Fine Art

Northern European School - Oval Half Length Portrait of a Man as Saint James, late 17th/early 18th century oil on panel, 61cm x 50.5cm, within a gilt composition frame. Provenance: recorded in the collection of Amelia J. Pownall in 1888; thence by family descent.

Continental School – Jacob de Marchia [Jacobus de Marchia, Giacomo della Marca], 18th century oil on canvas laid onto a golden ground panel with incised sgraffito, wax seal and Christie’s stencils verso, 60cm x 40.5cm, within an ebonized and gilt cassetta frame. Note: the scale of this work seems to suggest that it was intended for public devotion though the original location and origin of the work remains a mystery. The inscription ‘Iacob. De. Marca.’ may suggest a Portuguese or South American origin over Italian, which traditionally favoured the ‘Giacomo della Marca’ variant of the name. This picture borrows iconographical and stylistic influence from two renaissance paintings: San Bernardino da Siena by Dario di Giovanni (c.1420-1498) in collection of the Accademia Carrara and San Bernardino da Siena by Giorgio Schiavone (c.1436-1504) in the Museo Poldi Pezzoli.

Italian School – Madonna di Re (Madonna del Latte), late 17th/early 18th oil on canvas, 72cm x 57.5cm, within a gilt frame. Note: the iconography of this Nursing Madonna corresponds to a specific event in the history of the Santuario della Madonna del Sangue Basilica in Re, Piedmont, Italy. On 29th April 1494, a group of young people met in front of the Church of San Maurizio to play a traditional village game, piodella, which consisted of throwing a flat stone against a wooden cylinder on which a coin was placed. One of them, particularly unlucky in the game, became angry and threw his stone, striking a ‘Madonna del Latte’ fresco on the facade of the church. The following morning the fresco of the Madonna began to bleed from her forehead.

Circle of John Michael Wright – Three Quarter Length Portrait of a Gentleman wearing Armour, said to be James FitzJames, Duke of Berwick, 17th century oil on canvas, 107cm x 83cm, within a gilt composition frame. Provenance: The Much Hon. The Baron of Stobo; Roy Precious; Bonhams 29th October 2014 lot no. 149; James H. Van Alen, New York.

Circle of Bartholomew Dandridge – Full Length Double Portrait of Two Children in a Landscape with Chaffinch, Spaniels, and Sheep, 18h century oil on canvas, 107cm x 84cm, within a gilt composition frame. Provenance: The Much Hon. The Baron of Stobo.

Follower of Gilbert Stewart – Half Length Portrait of a Man wearing a Grey Jacket within a feigned oval, 18th century oil on canvas, 76cm x 63cm, within a gilt composition frame. Provenance: The Much Hon. The Baron of Stobo.

British School – Half Length Portrait of a Gentleman wearing a Black Jacket and White Stock, late 18th/early 19th century oil on canvas, 75cm x 62.5cm, within a gilt composition frame.

Circle of Franz Xaver Winterhalter – Portrait of Anna Thillon [Sophie Ann Hunt], 19th century oil on canvas, 65cm x 54.5cm, within a gilt composition frame. Exhibited: Winterhalter, Galeries Jacques Selgmann, Paris, 1928, cat. no. 891. According to the catalogue note, it was commissioned by composer Daniel-François-Esprit Auber (1782-1871); bequeathed by him to composer and theatre director Camille du Locle (1832-1903); and bequeathed by the latter to Opéra Comique, Paris, c. 1871, where it was badly damaged by fire in 1887. Literature: The International Studio, vol. 91., (International Studio, New York 1928) p.44.

Circle of Giovanni Francesco Grimaldi - Figures bathing in an Extensive River Capriccio Landscape, 17th/18th century oil on copper, 42cm x 65cm, within a gilt composition frame.

After Carlo Dolci – The Angel of the Annunciation, oval 19th century oil on board, 21cm x 17cm, within a gilt carved Florentine frame.

Circle of Henry Raeburn – Half Length Portrait of a Lady, 19th century oil on canvas, 60.5cm x 50.5cm.

Circle of Thomas Barber – Half Length Portrait of a Lady wearing a White Lace Cap and Empire Dress, holding a Book, early 19th century oil on canvas, 52cm x 45cm, within a painted wood frame.

British School – Three Quarter Length Portrait of a Lady wearing a Lace Bonnet and Black Shawl, 19th century oil on canvas, 107cm x 87.5cm, within a gilt composition frame of wide section with floral and scallop shell centre and corner crestings.

Circle of Thomas Lawrence – Three Quarter Length Portrait of a Lady wearing a Red Velvet Dress, her Right Arm resting upon a Table, 19th century oil on canvas, 111cm x 85cm, within a gilt composition frame.

Dutch School – Half Length Portrait of a Lady in 17th century Costume, late 19th/early 20th century oil on canvas, 51cm x 41cm.

Circle of Thomas Barber – Half Length Portraits of a Seated Lady and Gentleman, a pair of early 19th century oils on canvas, each 53.5cm x 44.5cm, both within painted wood frames.

John Williams – ‘Navy Office, A Draught for building by Contract by Mr. Perry at Blackwall, a Bomb Vessel, 27th February 1776, in pursuance of an Order from the Right Honourable the Lords Commissioners of the Admiralty, dated 20th instant’, manuscript pen with ink on laid paper, dated 1776, 27cm x 66.5cm, within a stained wood frame. Note: Sir John Williams (1700–c.1784) was a British shipbuilder and designer who rose to be Surveyor of the Navy, the highest position in British naval architecture.

Daniel Duringer – Man wearing Ragged Clothing playing a Violin beside a Dog gnawing a Bone, 18th century pen with ink and wash on laid paper, signed, 20cm x 13cm, within a gilt frame.

Camille Auguste Gastine – Putti holding Books, a pair of 19th century pencil with chalk drawings, both signed recto, labels verso, each 37cm x 23cm, both within gilt composition frames.