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A religious print, 49 x 35 cm, two 1920s portrait photographs in a leather frame, Eastern school, a parade, 30 x 44 cm, and a print of a football match (4)

A 19th century oval portrait print, in a carved wood frame, highlighted in gilt, 46 x 30 cm

19th century, portrait of a lady, gouache, 22 x 15 cm, Thomas Agnew & Sons label verso overall condition good, not been taken out of frame

John Ruskin (1819-1900), a signed letter, dated '12th Feby 1869', to Edwin W Field Esq. reading: 'Mr dear Sir, I am obliged in order to do my own work in this world often to burn masses of letters unread and submit to the consequent catastrophes. I don't know how other people manage. I know I can do no better. I never saw your letter that I remember. I am deeply interested in it now and will give all attention to the subject. Believe me your faithful servant, J Ruskin', with a portrait of John Ruskin,___ x _____cm, framed

▲ Richard Billingham (b.1970), Untitled (RAL 18), Untitled (RAL 27) and Untitled (RAL 30), depicting 'Ray and Liz',chromogenic prints on aluminium, (RAL 27) signed '2/10 1995',50 x 75cm (3)Provenance: Anthony Reynolds GalleryCondition ReportWith some knocks and bumps to edges. Portrait example with marks to the lower third. Please see the additional images.

John Ruskin (1819-1900), a group of four signed letters:the first addressed to Mr Cruikshank, 8th January 1867, stating 'I have been very unwell or I should long ago have come to see you.',the second addressed 'My dear Sir', expressing his gratitude and asking to look at the drawings the recipient is due to show Mr Severn,the third to Miss Stegant, 4th Feb 83, discussing his own publications,the fourth to Arthur Severn, discussing a present of African minerals to the St George's Museum which will be arranged by 'our acting Mineralogist, Mr Francis Butler', complete with a portrait of Ruskin,together with six associated letters by other hands with The Crystal Palace Company heading,a similar letter headed Society of Arts, Manufactures & Commerce, and a letter with a sketch over a horse head above an inscription George Cruikshank (1792-1878) verso,a letter to De Behnes from George Cruikshank, discussing 'the accounts for the caricatures',two letters to Lady Molesworth from Treschleichen, expressing the concerns of Dr Munthe with the location and condition of Captain Ford, an associated letter to Lady Molesworth from Dr Munthe, expressing clear concern for 'Where Dicky is?' and other questions about his location and how to contact him,a card from Dr Munthe, anda letter addressed 'My dear Froude', requesting the recipient's attendance, complete with a portrait of Tennyson (qty.)

John Ruskin (1819-1900), a group of six signed letters, recipients include Miss Barnes, Mr Acland, Mr Stanfield, and Mr Lupton, discussing a request to dine, a request for accommodation, Happy New Year wishes, comments on wood carving, a response to an invitation to the Graphic Society, and a carte-de-visite portrait of John Ruskin by Elliott & Fry (6)

John Ruskin (1819-1900), a group of four signed letters:the first addressed 'My dear Madam', outlining that he would assess her daughter's work to see if it was at the standard for the Kensington and Slade schools,the second addressed to 'My dear Barnes', acknowledging receipt of 'the papers and globes',the third addressed to Rev W Milman, 'I look on the English Parliament merely as the highest caste cricket club - and have no more interest in voting for anybody as MP than if he were only to be one of the clowns of England',the fourth addressed to P Fletcher Watson, 'Sincere thanks: - but I've too much to do now - and greatly dread post for Turner', complete with a portrait of Ruskin (4)

Mike Disfarmer (American, 1884-1959), 20th century, two photographic prints, one a studio portrait of a woman, and another of a woman and child, inscribed verso 'Disfarmer printed 1976',25.3 x 16.8cm (2)Condition ReportOverall appearing in good order with some minor creases and bends to the corners commensurate with use. A crease in the paper of the bottom left hand corner of the photograph of the woman and child. Another crease at the top centre of the portrait of a woman. Both have a tracing paper overlay, inscribed 'Reduce to 37% of orig. size'. Both pictures including borders measure 35.3cm x 27.2cm.

A group of daguerreotypes, mid-19th century, comprising a group of portraits, three portraits of children, one of which is overpainted and heightened in gold, a woman in a bonnet with a sleeping baby and a little boy (illustrated), a ruddy-faced man with a little girl and a little boy, three portraits of young men, a portrait of a young couple holding hands, an old gentleman, and an old woman in an elaborate headdress, presumed to be a mourning bonnet,two ambrotypes, anda view of an unidentified architectural maquette in the Gothic style,housed in leather cases (15)Condition ReportWith wear, marks and scratches to the leather cases. Some examples missing their metal fastening catches commensurate with use and age. The daguerreotypes and ambrotypes with fading and surface marks commensurate with use and age.

A group of three Indian drawings, a 'Study of a Courtesan', Bikaner, early 18th century,15 x 9cm,'Portrait of a Courtesan in an Interior', c.1835-1840, ink, pencil and watercolour on paper,19 x 14cm, andMaharha Madho Singh of Jaipur, 18th century,13 x 8cm (3)Condition ReportTwo of the drawings are glued down - all have age damage. The coloured image has various stains and remains of paper / stickers to the base of the drawing.

This richly detailed Royal Doulton Shakespeare jug pays tribute to the Bard of Avon through an elaborate relief of vividly colored characters from his iconic plays, including King Lear, Ophelia, Touchstone, Portia, Shylock, Malvolio, and others. Designed in high relief, the figural decorations encircle the jug and include a laurel-wreathed portrait of Shakespeare himself beneath the inscription Dear Son of Memory - Great Heir of Fame. The handle is wrapped in green vines and drama masks, featuring a sculpted dagger and theatrical faces. The base reads The Shakespeare Jug, with the underside honoring Shakespeare as the Sweet Swan of Avon. Approximately 10.5"H.Dimensions: See DescriptionEdition Number: 235 of 1000Country of Origin: EnglandCondition: Age related wear.

Set of two classic Wedgwood Jasperware pieces in distinct colorways. Includes a pale blue round plate featuring a raised white portrait profile of John F. Kennedy framed by a laurel wreath border, and a sage green bottle vase with a narrow flared neck adorned with white relief depicting a cherub holding a sheaf of wheat among foliage. Both items exhibit the iconic matte bisque finish and neoclassical motifs for which Wedgwood Jasperware is known. Marked Wedgwood on the base. Largest piece measures 5.5"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

British Silver Coins - George IV (1820-1830) - 1821 crown coin, 1st portrait; Secundo, low mintage of only 438,000

A compelling limited edition giclee print on archival paper titled Persepolis by the artist Jamali. This richly textured portrait captures a serene yet emotive face, rendered with expressive strokes and a weathered, crackled surface that enhances its spiritual intensity. The subject's closed eyes and tilted head convey a meditative or dreamlike state, surrounded by a luminous background of ochre, crimson, violet, and deep brown hues. The composition exhibits Jamali's signature fusion of mystical abstraction and modern expressionism, emphasizing both the physical and metaphysical essence of the figure. Jamali is a contemporary mystic and visionary artist whose work blends spiritual themes with experimental techniques. His style, known as Mystical Expressionism, draws upon his Sufi background and global travels, integrating ancient methods with modern aesthetics. Jamali often employs fresco tempera and pigment layering, resulting in surfaces that crackle and shift, symbolizing time, memory, and transformation. His works have been exhibited globally and collected for their unique fusion of texture, philosophy, and emotional depth. This piece is signed by the artist in the lower left and is hand-numbered 2/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. The artwork is presented in an ornate gold frame, complementing the intensity of the composition.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 2 of 195Country of Origin: Pakistan/USACondition: Age related wear.

1987 Great Britain 1 ounce gold Britannia coin presented in a sealed protective slab. The obverse features a right-facing portrait of Queen Elizabeth II wearing the George IV State Diadem, with surrounding text reading ELIZABETH II DEI GRATIA REGINA F D and a face value of 100 POUNDS. The reverse illustrates Britannia in a standing pose, draped in classical attire, holding a trident in her extended arm and a shield bearing the Union Flag in the other. Introduced in 1987, this release marks the first year of the Britannia gold bullion coin series. Composed of 22 karat gold with a fineness of .9167, the coin contains one troy ounce of pure gold. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.69 mm.Issued: 1987Dimensions: See DescriptionCountry of Origin: Great BritainCondition: Age related wear.

A limited edition giclee on archival paper titled The Poet by acclaimed mystical expressionist artist Jamali. This evocative portrait features a stylized human face tilted within a swirling composition of deep reds, earthy browns, and muted green tones. The figure's eye is depicted as a single almond-shaped form, closed in repose or contemplation, suggesting themes of inner vision, reflection, and emotional stillness. The heavily textured surface and ethereal palette evoke an archaeological or spiritual patina, creating a timeless effect emblematic of Jamali's signature fresco-like technique. Jamali is an internationally recognized contemporary artist whose unique style, Mystical Expressionism, blends spiritual consciousness with experimental media. Drawing from his Sufi roots, Jamali explores themes of transcendence and inner peace through innovative surface treatments and layered pigment textures. His artwork often reflects ancient aesthetics through modern abstraction, offering a meditative experience for viewers. Jamali has exhibited worldwide, and his works are included in private and institutional collections for their distinctive emotional resonance and spiritual depth. Signed in the lower left by the artist, this work is hand-numbered 4/195. It is dated February 12, 2002, and includes a certificate of authenticity from Art and Peace, Inc. Jamali for Mardan Publishing Inc., Winter Park, FL. This artwork is mounted in an elegant gold-toned frame that enhances its rich tonal contrasts and organic surfaces.Artist: Jamali (Pakistani-American b. 1944)Issued: 2002Dimensions: 27.50"L x 33.50"HEdition Number: 4 of 195Country of Origin: Pakistan/USACondition: Age related wear.

1987 Australian Nugget gold coin containing 1 troy ounce of 99.99% fine gold, encased in a protective slab. The obverse depicts the third portrait of Queen Elizabeth II facing right, wearing the King George IV State Diadem. This effigy was designed by Raphael Maklouf. The reverse features a representation of the "Welcome Stranger" gold nugget, discovered in 1869, centered within a radiating sunburst pattern. Inscriptions on the reverse include "THE AUSTRALIAN NUGGET 1 OZ. FINE GOLD" and the year "1987." The obverse is inscribed with "ELIZABETH II," "AUSTRALIA," and the face value "100 DOLLARS." Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.1 mm.Artist: Raphael David Maklouf, and Stuart DevlinIssued: 1987Dimensions: See DescriptionCountry of Origin: AustraliaCondition: Age related wear.

1980 South African Krugerrand containing 1 troy ounce of fine gold, encapsulated in a protective slab. The obverse bears a left-facing portrait of Paul Kruger, former president of the South African Republic, surrounded by the bilingual inscription "SUID-AFRIKA SOUTH AFRICA" in Afrikaans and English. The reverse features a springbok antelope, a national emblem of South Africa, depicted in motion above a textured landscape. The year "1980" is divided on either side of the antelope as "19" and "80," while the inscription "FYNGOUD 1 OZ FINE GOLD" along the lower rim indicates the coin's gold purity and weight. Struck by the South African Mint, this coin was instrumental in establishing the global presence of modern gold bullion issues. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.8 mm.Issued: 1980Dimensions: See DescriptionCountry of Origin: South AfricaCondition: Age related wear.

This 1984 South African gold coin contains one troy ounce of fine gold. The obverse shows a left-facing portrait of Paul Kruger, the former President of the South African Republic, with "SUID-AFRIKA" and "SOUTH AFRICA" inscribed along the edge. The reverse features a springbok antelope, the national animal of South Africa, with the year "1984" flanking the image. The inscription "FYNGOUD 1 OZ FINE GOLD" appears at the base, indicating the coin's weight and gold content. Encased in a protective slab. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.8 mm.Issued: 1984Dimensions: See DescriptionCountry of Origin: South AfricaCondition: Age related wear.

This two-piece set features a commanding limited edition bust sculpture of General Robert E. Lee paired with a copy of A Commitment to Valor: A Character Portrait of Robert E. Lee, compiled and edited by Rod Gragg. The sculpture is executed in a bronze-tone finish with finely textured detail, signed on the interior by the artist Erick Erickson and hand-numbered 212 of 1000. Accompanying the sculpture is the hardcover edition of the 2001 biography published by Rutledge Hill Press, a work highlighting Lee's leadership and legacy through historical documentation and quotation. Together, the pieces offer a thoughtful tribute to the Confederate general and his portrayal in American history.Artist: Erick EricksonIssued: c. 1966Dimensions: 15"HEdition Number: 212 of 1000Country of Origin: United States Condition: Age related wear.

The coin is graded and slabbed by NGC with a CAC green sticker, signifying confirmation of superior quality for its assigned grade. The obverse displays a left-facing portrait of Liberty wearing a coronet inscribed with the word LIBERTY, surrounded by thirteen stars symbolizing the original colonies, with the date 1901 positioned beneath. The reverse features a heraldic eagle with wings spread, perched on an olive branch and grasping three arrows, a shield covering its chest. The inscriptions on the reverse read UNITED STATES OF AMERICA and TEN D. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 27mm. The 1901 Liberty Head contains 0.48375 troy ounces of pure gold.Artist: Christian GobrechtIssued: 1901Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

Gold bullion coin from South Africa dated 1984, featuring one troy ounce of fine gold. The obverse side presents a left-facing profile portrait of Paul Kruger, the former President of the South African Republic, accompanied by the inscriptions "SUID-AFRIKA" and "SOUTH AFRICA." The reverse side displays a springbok antelope, the national animal of South Africa, with the year of issue "1984" split to either side. The lower edge of the reverse reads "FYNGOUD 1 OZ FINE GOLD," indicating the weight and purity. This coin is housed in a protective slab. Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.8 mm.Issued: 1984Dimensions: See DescriptionCountry of Origin: South AfricaCondition: Age related wear.

Small 19th Century Portrait of a Young Girl With initials. Possibly JA. Set in a Gilt frame together withnOriginal Drawing of Molly Scroggins 18th Century English school portrait signed, circa 1780. 34x28.5cm

18th Century Print titled "Portrait of Oliver Cromwell" From an original oil painting of S.Coopers, Engraved by T.Woodman & H. Mutlew Fecit, published as the act of Directs dated 19th of May (1784). 45x35.5cm frame

Rembrandt Harmensz. Van Rijn (1606-1669)Small portrait etching. Dated 1646. Fitted within an antique frame. Frame- 12.5x12.5cm

A pair of porcelain vases and covers, decorated birds and insects, damaged, a Dresden centrepiece, lacking lid, a large tile decorated portrait of Dante, and assorted other ceramics (box)

20th Century Continental School Portrait of a Gentleman Mixed media Signed with initials lower right Framed Picture size 59.5 x 40.5cm Overall size 61 x 41.5cm

W.R. THORBURN (19th Century) Portrait of Man Pencil on paper Signed in pencil lower left Framed and glazed Picture size 50 x 34.5cm Overall size 53 x 37cm

19th century, English school, river scene, watercolour, 21 x 13 cm and two portrait prints (3)

Marjorie Curwen (British 1882 - 1964), a bust portrait of a young lady, charcoal, 52.5 x 36 cm

Katharine Church, portrait of a lady reading a book, watercolour, signed, 50 x 38 cm

19th century, English school, a portrait of John Cartwright of Nocton, oil on canvas, 62 x 53 cm and its pair of his wife, Bridget Cartwright, oil on canvas, 62 x 53 cm (2)

An overpainted print, a portrait of a gentleman, 16 x 15 cm, and its pair of a lady (2)on paper, some worm holes

A 19th century miniature portrait of Mary Albine on ivory, 9 x 6 cm, in a gilt frame, 24 x 19 cm Ivory Exemption Certificate Number MB21S2T2

19th century, portrait of a gentleman, oil on canvas, 50 x 39 cm, unframed and rolledInside a small tube

A 19th century portrait of a women and child, on ivory, 9 x 8 cm, in a period carved wooden frame, 10 x 7 cm Ivory Exemption Certificate Number LDAGW5RV

Theodore Wedepohl (German 1863 - 1931), a portrait of a child, oil on canvas, signed and dated 1904, 104 x 80 cmHas recently been cleaned and re-lined

Frederick Beaumont, a portrait of a boy, pastel, signed and dated 1908, 58 x 44 cm

Russian school, portrait, oil on board, 29 x 23 cm and assorted prints and pictures (qty)

ONE HUNDRED AND ONE DALMATIANS (1961) - Roger Radcliffe Original Production Cel and Pencil Drawing Signed by Frank Thomas and Ollie Johnston - An original animation cel and signed production drawing featuring Roger Radcliffe from Walt Disney's 1961 animated film One Hundred and One Dalmatians.Original cels featuring Roger are increasingly scarce, and paired with a signed drawing like this featuring clean linework, classic expression, and excellent preservation, it is a must-have for collectors.The xerographic line and hand-painted cel show Roger in a defining pose, tall, expressive, and pipe in hand, in his London flat with the famous family portrait of Pongo and Perdita behind him. The cel is placed over a colour-printed presentation background.The accompanying drawing, rendered in graphite on 16-field animation paper, captures the same elegant line and caricature that made Roger one of the most successful examples of Disney's stylised human animation. He is pictured holding his pipe in a fun pose that reflects the lean, angular animation style introduced in the film. A notation on the upper right reads "Dialogue Only". The drawing is numbered "11", with Disney's three-peg registration punched along the bottom edge.The drawing is signed by Frank Thomas and Ollie Johnston, two of Walt Disney's Nine Old Men and core directing animators known for their expressive, emotionally grounded character work. There is a minor tear along the top edge of the drawing. Dimensions (cel): 28 cm x 43 cm (11" x 17"); (drawing): 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M

BANKSY - Di-Faced Tenner, 2004 to Benefit UNICEF UK - A Di-Faced Tenner note by Banksy, b. 1974? - In 2004, the British street artist printed one million pounds worth of Di-Faced Tenner bills and released them by dropping suitcases full of the notes at the Notting Hill Carnival, Reading Festival, and Liverpool Street tube station during rush hour. This lot will benefit the international children's charity UNICEF UK.The altered Di-Faced note, a clever play on the word "defaced", looks similar to a traditional £10 note but has a few subtle differences. The most obvious is a portrait of Lady Diana replacing Queen Elizabeth II. It also has "Banksy of England" along the top of the note and the comment "I promise to pay the bearer on demand the ultimate price" printed underneath. The final modification on the back near the portrait of Charles Darwin is the statement "Trust No One".Dimensions: 7.75 cm x 14.5 cm (3" x 5.75")All hammer price proceeds from this item will be donated to UNICEF UK. This lot is zero-rated for VAT purposes.About the Artist:Arguably the most famous individual in street art, Banksy is an anonymous British artist whose work has gained international fame. Not only does his art spark frequent conversations, but the artist's identity remains a subject of speculation. He is predominantly known for commenting on social and political issues, with dark humour usually incorporated. Banksy's iconic street art is often achieved using spray paint and stencils, but he also has used other mediums, including creating his own currency and modifying street signs.An artist resale right royalty applies to this lot, as provided under local law. The buyer agrees to pay us the amount equal to that resale royalty and we undertake to the buyer to pay such amount to the appropriate authority.VAT Status: M ARR

AFTER SIR JOSHUA REYNOLDS PORTRAIT OF GEORGE COLMAN (1732 - 1794) Oil on canvas 77 x 64cm (30¼ x 25 in.) UnframedProvenance: The Gow Collection Sale, Bonhams, Old Master and British Paintings, 7 December 1989, lot 12 (as Sir Joshua Reynolds, for £9,694)George Colman the Elder (1732 - 1794) was an English dramatist and essayist. Amongst his plays were Polly Honeycomb (1760), and The Jealous Wife (1761). In 1766 he produced The Clandestine Marriage jointly with David Garrick. Colman was acting manager of Covent Garden for seven years. In 1774, he sold his share in the playhouse to James Leake, and used the proceeds to buy a small theatre in the Haymarket. The original portrait of Colman painted by Reynolds, was painted for the 1st Baron Mulgrave, and was exhibited at the Royal Academy in 1770. It was last sold at Sotheby's on 8 April 1998, lot 101. Other known copies are in the Garrick Club, London, at Buscot Park, Oxfordshire, and in the National Portrait Gallery, London.  

CIRCLE OF SIR WILLIAM BEECHEY (BRITISH 1753-1839) A PORTRAIT OF A YOUNG GIRL, SAID TO BE MISS ANNE CAMPEN OF BRISTOL HOLDING A RABBIT Oil on canvas 90 x 70cm (35¼ x 27½ in.) Painted circa 1810. Provenance: Sale, Bonhams, British and Continental Pictures and Old Master Drawings, 5 July 2005, lot 214 (as Attributed to Sir William Beechey) Condition Report: The canvas has been lined. There is fine surface cracking but the paint layer appears to be stable. There is a small small scratch in the paint layer, to the right of the sitters head approx 1 x 3mm, there are also some minor abrasions to the edges. Under UV light there are minor spots of retouching to the upper right corner. It has been cleaned and revarnished. There are minor abrasions to the edges of the frame. Condition Report Disclaimer

JOHN GILBERT GRAHAM (SCOTTISH 1794-1866) PORTRAIT OF MRS. OSWALD OF SCOTSTON Oil on canvas Signed and dated '1855' (lower left) 126.5 x 102cm (49¾ x 40 in.) Unframed Condition Report: Canvas has been relined and presents a subtle craquelure across. UV light reveals an unevenly applied varnish infilling to the craquelure in the upper right corner and right edge. Slight retouching to the neck of the sitter as well as a few on the eyebrows and eyes. Further restoration is also present to the right sleeve of sitter. Further restoration might be concealed by a thick varnish in the background area. Finally a few superficial scratches in the varnish most notably to the edges.Condition Report Disclaimer

‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) SKETCH FOR THE STATE PORTRAIT OF QUEEN ADELAIDE Pen and brown ink and watercolour over pencil Signed and indistinctly dated '18??' (lower right) 27 x 15cm (10½ x 5¾ in.)Provenance: Ladybank Sale of Leslie House effects, Fife With William McClaren Sale, Sotheby's, London, Eighteenth and Nineteenth Century British Drawings and Watercolours, 11 April 1991, lot 52 With Bourne Fine Art, Edinburgh Wilkie as Painter in Ordinary to the King was commanded to paint the companion picture of Queen Adelaide in Coronation robes in December 1832, the finished work exhibited at the Royal Academy in 1834 (now lost, a later version hangs in the Examination Schools, Oxford). Wilkie had painted King William IV in 1831, exhibited at the Royal Academy in 1832. The date on the present drawing is hard to read, if read as 1836 (as when it was sold previously) it could be a retrospective drawing rather than a study and presumably done for a particular client, though Wilkie was strict about not selling or giving people portraits of the Royal Family. Wilkie has certainly flattered the Queen in his portrayal of her. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.  

ANNE-LOUIS GIRODET-TRIOSON (FRENCH 1767-1824) PORTRAIT OF ADÉLAÏDE DE LA GRANGE Black chalk and stump Dated '1812' (lower right) 16 x 12cm (6¼ x 4½ in.)Provenance: Julien Encadreur, Paris

ALEXANDRE- GABRIEL DECAMPS (FRENCH 1803-1860) PORTRAIT OF A GUERRIER TURC Oil on paper laid down on paper, laid to canvas Signed with initials (lower right), inscribed 'Decamps' (verso) 24 x 17.5cm (9¼ x 6¾ in.) Unframed Provenance Sale, Sotheby's, Monaco, 25 June 1990, lot 705Please note the change to the cataloguing which is correct online, but incorrect in the printed catalogue. Condition Report: This work is oil on paper, which has then been laid to a further paper layer, before being applied to a canvas lining. Rubbing and abrasions with some very minor flecks of loss around the extreme edges. There is a slightly larger area of loss at the lower right corner (approx. 5mm), which is visible in the catalogue and online illustrations. Very light craquelure throughout. There appears to be an old repaired circular tear (approx. 2cm) to the lower left corner. Inspection under UV light reveals some very light scattered retouching, predominantly along the lower edge, as well as a green cloudy varnish.Condition Report Disclaimer

AFTER HENRY WILLIAM PICKERSGILL LORD ELDON AND HIS DOG PINCHER Oil on board 25.5 x 18cm (10 x 7 in.) Provenance: Salander-O'Reilly Galleries, New YorkAfter the picture exhibited at The Royal Academy in 1833 (no.88) and formerly in Merchant Taylors' Hall. John Scott, 1st Lord Eldon, was one of the greatest lawyers of his generation, a dominant figure in Georgian public life, and ranks among the most important Lord Chancellors in the long history of that office. He is depicted with his constant companion Pincher, a German Spaniel or Deutscher Wachtelhund (German Quail Dog), who belonged to his son the Hon. William Henry John Scott who died in 1832. Pincher's cherished place at the heart of the Eldon family is shown by his appearance in several family pictures including several by Henry Perronet Briggs (1793-1844). Landseer painted Pincher twice, adding him into one of Briggs portraits and a portrait of the dog himself. Twiss's contemporary account The Public and Private Life of Lord Chancellor Eldon, 1844, records the vivid account of Eldon's niece Miss Forster of Pincher's theft and subsequent recovery, after a reward was offered, in November 1832. Eldon's devotion to the dog was enduring and Pincher was remembered in the Chancellor's will, 'To Lady Elizabeth and Lady Frances are left also some specific articles; and life-annuities are given to each. Pincher, described as 'my favourite dog,' is bequeathed to Lady Frances, with an annuity of £8 during his life, 'to provide food for the said dog.' After the death of Lady Frances in 1838, Pincher was transferred by Mr. Edward Bankes into the family of the 2nd Earl of Eldon, he died 19 May 1840, and was buried at Encombe in Dorset. 

FOLLOWER OF EUGENE CARRIER THE HEAD OF A MAN Pencil 24 x 16cm (9¼ x 6¼ in.) UnframedTogether with: A study of figures before a barn, signed with initials `h.m.' (lower left), pencil, unframed (18.5 x 14.5 cm); Faust in his Study, inscribed (lower right), pastel and watercolour, unframed (20.4 x 27 cm); The Lamentation, pencil and black chalk on buff paper, unframed (16.5 x 23 cm); A study of a cavalry charge, pencil, unframed, (10 x 15 cm); and a portrait sketch of a man, indistinctly signed (lower right),(15 x 9.4 cm), a collection of drawings by various 19th century French artists, Under a red cover stamped "Blanche Album" and two reproduction prints (Qty) Condition Report: In varying condition, please contact the department for further images.Condition Report Disclaimer

SIR DAVID WILKIE (SCOTTISH 1785-1841) POSSIBLY A STUDY FOR THE BANQUET AT MILNWOOD Pen and brown ink and pencil Variously inscribed and dated 'May 29th 1806' (lower centre) 25 x 37cm (9¾ x 14½ in.) Provenance: Sale, Sotheby's, London, Eighteenth and Nineteenth Century British Drawings and Watercolours and Portrait Miniatures, 9 April 1992, lot 57 Inscribed 'sold 3 sketches to Sir John Pringle Bart/May 29th 1836 Each £2/Monro Binning Esq copying/a miniature in ail [?]/Mrs Johnstone of Alva [crossed out]'The present drawing, if it predates the inscription, may be an early idea for The Banquet at Milnwood, from Walter Scott's Old Mortality (1829-30).We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.    

FRENCH SCHOOL (CIRCA 1760) PORTRAIT OF AN ARTIST Pastel on paper laid down to canvas 53 x 46.5cm (20¾ x 18¼ in.) Provenance:Sotheby's, New York, 12 January 1989, lot 154 (as Attributed to Joseph Boze) Literature:Jeffares, Dictionary of Pastellists, (online), J.3244  Condition Report: This work is pastel on paper, which has subsequently been laid down to canvas. It has not been varnished and requires re-framing. The pastel has rubbed a little and is thin is some places. There is a small dent (approx. 5mm) to the background above the sitter's wig (see online images). Some very light spots of surface dirt scattered throughout although these are barely noticeable. Some light rubbing and abrasions to the framing edges, as well as some general wear to these areas, commensurate with age.Condition Report Disclaimer

FRENCH SCHOOL (19TH CENTURY) THEATRE DES FOLIES DRAMATIQUES Pen, ink and bodycolour Signed with initials and dated 'R.Y 1839' (lower right) and inscribed as titled (along the upper edge) 21.5 x 12.5cm (8¼ x 4¾ in.)Together with two sketches by various hands, one pencil portrait of a gentleman, the other a watercolour portrait of a woman, the largest 24 x 25cm (3)

GILBERT STUART (AMERICAN 1755 -1828) PORTRAIT OF WILLIAM GEORGE DIGGES LA TOUCHE Oil on canvas, oval 76 x 63.5cm (29¾ x 25 in.) Painted circa 1788. Provenance: The La Touche Family, Hayle, Cornwall Sale, Christie's, London, 18 November 1988, lot 138 Gilbert Stuart arrived in Dublin in the autumn of 1787, invited by the Duke of Rutland, then Lord-Lieutenant of Ireland and a noted patron of the arts. Over the next few years, Stuart received numerous prestigious portrait commissions. The current painting is believed to date from around 1788. Stuart also painted the sitter's wife, and this particular portrait was once part of the collection of Miss C.F. Godfrey.William George Digges La Touche (1747-1803) was the grandson of David Digues La Touche (1671-1745), who was born near Blois, fled to Amsterdam after the Edict of Nantes, and later came to England with the Prince of Orange. He fought in a Huguenot regiment at the Battle of the Boyne and remained in Ireland, where he established himself as a banker. His son-uncle to the present sitter-became the first Governor of the Bank of Ireland. William distinguished himself during the siege of Bassorah in 1775. In 1784, he returned to Ireland to join the family banking firm in Dublin, built a grand residence on St. Stephen's Green, and purchased Sans Souci as a country estate. That same year, he married Grace Puget, daughter of London banker John Puget; they had four sons. We are grateful to Professor Dorinda Evans for confirming the attribution on the basis of photographs. Condition Report: The canvas has been lined. It is a little slack and has started to undulate. Craquelure throughout however the paint surface appears stable. Some superficial surface scratching and surface dirt throughout. There is a diagonal indentation running through the sitter's left arm (approx. 15cm). This does not appear to have any over-paint or repair, and it is unclear what has caused this. Inspection under UV light reveals light, scattered, in-filling and retouching throughout, as well as traces of a green cloudy varnish.Condition Report Disclaimer

ARY SCHEFFER (DUTCH 1795-1858) PORTRAIT OF A MOTHER Pencil Inscribed in French (lower edge) 11 x 11.5cm (4¼ x 4½ in.)Together with two pencil drawings by Jules Lanson (19th century), comprising: A Couple Reading by the Fire, and A Visit to the Shoemaker, both signed (lower left; and lower right respectively), the first indistinctly inscribed (along the lower edge), each 13 x 25cm (5 x 9¾ in.) (3)

‡ FRENCH SCHOOL (18TH CENTURY) PORTRAIT OF AN ARTIST Oil on canvas 99 x 80cm (38¾ x 31¼ in.) Unframed Condition Report: The canvas has been relined and presents a subtle craquelure across. UV light reveals scattered retouching in the black drapery, various infills on the statue, most notably in the lower section. There are also two approx. 4cm wide retouches in the black background to the right of the statue, which most likely were holes in the canvas - a similar example is present to the right of the sitter's head. A small restoration is present below the left eye, as well as a few scattered retouches in the white collar , and neck. Otherwise, the canvas appears to be in good restored condition. Condition Report Disclaimer

A charming trio of carved and painted bust sculptures by Anri, each signed by noted artist Edward Rohn. The grouping includes a weathered cowboy with a brown hat marked M/2000, a smiling young woman in a fur-trimmed hood also marked M/2000, and a portrait of General George Armstrong Custer, identified on the underside as Gen George Armstrong Custer by Edward Rohn, An Original Anri Woodcarving, Edition 2500. These busts exemplify Anri's tradition of fine craftsmanship in wood, capturing nuanced expressions and detailed attire. Each figure is mounted on a custom wooden base.Artist: Edward RohnDimensions: Tallest item measures 6.75"HCountry of Origin: ItalyCondition: Age related wear.

An exceptional porcelain figurine from the celebrated Borsato studio of Milan, Italy, this finely modeled work features a robed gentleman proudly presenting a finely painted portrait of a woman in an ornate oval frame. Titled the Antiquarian in similar examples, this piece embodies the detailed craftsmanship and emotional expression for which Borsato's work is known. It bears hand-painted details, graceful gilt flourishes, and expressive facial features that mark the legacy of mid-20th century Italian porcelain artistry. The underside retains original Borsato labels including Porcellane d'Arte Borsato, Interco Made in Italy, and signature embossing. Measures approximately 4.5"H.Dimensions: See DescriptionCountry of Origin: ItalyCondition: Age related wear.

Victorian Art and Crafts School oil on canvas - portrait of a young lady, 46cm x 36cm, in gilt frameThe canvas has not been lined, a scratch to the left side by her eye which has been patch repaired from the reverse. Some overpainting visible under a uv light. Would undoubtedly restore well, it has a very nice look. Various losses to the gilt frame.

H.M. Queen Elizabeth II and H.R.H. The Duke of Edinburgh, signed presentation portrait photograph of the Royal couple taken at Buckingham Palace, signed in ink 'Philip 1958 Elizabeth R' in original black Morocco leather frame with easel back 33 x 25.5cmProvenance: presented to Admiral of the Fleet The Lord Lewin KG, GCB, LVO, DSC (1920-1999) by Her Majesty when he was Commander of The Royal Yacht 'Britannia' in 1957-58. He went on to become the First Sea Lord and Chief of the Defence Staff during the Falklands War. He served with Prince Philip during the Second World War and became lifelong friends.