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Lot 532
A full-dress uniform for a Consul-General, comprising coatee with gold and silver embroidery to the collar, cuffs and pocket flaps, a bicorn hat with treble bullion silver loop, trousers and cloak, two swordsBy descent from Sir Alexander Byres Hutcheon K.B.E., C.M.G (1891-1956) Head of the Consular Department, Foreign Office, 1938-1943; Inspector-General, 1943-1947; Foreign Office Inspector, 1947-1950The whole outfit accords with the Dress worn at Court Regulations of 1929Some small holes to the inside red lining of the cloak but seems fairly minor. Yes the gloves etc are included
Lot 101
English School, mid 18th CenturyPortrait of Lord Robert Bertie (1721-1782)half-length, wearing armour with a red ermine trimmed cloak, in a feigned ovalwith Portrait of Lady Robert Bertie (1719-98)half-length, wearing a white dress, blue sash and blue ermine trimmed robes, in a feigned ovaloil on canvas76.2cm x 63.5cm Ombersley Court, Worcestershire with erroneous identifying inscriptions, the first 'Lord Robert Bertie / brother of / the Duke of Doncaster' upper left, the second 'Lady Robert Bertie / Sister of Viscount Blundell' upper left, and 'Knapton / pinxit' to the reverse, on the lining canvas.General Lord Robert Bertie was the fifth son of Robert Bertie, 1st Duke of Ancaster. He joined the Coldstream Guards in 1737 and became general in 1777. In 1762, he married Mary, youngest daughter of Montague Blundell, 1st Viscount Blundell. Lady Bertie: the portrait has been relined and restored, with craquelure throughout, especially to the lower left quadrant, where there is also a potentially bituminous area (as indicated on the condition report image). Picture surface is stable, but with some small areas of loss to the lower right edges.Lord Bertie: the portrait has been restored and relined, with varying degrees of craquelure throughout, especially to the upper right quadrant. Picture surface is stable.
Lot 106
A Royal Doulton 'Butterfly' figure, 'HN720', modelled as a lady wearing a butterfly bodice and dress, holding a red cloak, printed mark and painted 'Butterfly HN720 Potted by R Doulton & Co.', 16cm highCondition ReportMinor nibbles to the base of the piece. Residue to the back form a label. Back of cloak on the edge small areas of rubbing. There is no restoration to the figure. It has been inspected under UV light. Additionally, the glaze is of a consistent hardness throughout. Please see the additional images.
Lot 588
ANDRÉ VINCENT BECQUEREL (1893-1981): A COLD-PAINTED BRONZE FIGURE KNOWN AS 'THE VENETIAN'Circa 1930 Modelled in a Venetian cloak with silvered detailed decoration, walking with a Borsoi on chequered marble base, signed to the cast 'A. Becquerel' and 'Etling Paris' , 39cm high ARRFootnotes:Thislot contains ivory and has been registered in accordance with the Ivory Act(section10). Reference No. N726AYDKProspective buyers should be aware that somecountries have limitations on importing items made from endangered species,including materials such as coral, ivory, and tortoiseshell. Therefore, it isadvisable for potential buyers to familiarize themselves with relevant customsregulations before placing bids, particularly if they intend to import this lotinto another country.
Lot 817
Ca. AD 100 - 200.A Roman gold hollow votive statuette depicting a standing goddess, dressed in a long tunic, with vertical folders and cloak on the shoulders. The statuette has stylised facial features, characteristic of the late Hellenistic style. It features a round hoop on the back. The gold of the statuette emits a red sheen. For similar see: MET Accession Number: 53.191.2.Size: 45mm x 16mm; Weight: 6gProvenance: Private UK collection, acquired from the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1970s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 856
Ca. 600 - 400 BC.A beautiful Anatolian silver statuette of a priest wearing a long cloak that covers the entire left side of the statute. His right forearm is raised, whilst his left arm is slightly bent at the elbow. The details of the statuette have been finely modelled, and a deeply attractive patination has developed over the millennia.Size: 45mm x 15mm; Weight: 8gProvenance: Private UK collection, acquired on the Belgian art market, pre-2000.
Lot 818
Ca. AD 100 - 200.A Roman gold hollow votive statuette depicting a standing crowned goddess, dressed in a long tunic with vertical folders and cloak on the shoulders. The statuette has stylised facial features, characteristic of the late Hellenistic style. It has a round hoop on the back. The gold of the statuette emits a red sheen. For similar see: MET Accession Number: 53.191.3.Size: 53mm x 16mm; Weight: 7gProvenance: Private UK collection, acquired from the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1970s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 694
Ca. 350 - 320 BC. A splendid marble stele carved with the relief image of a rider on a running horse. The figure most likely represents a warrior, the figure is dressed in traditional clothing with a long cloak flying in the wind. This stele is a chthonic symbol, thus suggesting that the male figure was a deceased hero who is running to the underworld. For similar see: Christie's Live Auction 21015, Antiquities,: Including ancient engraved gems formerly in the Sangiorgi collection part IV, Lot. 27. Size: 180mm x 170mm; Weight: 2.01kg Provenance: Private UK collection, acquired on the UK art market in 2013; previously UK art market, acquired prior to 1980. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 268
SPIDER-MAN LOT (31 in Lot) - Includes AMAZING SPIDER-MAN #126, 227, 228, 331(x2)-345, 348, 349, 386, 387, 389-393, 395 + SPECTACULAR SPIDER-MAN #1 & 64 - Includes the first full team appearance of the second Sinister Six, the first full appearances of Cardiac & Cletus Kasady, the first time Venom is depicted with a long tongue and drool + the first appearance and origin of Cloak & Dagger
Lot 1
Limited edition enameled and gilded figure is adorned with hand-set Swarovski crystal rhinestones. Dressed in his sorcerer hat and cloak with hand raised. This item has a round crystal base included 1.5"H x 4.25" dia. Arribas Bros. and Disney marks. This item has its original boxes: 5"L x 7"W x 3.75"H and 5.5"L x 5.5"W x 2"H. Issued: 2000Dimensions: 3.25"L x 2.5"W x 4.75"HEdition Number: 995 of 2000Manufacturer: Arribas Brothers CollectionCountry of Origin: United StatesCondition: Age related wear.
Lot 239
A MINTON PARIAN WARE BUST OF VICE ADMIRAL HORATIO NELSON, 1ST VISCOUNT NELSON, 1ST DUKE OF BRONTE MID 19TH CENTURY Modelled in his later years, portrayed in uniform with a cloak wrapped around his shoulders, his hair in a thick pigtail tied with a ribbon, his neck adorned with the badge for the Order of the Bath, mounted upon a drum socle decorated in relief with naval trophies impressed maker's marks to the underside of plinth 41cm high overall TOGETHER WITH MARSHALL WOOD FOR COPELAND, A CERAMIC AND CRYSTAL PALACE ART UNION PARIAN BUST OF H.R.H. EDWARD ALBERT, PRINCE OF WALES (1841-1910), BEARING DATE 1863 Modelled to date and portrayed looking forward with wavy hair and moustache impressed marks to the rear 33cm high later mounted upon an associated but similar period alabaster plinth, 48.5cm high Condition Report: Chips and losses, including large losses to rear of alabaster plinth Dirt and discolourations, Nelson has been glued off-centre atop his pedestal, remnants of older adhesive visible Condition Report Disclaimer
Lot 432
This sculpture of Saint John the Evangelist, made of polychrome wood, depicts the saint seated with an open book, an attribute that identifies him as the evangelist who wrote the fourth Gospel. Dressed in a long tunic and a cloak decorated with gold motifs, the figure reflects the artistic and religious tradition of the 19th century. Measuring 28 x 14 x 18 cm, it is suitable for use on altars or places of private devotion. Its value lies both in its artistic quality, with finely executed details in the polychromy, and in its religious symbolism, being a testimony to the Christian faith. Authenticity, state of preservation and provenance are essential to determine its historical and economic value.
Lot 653
A Derby figure of a gallant, c 1775, in yellow lined turquoise cloak and floral jacket with breeches, a bow in his tricorn, holding a basket of fruit and a plum in his right hand, a hound at his feet, on oblong mound with three scroll feet, 29.5cm h Portions of pooled crazing. One finger chipped. Typical firing stresses and nibbled losses to bocage in places. Some restoration.
Lot 249
A rare Zsolnay eosin lustre bust of Madonna, modelled by Julia Laszlo Zsolnay, c.1910, decorated in green, violet and gold lustrous glazes, impressed Zsolnay seal, numbered 8575 and initialled SLZ, 14cm high Typical minor glaze imperfections, minute glaze flake two cloak by hand, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 319
An original 21 page document from Knight, Frank & Rutley Estate offices entitled In The Estate Of The Late Brian Epstein Esq. 24 Chapel Street, London SW1 An Inventory and Valuation Of the Contents Made For The Purposes Of Probate October 1967. The document lists the contents with a handwritten valuation of items and includes pages for the following parts of Brian's Chapel Street home listed below: The Hall. Dining Room. Cloak Room. Kitchen. Staircase And Landing. Drawing Room. Bedrooms. Bathroom. Kitchen. Roof Garden. Lobby and Dressing room. Office. Each page measures 20.5cm x 33cm (8 inches x 13 inches). There is wear and creasing to the edges. The condition is very good minus. Provenance: the documents were formerly the property of Brian Epstein's estate and are accompanied by a letter from Henry Epstein, Brian's nephew, confirming this. 24 Chapel Street was Brian Epstein's principal London residence, he bought this house on 20 December 1964 and died there, aged only 32, on 27 August 1967. His Mayfair home, tastefully redecorated for him by Ken Partridge, was the scene of many show business parties and The Beatles attended on a great many occasions.
Lot 1035
A Parianware Bust of Sir Colin Campbell, circa 1858, impressed 'Campbell' to plinth and 'J. Durram S.C, J. Ridgway, Bates & Co' to the rear. Approximately 10 1/2" tall x 7" wide. Chip to right of cloak. General Campbell was a famous Victorian Scottish General who commanded the Thin Red Line at Balaclava and the relief of Lucknow in India.
Lot 613
A STAINED GLASS PANEL OF ST GEORGEPROBABLY GERMAN, 18TH CENTURYdepicting the haloed saint on horseback holding a lance, before a town and inscribed 'St. Jorg', together with two oval stained glass panels depicting a lady wrapped in a cloak and a European bee-eater (3)33.5cm diameter (max)ProvenanceFrom a Private Collection, West Yorkshire, formed in the 1970s and 1980s.
Lot 86
Royal Navy Post 1902 Officers Cloak named to Lieutenant D.G. Reid, good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 91
Life Guards Officers Cloak (Captain Taylor), burgundy coloured cloth, and broad navy cloth turned down collar, this adorned with gold lace and unit buttons, scarlet silk lining. Dates 24th May 2016. Very good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 93
Coldstream Guards Officers Winter Period Cloak in grey cloth, fitted with correct pattern collar fasteners and unit buttons, good overall condition . Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 97
CIRCLE OF JOHN CLOSTERMAN (GERMAN 1660-1711) Portrait of Francis Wyse wearing a red coat and brown cloak with a parrot, and his sister Catherine wearing a blue dress with a lamb, full-length by a fountain Oil on canvas 167.8 x 111.5cm; 66 x 44in ProvenanceThe contents of The Grange, Wendover.Sotheby's, London, The Irish Sale, 18 May 2000, lot 63.Catalogue NoteThis double portrait depicts two members of the important Irish Wyse family of Waterford, Ireland. The family descends from Sir Andrew Wyse who entered Ireland in 1171. The family's current Waterford seat was bulit by Sir Thomas Wyse in the 19th century to designs by A. W. N. Pugin, replacing an earlier building on a different site.
Lot 159
ITEM: Statuette of an Attis TelesphorosMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 66 mm x 21 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Attis and Telesphorus are figures from ancient Roman religion, both associated with the cults of the Eastern Mediterranean and particularly connected to the worship of Attis, a deity linked to the Phrygian goddess Cybele. Attis was a fertility god and a symbol of the cycle of life, death, and rebirth. In Roman times, the worship of Attis, alongside Cybele, became a prominent mystery cult. Attis was often depicted as a youthful, androgynous figure, reflecting themes of regeneration and eternal life. His myth involved tragic elements, including his self-castration and death, followed by his resurrection, which became central themes in the rites associated with him.Telesphorus, on the other hand, was a deity whose worship became more prominent in the Roman Empire, especially from the 2nd century CE onward. He was considered a companion of Asclepius, the god of medicine, and was often associated with healing and recovery. Telesphorus was depicted as a youthful figure wearing a conical hat and a cloak, symbolizing his role in providing comfort and healing to the sick. His iconography and attributes emphasize his role in the healing process, particularly in connection with the recovery of patients, aligning with the broader Roman interest in health and well-being.The connection between Attis and Telesphorus highlights the syncretic nature of Roman religion, where deities from various cultures were integrated into the Roman pantheon and their attributes adapted to fit Roman religious practices. Attis, with his associations with fertility and rebirth, and Telesphorus, with his focus on healing, reflect the Roman emphasis on incorporating diverse religious practices and beliefs from the Eastern Mediterranean into their own religious framework.
Lot 1168
Figur des Zhongli Quan aus Porzellan. CHINA, 18./19. Jh. Zhongli Quan gehört zu den 8 daoistischen Unsterblichen. Er ist an seinen Attributen , dem Fächer und dem Flügelhut zu erkennen. Ihm werden magische Kräfte zugeschrieben; so kann er z.B. Tote erwecken und durch die Lüfte fliegen. Die Figur ist auf einem Felsen sitzend dargestellt und ist mit einem grau glasierten Umhang locker bekleidet, der mit Krakelee verziert ist, H: 20 cm. Altersspuren, besch., u.a. Abplatzer am Sockel sowie einige herstellungsbedingte Unregelmäßigkeiten.| Porcelain figure of Zhongli Quan. CHINA, 18th/19th century. Zhongli Quan is one of the 8 Daoist immortals. He can be recognised by his attributes, the fan and the winged hat. Magical powers are attributed to him; for example, he can awaken the dead and fly through the air. The figure is depicted sitting on a rock and is loosely clad in a grey glazed cloak decorated with craquelure, h: 20 cm. Signs of age, dam., including chipping to the base and some production-related irregularities.
Lot 384
Franz Bergman - an early 20th century bronze of a sitting Arab with rifle, painted in white cloak with gilt highlights and red decoration, on weighted screwed base, with B in pot mark underneath, approx. 10.5cm high, along with another bronze Arabian gentleman, sitting on chair writing, also in white cloak with multicoloured painted belt and bandana, also marked (more indistinctly but recognisable) underneath, approx. 10cm high, both figures with detailed facial features and other areas, (2) Further details: rifleman - broken area where strap has detached from body of figure; loss to paint in areas so bronze colour visible; cracking to paint to most areas; surface wear and scratching. Sitting man - less cracking and loss to paint but still has some loss; as mentioned above Bergman stamped mark nearly ineligible; some surface wear and scratching.
Lot 2036
A late 19th century carved oak figure, of an Elizabethan gentleman, holding down his hat and bowing, H 56cmCondition Report: There is a newer and an older small loss to the rear of the hat. There is a repair to a break on the cloak which is visible from both sides. There is a split to the left side of the face and to the front breast. See images. Also a grain split to the rear of one leg. There is a repair to the back, see image. Some splits to base due to age and there is a tiny loss to a shoulder ribbon.
Lot 324
dating: 1778 provenance: Sardinian Kingdom, Made of bronze. On the obverse, bust (right) with wig, armour and cloak; on the border 'VICTORIVS AMEDEVS III RED SARD A R VI'; opus 'LAVY'. On the reverse, the allegorical figure of Winged Art holding cornucopia and laurel wreath; on the ground bust, palette with brushes and compasses; above 'GENIO ARTIVM STATORI', in exergue 'ACAD INST AN MDCCLXXVIII'. diameter 4.8 cm.
Lot 349
dating: 1706 provenance: Piedmont, Made of silver. On the obverse bust (right) with cuirass and cloak, on the border 'VICTOR AMEDEVS II D G DVX SABAVD PEINC PIEMONT REX CYPRI', on the shoulder cut 'JC'. On the reverse flying angel with crown and laurel wreath over the city of Turin, below the allegorical figure of the River Po stretching to the right and holding a shovel and a laurel wreath with the inscription 'OB / CS', on the border 'GALLIS PROFLIGAT VALLO PERRVPTO CASTRIS CVM RE TORMENTAR DIREPTIS', on the exergue 'AVGVSTA TAVRINORVM T. REMESTRI OBSIDION (defect) LIBERATA 1706'. On the outer border inscription 'RES GERERE ET CAPTOS OSTENDERE CIVIBVS HOSTES HOR' Very rare. 30 g In 1706, during the War of the Spanish Succession, the siege of Turin took place. A massive contingent of over 44,000 French soldiers surrounded the citadel of Turin, which was fiercely defended by around 10,500 Savoy soldiers. The latter resisted bravely from 14 May until 7 September, when the imperial troops, led by Prince Eugene of Savoy and Duke Victor Amadeus II, crossed the Po valley, engaged the enemy in battle and forced them to lift the siege. The siege lasted one hundred and seventeen days. At the end of the war, with the signing of the Treaty of Utrecht in 1713 and the Treaty of Rastatt the following year, Victor Amadeus II, Duke of Savoy, became the first king of his dynasty. According to some historians, the Siege of Turin is the event that marks the beginning of the Risorgimento. diameter 4.3 cm.
Lot 486
dating: 1830 provenance: Paris, Made of silver. On obverse the busts (left) of the royals of Naples, on the edge the inscription ' FRANCOIS 1.er MARIE ISABELLE. FRANCOIS DE PAULE C.te DE TRAPANI.'; opus 'BARRE F. / DE PUYMAURIN N. P.'. On the reverse, crowned coat of arms of the Bourbons within a knotted cloak featuring cords at the sides and decorated with the Order of the Golden Fleece and others, on the border 'LL. MM. SICILIENNES VISITENT LA MONNAIE ROYALE DES MEDAILLES / 31 MAI 1830'. Very rare. 81 g. diameter 5 cm.
Lot 343
dating: 1789 provenance: Sardinian Kingdom, Made of silver. On the obverse, a bust (right) with cloak, on the border 'VICTORIVS AMEDEVS III REX SARDINIAE'; opus 'C. LAVY'. On the reverse, busts of the newlyweds looking to the left, at the top 'AUGENDAE FELICITATI PUBLICAE', in the exergue 'VIC EM AUG PRAE DUC ET M THER AUS FED C ARC FI CONNUBIUM MDCCLXXXI'. 46 g. diameter 4.6 cm.
Lot 507
dating: 1765 provenance: Austria, Made of silver. On the obverse, the busts of Peter Leopold with cuirass and Maria Ludovica with dress decorated with pearls and cloak, on the border 'LEOPOLD ARCID AUSTR M LUDOV INF HISP'; opus 'WIDEMAN'. On the reverse, the allegorical figures of turreted Tuscany holding the coat of arms of Habsburg-Lorraine and Spain holding a torch and the coat of arms of the Bourbons, at the top 'FOEDUS AMORIS', in the exergue 'NUPT CELEB OENIP / DU 22 IUL : 1765'. 17 g. diameter 4 cm.
Lot 337
dating: 1814 provenance: Sardinian Kingdom, Medal produced in 1814 and issued in 1815 to celebrate the Return of Victor Emmanuel I King of Sardinia to the City of Turin. It was reconised in 1818 at the request of the Municipality of Turin.On the obverse, bust of the king (right). Opus: Amedeo Lavy. Inscription: 'VICTORIVS EMANVEL'. On the reverse, the allegorical figure of the City of Turin, standing with shield (right) turns to the left and shakes hands with the King, standing in his cloak. In the exergue: AVG - TAVRINORVM = AN - MDCCCXIV. 80 g. diameter 5.22 cm.
Lot 373
dating: 1837 provenance: Duchy of Parma, On the obverse, a bust (left) with diadem, veil and ermine cloak and the inscription 'M. LVDOV ARCH AVSTE D G PARM PLAC ET VAST DVX'. On the reverse, allegory of a woman seated on the right with her hair loose and holding in her right hand the rod of Aesculapius and a bottle from which water flows towards the building of the Tabiano baths. In the background, the houses of Borgo S. Donnino (Fidenza). In the exergue: AD. SCATEBRAS. TABLANI. S. P. EMTAS / VIAM. APERVIT. MVNIVIT / A. MDCCCXXXXII. Opus C. Voigt/D. Bentelli. 81 g. diameter 5.59 cm.
Lot 289
dating: 1684 provenance: Italy, On the obverse, a bust (right) with long hair and draped cloak, with the inscription 'FRANCISCVS REDI PATRITIVS ARETINVS', below the bust cut opus ''M. SOLD. 1684'. On the reverse, a beautiful relief representation of Bacchus standing with a cup in his right hand and a thyrsus in his left; on the right, Silenus riding a donkey; around him, satyrs and bacchae dancing and playing; in the exergue 'CANEBAM'. The medal, commissioned from Soldani by Grand Duke Cosimo III in 1684, is perhaps the most beautiful medal of the Florentine Baroque. The reverse refers to the poet Redi and in particular to his composition 'Bacchus in Tuscany'. diameter 8.5 cm.
Lot 322
dating: 1775 provenance: Sardinian Kingdom, Made of bronze. On the obverse, bust (right) with wig, armour, cloak and collar of the SS. Annunziata; on the obverse, 'VICTORIVS AMEDEVS III REX SARDINAE'; on the shoulder cut opus 'LAVY'. On the reverse, side-by-side busts (right) of Charles Emmanuel and Marie Clotilde Xaverie of France; on the border 'COMMMVNI POPV LORVM GAVDI', on the exergue 'CAROLI EM FERD PP NVPTJAE COM M A CLOTILDE GALL R SORORE MDCCLXXV'. diameter 4.6 cm.
Lot 307
dating: 1868 provenance: Kingdom of Italy, On the obverse King VE II standing in uniform and cloak between two allegorical figures of Italy and Rome on the sides. Opus C. Moschetti. Inscription 'POST FATA RESVRGE'. On the reverse text 'SERVATORE - AC - VINDICE - / VICTORIO - EMANUELE - II / LEX - LATA - = III - NON - FEBR - / A - REP - SAL - MDCCCLXXI / AB - VRBE - CONDITA - = MMDCXXIV' in a laurel wreath. diameter 7.56 cm.
Lot 332
dating: 1814 provenance: Sardinian Kingdom, Made of silver. On the obverse, a bust (right), on the border 'VICTORIVS EMMANVEL', opus 'A. LAVY F.'. On the reverse, an allegorical figure of the City of Turin turreted and with shield shaking hands with the King standing in his cloak, at the top 'ADVENTVS REGIS'; in the exergue 'AVG. TAVRINORVM AN. MDCCCXIV'. 81 g. diameter 5.2 cm.
Lot 485
dating: 1830 provenance: Paris, On the obverse, side-by-side busts of the royals of Naples (left), on the border inscription ' FRANCOIS 1.er MARIE ISABELLE. FRANCOIS DE PAULE C.te DE TRAPANI.'; opus 'BARRE F. / DE PUYMAURIN N. P.'. On the reverse, crowned coat of arms of the Bourbons within a knotted cloak with ropes on the sides and decorated with the Order of the Golden Fleece and others, on the border 'LL. MM. SICILIENNES VISITENT LA MONNAIE ROYALE DES MEDAILLES / 31 MAI 1830' diameter 5 cm.
Lot 166
dating: 1843 provenance: Duchy of Parma, Medal commemorating the new prison in Parma. On the obverse, bust (left) with diadem, veil and ermine cloak and inscription 'M. LVDOV ARCH AVSTE D G PARM PLAC ET VAST DVX'. Opus E. Galli. On the reverse, front view of the prison entrance. In the exergue: 'INSIMVLATIS CRIMINE CVSTODIENDIS / A SOLO CONDIDIT / A. MDCCCXXXXIII'. Opus C. Voigt. D. Bentelli. 73 g. diameter 5.58 cm.
Lot 363
dating: 1720 provenance: Grand Duchy of Tuscany, Made of bronze. On the obverse, bust (left) with cuirass and cloak; on the border 'COSMVS III ETRVSCORVM REX'. On the reverse, a frontal radiant Christ Child, on the left, six flying angels holding the Medici coat of arms and St. John, on the right ,a shepherd holding a Florentine lily; on the border 'DELICIAE POPVLI DELICIAE DOMINI'. diameter 8.6 cm.
Lot 96
FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W (SCOTTISH 1883-1937) PINK AND GOLD Signed, oil on canvas 102cm x 76cm (40in x 30in) Presented by Miss M. K. Muir McKean, 1932. The Scottish Colourist F C B Cadell’s Pink and Gold epitomises the celebration of feminine elegance and a sophisticated lifestyle for which he is renowned. Even its title is the essence of modernity, focussing on the high notes of colour within the image, namely his sitter’s headscarf, floral accessories and the gilt of the mirror in which they are reflected.Having trained in Paris and Munich, Cadell made his name in pre-World War One Edinburgh with paintings such as Reflections (Glasgow Life) and The Black Hat (Edinburgh Museums & Galleries). They featured fashionable ladies in the stylish interiors of the capital city’s New Town, often depicted in the artist’s own impressive studio at 130 George Street.Pink and Gold reveals how Cadell’s work developed following his move in 1920 to an imposing residence at nearby 6 Ainslie Place. He took great pains over the decoration and furnishing of his new quarters. The distinctive lilac of the painting’s background reveals it to have been created on the first floor, where front and back drawing-rooms were linked by double doors and he brought painted black floorboards up to a high polish. Cadell revelled in the original features of the house, such as the white marble mantelpiece glimpsed in Pink and Gold, its colour used to signify a feminine space in the vocabulary of Georgian architecture.During a landmark trip to Venice in 1910, Cadell’s imagination was captured by experiencing the city in mirror image in its watery surroundings. This led to an interest in reflections that became a defining characteristic of his work. Set to the centre-right of the background of Pink and Gold, the mirror reveals the space in front of the sitter, almost to where Cadell must have been positioned at his easel, its cropping also hinting at the room beyond. Furthermore, the device of the mirror allows Cadell to present his model in two poses, one looking directly at the viewer, the other seen in profile gazing beyond the realm of the canvas.The present painting also shows how Cadell’s practice progressed from the bright palette, tight technique and suppression of volume of the works made during his first years at Ainslie Place. Portrait of a Lady in Black (National Galleries of Scotland) defines this phase, which gave way to lower-toned works such as The Embroidered Cloak (Ferens Art Gallery) and then to the calmer atmosphere, more gentle palette and broader technique apparent in Pink and Gold. Cadell devoted decades to exploring an idealised portrayal of womanhood. Although his favoured model, Miss Bethia Hamilton Don Wauchope, sat for him for over fifteen years, his images of elegant, modish ladies – most often dressed in black, with carefully chosen luxurious accessories from broad-brimmed hats, glinting gold-hoop ear-rings and long white gloves – are not about the identity of a specific sitter. In Pink and Gold, Cadell contrasts his model’s fair complexion with the darkness of her outfit. The delicate defining of her facial features matches the treatment of the diaphanous nature of her headscarf as it falls over her back. In addition, freely-painted passages, such as the realisation of her be-gloved hands, verge on the abstract.Pink and Gold was presented to Paisley Art Institute (PAI) in 1932, by Miss Margaret Kathleen Muir MacKean (1879-1969) of Auchenlodment House, Elderslie and of the town’s soap then starch manufacturing family. They were leading citizens of Paisley, not least its artistic circles, with her uncle James Anderson Dunlop MacKean (1849-1932) becoming an Honorary President of the Institute. As a major collector, J. A. D. MacKean gave several important works to the PAI’s holdings, including George Henry’s The Banks of Allan Water: Spring, Autumn and Winter series (lots 76, 77 and 78).It is believed that Miss MacKean inherited Pink and Gold from her uncle, who died in the year of her gift. At the same time, her father William Muir MacKean gave Henry’s Beauty and the Beast to the PAI, whilst one of her other uncles, Major Norman MacKean, presented George Pirie’s The Hen Roost (lot 89); perhaps all three were given in memory of their recently deceased relative.Our thanks are due to Colin C. MacKean, Miss MacKean’s first cousin once removed and PAI’s current Treasurer, for his help with our research.
Lot 39
Terracotta-Büste „Papst Innocenz X.“Höhe: 48 cm.Die Terracottabüste zeigt den Papst – wie sämtliche seiner Bildnisse – bärtig, mit Kappe, Umhang und betontem Kragen, wie er uns auch aus anderen Wiedergaben geläufig ist. Die Ausführung erscheint bozzettoartig, im Gesicht jedoch fein nachgearbeitet, was für Werke des 18. Jahrhunderts typisch ist. Der eingezogene Sockel ist mitgearbeitet, an der Rückseite gehöhlt. Einige typische kleine Spannungs-Brandrisse.Der Papst, bürgerlich Giovanni Battista Pamphilj, (1574-1655) bekleidete von 1644 bis 1655 das Amt als Oberhaupt der Kirche, und war der Nachfolger von Papst Urban VIII. Sein Grabmal, das Giovanni Battista Maini 1729 in Marmor schuf, befindet sich in der römischen Kirche Sant’Agnese, die Innocenz auf der Piazza Navona anstelle des mittelalterlichen Vorgängerbaus errichten ließ. Dort ist der Papst mit Tiara gezeigt. Weitere Bildnisse bzw. Marmorbüsten (beispielsweise in Galleria Doria Pamphilij) schufen Alessandro Algardi (1598-1654) sowie der berühmte Gian Lorenzo Bernini (1598-1680). In der Malerei wurde er von Diego Velasquez porträtiert. Während seiner Amtszeit reformierte er den Regierungsstil des Heiligen Stuhles, vor allem schaffte er die viel kritisierte „Nepoten“-Bevorzugung seines Vorgängers ab. Eine empfindliche Niederlage erlitt die katholische Kirche während seiner Regierung durch den Westfälischen Frieden 1648, der den Protestantismus festigte und wogegen Innocenz vergeblich protestierte. (1400773) (11)Terracotta bust of “Pope Innocent X”Height: 48 cm.As known from other portraits, the terracotta bust shows the Pope bearded, with a cap, cloak, and accentuated collar. The execution appears to be bozzetto-like, but the face is finely reworked, which is typical of works from the 18th century.
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