-480

448 FB700/21 WILLIAM MULREADY (IRISH 1786-1863) PRINCE ALBERT THE PRINCE CONSORT Signed with initials and indistinctly dated, pencil, oval 15cm x 12.5cm (6in x 5in)

£1,000-1,500

$1,600-2,400

449 FB700/23 THOMAS RILEY (BRITISH fl. 1878-1892) THE CEREMONY OF THE OPENING OF THE COLONIAL EXHIBITION BY QUEEN VICTORIA Dated 4 May 1888, pencil, grey ink and watercolour 19.5cm x 15.5cm (7.75in x 6in) Literature: Frank Cundall, Ed., Reminiscences of the Colonial and Indian Exhibition, Illus. by Thomas Riley. London: W. Clowes, 1886, xvi, 116 pp.

£600-900

$960-1,440

263

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

450 FB700/19 FRENCH SCHOOL SELECTION DAY AT THE ROYAL ACADEMY Indistinctly signed and dated, pencil, brown wash 14cm x 30.5cm (5.5in x 12in)

£300-500

$480-800

451 FB700/20 GEORGE BAXTER (BRITISH 1804-1867) STUDY OF CRYSTAL PALACE Signed, and inscribed and dated 1851, brown ink on grey paper 16cm x 35cm (6.25in x 13.75in)

£300-500

452 FB700/30A E* F* G* JOY (20TH CENTURY BRITISH) OLD BATTERSEA HOUSE Lithograph, signed in pencil to margin and inscribed and numbered 1699 24cm x 29.5cm (9.5in x 11.5in)

and two other engravings of Battersea (3) £100-150

$160-240

$480-800

453 FB700/32A FRENCH SCHOOL THE PRINCE OF WALES REVIEWING THE GUARD Inscribed, pencil and wash 19cm x 27cm (7.5in x 10.5in)

£100-150

$160-240

453A SOUVENIR EDITION OF THE SUN NEWSPAPER WEDNESDAY, JULY 11, 1838 celebrating the Coronation of Queen Victoria, bearing the Queen's facsimile signature.

Newsprint, mezzotint, heightened with gold 65cm x 48cm (25.5in x 19in) Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th - April 29th, 2001, no. 154.

£150-250 264

$240-400

453B QUEEN ADELAIDE (1792-1849) AUTOGRAPHED TRACT, DATED 1842 framed, bearing the inscription 'Eph (Ephesians) 2.8./ By Grace are you saved/ through faith' signed with initial and dated 1842 £80-120

$130-200

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

454 FB700/18 AFTER ALFRED EDWARD CHALON R.A. QUEEN VICTORIA IN CORONATION ROBES Mezzotint in a maple frame 92.5cm x 63cm (36.5in x 24.75in)

£300-500

$480-800

455 FB700/17 SIR WILLIAM BLAKE RICHMOND K.C.B. (BRITISH 1842-1921) PORTRAIT OF WILLIAM EWART GLADSTONE M.P. Pencil on paper 23cm x 15cm (9in x 6in) Provenance: Simon Reynolds, London, September 12, 1992.

£300-500

$480-800

456 FB700/16 AFTER SIR GEORGE HAYTER QUEEN VICTORIA IN CORONATION ROBES Engraving 76cm x 52cm (30in x 20.5in)

£300-500

$480-800

265

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

457 FB700/18B EIGHTY-ONE ASSORTED VICTORIAN STAMPS 19TH CENTURY mounted within one frame; another similar, 27cm x 21cm (10.5in x 8.25in); and nine other prints associated with the Royal family (11) £300-500

$480-800

458 FB700/22A OFFICIAL PROGRAMME OF QUEEN VICTORIA’S FUNERAL Woodcut 42cm x 42cm (16.5in x 16.5in)

and six other prints (7) £300-500

459 FB700/18A AFTER KENNETH MACLEAY FULL LENGTH PORTRAIT OF JOHN BROWN Colour lithograph; and twelve prints associated with Queen Victoria (13) 69.5cm x 45.5cm (27.5in x 18.25in)

£300-500

266

$480-800

$480-800

Second Floor Landing 460 FB700/345B LOUIS XV STLYE WALNUT AND UPHOLSTERED DUET PIANO STOOL 19TH CENTURY the stuffover seat covered in striped velvet, raised on cabriole legs united by a shaped apron 80cm (31.5in) wide

£300-500

$480-800

461 FB700/343 VICTORIAN MAHOGANY GLAZED BOOKCASE CIRCA 1880 the rectangular top surmounted by a galleried superstructure above a pair of Gothic arched glazed doors with trefoil angles, opening to reveal a shelved interior, above a long drawer, lacking feet 88cm (34.6in) wide, 146cm (57.5in) high, 42cm (16.5in) deep

£800-1,200

$1,280-1,920

267

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

462 FB700/344 LATE VICTORIAN TRIPLE FOLD DECOUPAGE SCREEN 19TH CENTURY each panel with pointed arch all-over decorated in engraved and printed scraps, the reverse with embossed leather panels each panel 55cm (21.7in) wide, 188cm (74in) high

ÂŁ500-800

268

$800-1,280

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

463 FB700/345 GEORGE II OAK DAY BED EARLY 18TH CENTURY the waved top rail above a solid splat, the rectangular webbed seat with loose cushion, tapered legs with shaped pad feet 164cm (64.6in) wide, 164cm (64.6in) long

£800-1,200

$1,280-1,920

464 FB700/345A VICTORIAN MAHOGANY TABLE VITRINE LATE 19TH CENTURY with two glazed doors enclosing two shelves, raised on a moulded plinth base

465 FB700/14 SEVEN PHOTOGRAPHIC PRINTS ASSOCIATED WITH THE FORBES MAGAZINE COLLECTION (7) £100-200

$160-320

40cm (15.7in) wide, 59cm (23.2in) high, 37cm (14.6in) deep

£80-120

$130-200

269

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

466 FB700/12 MANNER OF ALFRED VON WIERUSZ-KOWALSKI (POLISH 1849-1915) SNOW COVERED LANDSCAPE WITH STAGS RUTTING Indistinctly signed, oil on canvas 76cm x 126cm (30in x 49.5in)

£1,000-1,500

467 FB700/13 MANNER OF JOHN FLEMING (BRITISH 1792-1845) HIGHLAND LANDSCAPE WITH HORSEMAN BY STONE Oil on canvas 70cm x 89cm (27.5in x 35in)

£800-1,200

270

$1,280-1,920

$1,600-2,400

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

468 FB700/10 SCOTTISH SCHOOL THREE-QUARTER LENGTH PORTRAIT OF A BOY Oil on board 44cm x 34cm (17.25in x 13.5in)

£300-500

$480-800

469 FB700/11 AFTER SIR EDWIN LANDSEER R.A. MONARCH OF THE GLEN Oil on canvas 75cm x 60cm (29.5in x 23.5in)

£500-800

$800-1,280

271

Mackintosh Room 470 FB700/340 PAINTED BEDROOM SUITE DESIGNED BY WENMAN JOSEPH BASSETT-LOWKE AFTER CHARLES RENNIE MACKINTOSH, CIRCA 1918 each piece painted in black and white with geometric panelling and with ebonised handles and mounts, and comprising: a PAIR OF SIDE CHAIRS; a DOUBLE BEDSTEAD with solid headboard and footboard, 138cm (54.3in) wide, 106cm (41.7in) high, 204cm (80.3in) deep; a BEDSIDE CABINET with single door, 46cm (18.1in) wide, 105cm (41.3in) high, 39cm (15.4in) deep; a DRESSING CHEST of two short and three long drawers, 76cm (29.9in) wide, 136cm (53.5in) high, 38cm (15in) deep; and a LATER SIX DOOR SIDE CABINET, 284cm (111.8in) wide, 94cm (37in) high, 41cm (16.1in) deep (6) Literature: Billcliffe, Roger, 'Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs', Moffatt 2009, pp. 300-304, illus.

1918.

Note: Mr. W.J. Bassett Loake, a manufacturer of scale models, acquired two cottages at Roade near Northampton in 1914 with the intention of converting them back into one house. He employed the architect and designer Charles Rennie Mackintosh to design the dining room furniture and decorations for this new project. Bassett Loake had been recommended to Mackintosh through a friend whilst on holiday in Cornwall and made contact with him around 1915. He was a demanding client, knowledgeable in the field of contemporary design and unafraid to criticise the strict aesthetic of the architect's proposals. Indeed he also designed furniture and decorations himself, as in the present lot. The commission for Candida Cottage followed the more complete scheme for Bassett Loake's house at 78 Derngate, Northampton which anticipated design in Europe in the next decade and surely must have influenced Bassett Loake in his subsequent designs for Candida Cottage.

ÂŁ3,000-5,000

272

$4,800-8,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

471 FB700/340A COLLECTION OF FRAMED MEMORABILIA RELATING TO GEORGE V AND QUEEN MARY EARLY 20TH CENTURY including: a group of medals (thirteen in a glazed frame), 42cm x 27cm (16.5 x 10.6in); a framed group around the 1914 brass Christmas box from Princess Mary, 41 x 27cm (16.1 x 10.6in); a framed autograph sheet entitled ‘Castlewellan, Sep 6th ’97’, and including the signatures of Prince George and Princess Mary, 34 x 24cm (13.4 x 9.4in); and two framed prints of Queen Mary (5) £200-300

$320-480

472 FB700/349 VICTORIAN STONEWARE BUST OF THE DUCHESS OF YORK 19TH CENTURY raised on a square pedestal base, moulded in relief with feather plumes

473 FB700/350 THREE CASED DIORAMAS EARLY 20TH CENTURY depicting a 16th century execution scene; The Union Brigade at Waterloo, 1815; and pig sticking in Northern India (3)

33cm (13in) high

largest 45cm (17.7in) wide;

£100-150

$160-240

39cm (15.4in) wide; and 28cm (11in) wide

£300-500

$480-800

273

Roses Room

474 FB700/346 GEORGE IV MAHOGANY CHIFFONIER CIRCA 1825 the rectangular top with a galleried superstructure, above one long drawer and a pair of grille panelled doors, flanked by columns raised on a gadrooned base and terminating in bun feet 92cm (36.2in) wide, 122cm (48in) high, 40cm (15.7in) deep

£1,000-1,500

475 FB700/351 PAIR OF STAFFORDSHIRE FIGURES 19TH CENTURY depicting Queen Victoria and the Prince of Wales, 25cm (9.8in) high; together with another PAIR OF STAFFORDSHIRE FIGURES, 14cm (5.5in) high (4) £100-150

476 FB700/352 VICTORIAN MAHOGANY TRIPOD TABLE 19TH CENTURY the circular top on column support, ending in three downswept legs 46cm (18.1in) diameter, 67cm (26.4in) high

£200-300

$320-480

477 FB700/352A VICTORIAN SILVER PLATED CORINTHIAN CANDLESTICK 19TH CENTURY converted to a lamp, 32cm (12.6in) high; together with a SIMILAR SMALLER EXAMPLE, 26cm (10.2in) high (2) £100-150

$160-240 478 No lot

274

$160-240

$1,600-2,400

LY O N & T U R N B U L L

479 FRENCH EMPIRE EGYPTIAN REVIVAL BEDSIDE COMMODE EARLY 19TH CENTURY the variegated green marble top above a writing slide and three short drawers each with gilt bronze swan neck handles, below are a pair of concave doors tapering pilasters headed by Egyptian masks and feet, raised on a plinth base with castors

The Forbes Collection at Old Battersea House

55cm (21.7in) wide, 79cm (31.1in) high, 41cm (16.1in) deep

ÂŁ1,500-2,500

$2,400-4,000

275

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

480 FB700/347 PAIR OF FRENCH CHERRYWOOD LIT-EN-BATEAU 19TH CENTURY each with scrolled ends and swan-neck loop terminals, upon flat baluster feet (2) 104cm (40.9in) wide, 101cm (39.7in) high, 216cm (85in) long

£2,000-3,000

481 FB700/352D VICTORIAN PINE BEDSIDE CUPBOARD LATE 19TH CENTURY the moulded top above a single cupboard door, enclosing shelves, raised on a plinth base

482 FB700/352C PRINCE ARTHUR, DUKE OF CONNAUGHT’S SILK KNICKERS CIRCA 1854 embroidered ‘AW24’, crowned, framed, 46cm x 39cm; together with PRINCE VICTORIA, THE PRINCESS ROYAL’S NIGHTGOWN, framed, 39cm x 59cm (2)

37cm (14.6in) wide, 76cm (29.9in) high,

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 152 and 153..

38cm (15in) deep

£50-80

$80-128

£200-300

276

$320-480

$3,200-4,800

Berry Room 483 FB700/355 PAIR OF RUSSIAN MAHOGANY SIDE CHAIRS EARLY 19TH CENTURY each with shell-carved concave bar-backs above drop-in seats, raised on sabre legs (2) £300-500

$480-800

484 FB700/354 ITALIAN OLIVE WOOD AND WALNUT CROSSBANDED WRITING TABLE LATE 18TH CENTURY the rounded rectangular top above single drawer on square cabriole legs 96 (37.8in) cm wide, 75cm (29.5in) high, 67cm (26.4in) deep

£800-1,200

$1,280-1,920

487 FB700/357B LOUIS XV STYLE MAHOGANY AND INLAID WARDROBE CIRCA 1900 with gilt metal mounts, the arched and moulded cornice above a pair of mirror panelled doors, opening to reveal a hanging space, and raised on a plinth base

489 FB700/357 GEORGE I STYLE FIGURED WALNUT CHEST EARLY 20TH CENTURY with alterations, the quarter veneered top above four long graduated drawers, the middle two and lower drawer adapted as a fall front, the whole raised on a plinth base

65cm (25.6in) high,

116cm (45.7in) wide,

62cm (24.4in) wide,

26cm (10.2in) deep

198cm (78in) high,

76cm (29.9in) high,

£150-250

50cm (19.7in) deep

35cm (13.8in) deep

485 FB700/357E VICTORIAN FIGURED MAHOGANY TOILET MIRROR 19TH CENTURY the rectangular adjustable plate with scrolled upright supports, raised on a moulded base fitted with two drawers ending in bun feet

486 FB700/357A VICTORIAN MAHOGANY AND UPHOLSTERED TUB ARMCHAIR LATE 19TH CENTURY covered in close nailed green leather, raised on square tapered legs ending in ceramic castors

59cm (23.2in) wide,

£100-150

$240-400

$160-240

£200-300

$320-480

£100-150

$160-240

277

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

490 FB700/356 PAIR OF BIEDERMEIER WALNUT, MAHOGANY AND STAINED BEECH FOUR-POSTER CHILDREN’S BEDSTEADS EARLY 19TH CENTURY each with pedimented cornice on turned baluster supports, the arched footboards centred by gilt-metal mounts, with chintz hangings (2) 84cm (33.1in) wide, 208cm (81.9in) high, 188cm (74in) long

£3,000-5,000

278

$4,800-8,000

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

491 FINE VICTORIAN SATIN-BIRCH WELLINGTON CHEST CIRCA 1880 the rectangular top above six graduated drawers between panelled lockable stiles raised on a plinth base 58.5cm (23in) wide, 121cm (47.6in) high, 40cm (15.7in) deep

ÂŁ2,000-3,000

$3,200-4,800

279

Second Floor Bathroom 492 FB700/1 CHARLES DEFEO (AMERICAN 1892-1978) MIDDLE EASTERN SKIRMISH Signed, oil on board 51cm x 76cm (20in x 30in)

£1,000-1,500

493 FB700/2 FRENCH SCHOOL FANTASIA DE GOURNIER Signed, oil on canvas 36cm x 55cm (14.25in x 21.75in)

£1,500-2,500

280

$2,400-4,000

$1,600-2,400

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

494 FB700/6 ACHILLE-CONSTANT EMILE PRISSE (FRENCH 1807-1879) PORTRAIT OF THE LATE GEORGE LLOYD ESQ Lithograph 35.5cm x 43.5cm (14in x 17in)

and another three MiddleEastern lithographs (4) £400-600

$640-960

495 FB700/4 MARIUS PERRET (FRENCH 1853-1900) SENEGALESE RIFLEMEN Signed, oil on panel 38cm x 31cm (15in x 12.25in)

with two others within the same frame £2,000-3,000

$3,200-4,800

281

Stairs to First Floor 496 FB700/9A ATTRIBUTED TO GEORGE ROMNEY (BRITISH 1734-1802) PORTRAIT OF A LADY, SAID TO BE JANE, DUCHESS OF GORDON Pencil on paper 36cm x 46cm (14.25in x 18in)

£400-600

$640-960

497 FB700/10A 18TH CENTURY ENGLISH SCHOOL WINDSOR TERASS LOOKING E’D Pen and ink and sepia on paper 32cm x 46cm (12.5in x 18in) Provenance: Christie’s, South Kensington, March 23, 1994, lot 285.

Exhibited: Queen Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 8.

£300-500

498 FB700/10B AFTER ABRAHAM SOLOMON THE DEPARTURE (SECOND CLASS) Engraving

$480-800

500 FB700/3 EDWARD JULIUS DETMOLD (BRITISH 1883-1957) CAMEL TRAIN Etching, signed in pencil to margin

47cm x 67cm (18.5in x 26.5in)

499 FB700/9 AFTER SIR SAMUEL HENRY WILLIAM LLEWELLYN, P.R.A., R.B.A., R.I. PORTRAIT OF KING GEORGE V Photogravure

£100-200

80cm x 53cm (31.5in x 30in)

16cm x 42cm (6.25in x 16.5in)

and a companion, Queen Mary, a pair (2)

(plate size)

$160-320

£200-300

282

$320-480

£100-150

$160-240

501 FB700/5 SIX DECORATIVE MIDDLE EASTERN PRINTS (6) £200-300

$320-480

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

502 FB700/8A AFTER FRANZ XAVER WINTERHALTER FULL LENGTH PORTRAIT OF HENRI D’ORLEANS, DUC D’AUMALE Lithograph 59cm x 38.5cm (23.25in x 15.25in)

and four other male royal portrait prints (5) £400-600

$640-960

503 FB700/8 AFTER FRANZ XAVER WINTERHALTER FULL LENGTH PORTRAIT OF PRINCESS ALICE Lithograph 49cm x 38.5cm (19.25in x 15.25in)

and five other female portrait prints (6) £500-800

$800-1,280

283

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

504 FB700/9B QUEEN VICTORIA AND JOHN BROWN Brown, John: Autograph letter signed, dated 1893 Balmoral Castle, with facsimile of reverse of letter, and with photographic print of John Brown; Queen Victoria’s Coronation: Entrance ticket to procession, and two envelopes addressed to the Duke & Duchess of Cambridge on the occasion of Queen Victoria’s coronation, 5th May 1838.; Queen Victoria: Signed Royal Warrant appointing Arthur Octavian Boyd as 2nd Lieutenant in the Land Forces, dated 2nd May 1900; Queen Victoria: Signed Royal Warrant appointing Stephen Gatty as Chief Justice of Gibraltar, dated 15th January 1895; Address of congratulation to Queen Victoria from the Parish of St Mathew, Bethnal Green, 4th December 1820.; two modern photographs of Queen Victoria and a gentleman, and a note, dated 1890 (qty) Exhibited: Victoria: Powerful Ruler of a Mighty Empire The Forbes Magazine Collection at The Ronald Reagan Presidential Library and Museum, January 20th-April 29th, 2001, no. 42.

£500-700

284

$800-1,120

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

505 FB700/9C SIR HENRY MORTON STANLEY autograph letter signed by Sir Henry Morton Stanley, dated 1886, expressing thanks; Cut signature of David Livingstone, with a facsimile print after Alonso Chappel mounted within the same frame; cut signature of Richard Burton, mounted with a small map of Africa (3) £300-500

$480-800

506 FB700/9D KING EDWARD VII AS PRINCE OF WALES Edward VII as Prince of Wales: Telegram addressed to Princess Maud from her father, the Prince of Wales. while in Russia, sending birthday wishes, 26th November 1894; Edward VII as Prince of Wales: typed letter signed by Prince of Wales to Ms Sylvia Kennedy, dated 5th August 1891, regarding subscriptions (2) £150-250

$240-400

285

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

507 FB700/7A AFTER SIR SAMUEL LUKE FILDES R.A. PORTRAIT OF EDWARD VII Photogravure 73.5cm x 48.5cm (29in x 19in)

£300-500

508 FB700/7 AFTER ALFRED EDWARD CHALON R.A. QUEEN VICTORIA IN CORONATION ROBES Mezzotint in an elaborate gilt frame 92.5cm x 63cm (36.5in x 24.75in)

£400-600 END OF SALE

286

$640-960

$480-800

Fine Paintings Thursday 1st December, 2011 33 Broughton Place, Edinburgh EH1 3RR

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF JAMES DOUGLAS Oil on canvas 125cm x 100cm (49in x 39.5in)

£15,000-20,000 ($24,00-32,000)

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) THREE-QUARTER LENGTH PORTRAIT OF ELIZABETH DOUGLAS Oil on canvas 125cm x 100cm (49in x 39.5in)

£15,000-20,000 ($24,00-32,000)

Further entries invited until October 20th Viewing times Sunday 27th November 12 noon - 4pm Monday 28th November 10am - 5pm Tuesday 29th November 10am - 5pm Wednesday 30th November 10am - 5pm Morning of Sale by appointment only

Enquiries Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com Charlotte Riordan Tel: +44 (0)131 557 8844 charlotte.riordan@lyonandturnbull.com

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Index to Artists Allan, Sir W., follower of, 37 Anderson, S., 345 Barber, C.B., 207 Barker, T.J., 245 Barret, J., 246 Barrow, J., 19, 146 Baxter, G., 451 Beilby, W., after, 21 Bernard, L., 42 British School, 276, 323 Brooks, T., 330 Bryant, H.C., 357 Burne-Jones, Sir E.C., 65, 122, 295 Butler, Lady E., 242 Campotosto, H., 204 Challon, A.E., 328 Chalon, A.E., after, 433, 454, 508 Clausen, Sir G. 356 Continental School, 319 Cope, C.W., 247 Craig, W.M., 434 Crofts, E., 275 Dadd, R., 297 Davis, E.T., 293 de Morgan, W., 292 de Prades, A., attributed to, 67 Defeo, C., 492 Delaroche, P.H., after, 389 Detmold, E.J., 500 Dupont, G., 141 Eeckhout, V., 329 Elmore A.W., 117 Elmore, A.W., attributed to, 249

288

English School, 203, 268, 321, 326A, 331, 497 Etty, W., 375, 376, Etty, W., attributed to, 383 Faed, T., 114 Fettes, Sir W., 272 Fildes, Sir S., after, 143, 507 Flameng, F., 210 Fleming, J., manner of, 467 Forestier, A., 206, 262 French School, 450, 453, 493 Frith, W.P., 62 Frost, W.E., 377 Gainsborough, Sir T., studio of, 239 Gainsborough, T., after, 437 Godward, J.W., 113 Graham, T.A.F., 347 Grant, Sir F., 321 Greaves, W., 22 Green, C., 294 Guillaume, A., Count d'Orsay, 243 Halswelle, K., 23 Harvey, Sir G., 25 Hawkins, H.A., 277 Haydon, B.R., 18 Hayter, Sir G., 147, 149, 426 Hayter, Sir G., after, 438, 456 Heath, W., 381 Hepher, D., 40 Hill, A.S., 441 Hind, R., 446 Hodgson, J.E., 266 Holl, F., 241 Houghton, A.B., attributed to, 355

HRH Albert Edward, Prince of Wales, 201 HRH Albert Edward, Prince of Wales, after Philipp von Foltz, 208 HRH Princess Helena, 422 HRH Princess Louise, 199, 423 HRH Princess Victoria, Princess Royal, 198, 274, 421, 429, 430, 444 HRH Queen Victoria, after Philip von Foltz, 208 Hunt, C., 271 Hunt, W.H., 64, 69, 291 Hutchison, R.G., 273 Jennings & Betteridge, 387 Joseph, J.J., 121 Joy, E.F.G., 452 Kelly, Sir G.F., 99, 100, 152, 264S Lami, E.L.L., circle of, 428 Landseer, Sir E., attributed to, 151 Landseer, Sir E., follower of, 38 Landseer, Sir E., after, 469 Leblond, *, 435 Leech, J., 215, 216, 217 Leighton, Sir F., 68, after, 378 Leslie, C.R., 349, 350, 354 Leslie, C.R., after, 445 Llewellyn, Sir. S.H.W., after, 499 Lucas, J.S., 150, 353 Lynchm F., 447 Macleay, K., after, 459 Maclise, D., after, 28

Martin, J., after, 35 Merrell, E., 443 Meyer, *, 211 Millais, Sir J.E., 97, 101, 102 Millais, Sir J.E., after, 102A Moore, A.J., 66, 120 Mulready, W., 448 Nash, J., 427 Norie, O., 260, 261 O'Neil, H.N., 148, 237 Orchardson, Sir W.Q., 296 Palmer, S., attributed to, 248 Parris, E.G., 420 Parris, E.T., after, 384, 432 Parris, E.T., manner of, 390 Pears, C., 324 Perret, M., 495 Pinwell, G.J., 301 Plucknett, J., 200 Poole, P.F., 63, 116 Pott, L.J., 267 Prevest, 145 Prisse, A-C.E., 494 Pyne, J.B., 202 Quinn, Sir H.J., 98 Raeburn, Sir H., 118 Reinagle, R.R., 20 Richmond, Sir W.B., 455 Riley, T., 449 Ritchie, J., 346 Robinson, J.C., 440 Robinson, M., 348 Rolt, C., 34 Romnsey, G., attributed to, 496 Rooke, T.M., 290 Rossetti, D.G., 70

LY O N & T U R N B U L L

The Forbes Collection at Old Battersea House

Sadler, W.D., 352 Salisbury, F.O., 263, 265 Schwarz, A. 388 Scott, D., 374 Scottish School, 468 Shaw, J.B.L., 115, 289 Shields, F.J., 244 Smetham, J., 26, 31 Smith, R.H., 322, 325 Smith, S.C., after, 382 Solomon, A., 119 Solomon, A., after, 498 Spencelayh, C., 270 Spooner, W., 144

Stanfield, C.F., 326 Steell, F., 39 Steer, P.W., 36 Suquet, E.A., 322A Thompson, J.M., studio of, after A.E. Chalon, 386 Topham, M., 32 Townsend, W.H., 300 Turner, D., 24 van Dyck, Sir A., after, 33, 212, 214

van Gaelen, A., attributed to, 209 von Herkomer, Sir H., 250 von Wierusz-Kowalski, A., manner of, 466 Walker, A., 351 Walker, J.E., 379 Wallis, H., 153 Walters, S., follower of, 318 Ward, H.M.A., 205 Ward, Sir L.M., 298, 299 Waterhouse, J.W., after, 29 Watts, G.F., after, 27, 43

Watts, Sir G.F., 238, 240 Wheatley, E.G., 154 Willson, G., 41 Winterhalter, F.X., after, 142, 149, 380, 385, 424, 425, 436, 502, 503 Wirgman, T.B., 213 Wright, H.C.S., 439 Yeames, W.F., 269

Glossary of Cataloguing Terms The following expressions with their accompanying explanations are used by Lyon & Turnbull as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or the extent of any restoration.

Name(s) or Recognised Designation of an Artist without any Qualification In our opinion a work by the artist.

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

Studio of ... / Workshop of ...

In our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

Attributed to...

In our opinion probably a work by the artist in whole or in part.

Circle of ...

In our opinion a work of the period of the artist and showing his influence.

Follower of ...

In our opinion a work executed in the artist’s style but not necessarily by a pupil.

Manner of ...

In our opinion a work executed in the artist’s style but of a later date After ...

In our opinion a copy (of any date) of a work of the artist.

Signed ... / Dated ... / Inscribed ... / In our opinion the work has been signed/dated/inscribed by the artist.

Bears Signature ... / Date ... / Inscription ... / In our opinion the signature/date/inscription appears to be by a hand other than that of the artist.

Dimensions are given height before width.

289

Fine Antiques Wednesday 7th December, 2011 33 Broughton Place, Edinburgh EH1 3RR Viewing times Sunday 4th December 12 noon - 4pm Monday 5th December 10am - 5pm Tuesday 6th December 10am - 5pm Morning of Sale from 9am Enquiries Douglas Girton Tel: +44 (0)131 557 8844 douglas.girton@lyonandturnbull.com Lee Young Tel: +44 (0)131 557 8844 lee.young@lyonandturnbull.com

Further entries invited until October 27th

MAIOLICA ‘ISTORIATO’ DISH An early 16th century Italian maiolica “istoriato” dish by Francesco Xanto Avelli da Rovigo, dated 1537 47cm diameter

Estimate upon request

CHINESE ZITAN CALLIGRAPHER’S TABLE QING DYNASTY Estimate upon request

A Private London Collection Highlights include Jade, Paintings, Silver & Jewellery

to be offered in our Autumn Fine Sales

Fine Jewellery & Silver Wednesday 30th November, 2011

Fine Paintings Thursday 1st December, 2011

Fine Antiques Wednesday 7th December, 2011

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Board of Directors

Specialist Departments

Chairman Sir Angus Grossart

Pictures, Watercolours and

Vice Chairman Paul Roberts Managing Director Nick Curnow Directors Campbell Armour Rachel Doerr Trevor Kyle John Mackie Gavin Strang

Prints Nick Curnow Charlotte Riordan Furniture, Clocks and Works of Art Lee Young Douglas Girton Rugs and Carpets Gavin Strang

Rare Books, Maps, Manuscripts and Photographs Simon Vickers Alex Dove Arms and Armour John Batty (consultant) Antique Sales Theo Burrell

Jewellery, Silver, Coins and Medals Trevor Kyle Colin Fraser

Associate Directors Lee Young Mhairi McFadden

Decorative Arts and Design John Mackie

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

email: info@lyonandturnbull.com www.lyonandturnbull.com

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European and Asian Ceramics Campbell Armour

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274

Administration

Valuation Department Telephone: 0845 882 2794

VALUERS

UK Director Rachel Doerr

Scotland Trevor Kyle Campbell Armour Gavin Strang

Department Manager Evelyn Robertson Client Services Judith Hardie Linda Robinson Jane Lightfoot Business Development Lady Middleton John Sibbald John Thomson Tessa Thomson

Northern England David Hall (consultant) North West England and Ireland Rachel Doerr Midlands Patrick Bowen Michael Mays

Operations Manager Lindsey Michie Finance Manager Mhairi McFadden Accounts Flo Marshall Eileen Welsh Administration Edinburgh Kim Aitchison Tracey Kinniburgh Glasgow Linda Robinson

London and Home Counties Sean McIlroy South West & Wales Robin Barlow

Saleroom Staff Sydney Drew David Robertson David Fiddes Valerie Kyle Press and Public Relations Philip Gregory Marketing Matt McKenzie Photographer Mike Bascombe

London and Southern England Rachel Doerr Mobile: 07876 653 602 rachel.doerr@lyonandturnbull.com

Lee Young Mobile: 07825 426555 lee.young@lyonandturnbull.com

293

STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots.

6. PAYMENT (1) Immediately a lot is sold you will: (a) pay to us the total amount due in cash or in such other way as is agreed by us.

We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express.

(2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges.

(3) No purchase can be claimed or removed until it has been paid for.

(f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

(4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time.

(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(h) The singular includes the plural and vice versa as appropriate.

(1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon.

Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 20%.

All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter.

VAT will be charged on the premium at the rate imposed by law.

294

5. VALUE ADDED TAX

(a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs).

Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to

retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY

origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

12. AGENCY

GENERAL

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold.

Photography: max £40 mono per lot, max £250 colour. Internet Marketing Service: £10 per lot.

(2) If a vendor wishes to withdraw a lot consigned for sale, a withdrawal fee will apply; this will be charged at 15% of the mid estimate with any photography charges incurred and all subject to VAT at the current rate.

15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness,

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales.

21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

22. Scottish law applies to the interpretation of these Conditions.

Fine Jewellery & Silver Wednesday 30th November, 2011 33 Broughton Place, Edinburgh EH1 3RR Viewing times Sunday 27th November 12 noon - 4pm Monday 28th November 10am - 5pm Tuesday 29th November 10am - 5pm Morning of sale from 9am Enquiries Trevor Kyle Tel: +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com Colin Fraser Tel: +44 (0)131 557 8844 colin.fraser@lyonandturnbull.com

A scarce Queen Anne tankard John Seatoune, Edinburgh 1702, Assay Master James Penman 19.5cm high, 35.5oz

ÂŁ6,000-8,000 ($9,600-12,800)

Further entries invited until October 20th

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33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274