YALE
CENTER n^rifisfi Art

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CATALOGUE OP
CHE WELL-KNOWN AND VALUABLE COLLECTION

OF

f lumbago, $ en mtb ink, anb
DRAWINGS AND MINIATURES

ALSO

A COMPREHENSIVE SERIES OF PRINTS AND
AUTOGRAPH LETTERS RELATING TO
RICHARD COSWAY, R.A.,
The Property op
FRANCIS WELLESLEY, ESQ.

WHICH WILL BE SOLD BY AUCTION
BY MESSRS.
SOTHEBY. WILKINSON & HODGE
(Sir Montague Barlow, K.B.E., LL.D., M.P., G. D. Hobson, M.A., and
Major F. W. Warre, O.B.E., M.C.),
%.ndvmtm at Ififcrag f rapwtg # Korku akstratifai: ai Vat £mt §,tts,
"iT THEIR LARGE GALLERIES, 34 & 35 NEW BOND STREET, W. (1),
On MONDAY, JUNE 28th, 1920, and four following days.
AT ONE O'CLOCK PRECISELY.

May be Viewed Two Days prior. Catalogues may be had.

Riddle, Smith & Duffus, Windsor House, Kingsway, W.C. 2, and Forest Hill S.E. 23.

CONDITIONS OF SALE.

I. The highest bidder to be the buyer ; and if any dispute arise,
* between bidders, the lot so disputed shall be immediately
' put up again, provided the auctioneer canilot decide the
said dispute. .
II. No person to advance less than ls. ; above five pounds, 2s., 6d.,
and so on in proportion.
III. In the case of lots upon which there is a reserve, the auc
tioneer shall have the right to bid on behalf of the seller.
IV. The purchasers to give in their names and places of abode,
and to pay down 10s. in the pound, if required, in part
payment of the purchase-money ; in default of which the
lot or lots purchased will be immediately put up again and
re-sold.
V. The sale of any lot is not to be set aside on account of any
error in the enumeration of the numbers stated, or errors
of description.
VI. The lots to be taken away, at the buyer's expense immedi
ately after the conclusion of the sale ; in default of which
Messrs. Sotheby, Wilkinson & Hodge will not hold
themselves responsible if lost, stolen, damaged, or other
wise destroyed, but they will be left at the sole risk of the
purchaser. If, at the expiration of Two Days after the
conclusion of the sale, the lots are not cleared or paid for,
they will then be catalogued for immediate sale, and the
expense, the same as if re-sold, will be added to the amount
at which they were bought. Messrs. Sotheby, Wilkin
son & Hodge will have the option of re-selling the lots
uncleared either by public or private sale without any
notice being given to the defaulter.
VII. Upon failure of complying with the above conditions, the
money required and deposited in part of payment shall
be forfeited ; and if any loss is sustained in the re-selling
of such lots as are not cleared, or paid for, all charges on such
re-sale shall be made good by the defaulters at this sale.
Gentlemen who cannot attend this Sale may have their Commissions
faithfully executed by their humble servants,
SOTHEBY, WILKINSON & HODGE,
34 & 35, New Bond Street, London, W. (1).
Telegraphic Address : _ , , ;_ ,. - . \ 1784
"Abinitio, Phone, London." Telephone : Two lines, May fair) //g*

In sending Commissions this Catalogue may be referred to as "GUN."

Commissions sent by Telephone are accepted only at the sender's
risk and must be confirmed by letter or telegram.

INTRODUCTION.

"TPHIS catalogue represents the first sale that is on record of plumbago
drawings,* and Mr. Wellesley's collection includes some of the
finest examples it has been possible to obtain. Mr. Wellesley has
had but one serious rival in collecting plumbagoes, and he has been
left far behind. Even the National collections have been outdistanced,
inasmuch as Mr. Wellesley possessed far more examples of the work of
Forster, Faber and Loggan than could be seen at the British Museum,
Victoria and Albert Museum, or Holburne Museum, Bath, or than all
put together. Of the Forsters, those from the collection of John Fisher
Bishop of Salisbury, are as fine and perfect as any collector can ever
hope to see, and such praise is equally true of the wonderful series
by Faber. Of other workers in plumbago or in pencil, David Loggan is
represented at his very best, and the drawings by Faithorne, Nanteuil
and Robert White are the finest that have ever come into the market.
Foreign artists are particularly well shown in this collection.
There are superb drawings by Gerard Dou, Thomas de Keyser,
Hans Holbein, Theodoor Matham, Cornells de Visscher, Clouet,
Lucas de Heere, Jan de Bray, Antonio Appiani, John Hoet, Pieter
van Slingelandt, Hendrick Goltzius, Balthasar Gerbier, Goethe and
Clodion, and by many men of lesser importance, while English draughts-
* A plumbago drawing is, strictly speaking, one drawn on vellum with a sharply
pointed piece of graphite.

( iv )
men such as Gainsborough, Downman, Edridge, Faithorne, Paton,
Cosway, Dance, Hoppner, Humphry, Lawrence, Vertue and Jackson,
are each well represented by works of unusual merit or of special '
individuality. To collectors of Portrait Drawings such an opportunity of acquiring
fine works has never before been offered.
As regards Miniatures there has probably been no such notable sale
hitherto. In mere numbers it does not, of course, approach the collections
formed by Mr. Hawkins, Mr. Whitehead and Mr. Joseph, but it is far
different from any of these groups.
Its contents have been carefully selected and are representative
of all the great and many of the smaller and less well-known masters.
Special attention has been given to Cosway, and there are not only
some fine miniatures by him (two being of the very best), but there is
also an extraordinary collection of portraits of the artist and his wife
and of prints in rare states after his portraits. Moreover, there are
some very important autograph letters by Cosway, and many others
by his wife, of great autobiographical and historical value, the Catalogue
of his Sale with an autograph letter in it sent by Reynolds to the Painter,
and the account book of John Conde who engraved so many of his
works. There are also letters from Horace Walpole and from
Gainsborough addressed to Cosway.
The other painters are here also seen at their best. The miniatures
by Smart, Engleheart, Plimer, Humphry, Shelley, Scouler, Grimaldi,
Lens and Robertson are all fine selected examples, and there are besides
representatives of the work of several painters whose miniatures but
seldom enter the market. There is, for example, a superb portrait
by Romney, one or two works by Hoppner, a splendid one by Daniel
Gardner, a superb drawing assigned to Hilliard, a miniature which it

( v )
seems likely was by Hogarth, one or two fine enamels by Petitot, a
very rare signed one by Gilbert Stuart, a signed one by Mary Beale,
several by Bogle, and fine portraits by Ashfield and Augustin, Chinnery,
Collins, Alexander Cooper, Greenhill, Hazlitt, Hone, Jean, Meyer,
Russell and Zincke.
The collection of Portraits of the Duke of Wellington and other
members of the Wellesley Family is of special excellence and deserves
particular attention.
One of Russell's sketch-books ; a precious MS. of 1640 relative to
miniature painting ; a wonderful sketch-book of Stuart period portraits ;
a Downman volume with 33 of his original drawings, and the only
letter of his known to exist ; a volume of sketches by Goya and other
artists ; over 400 drawings by Hayter ; Mrs. Delany's sketch-book in
which all her drawings of famous houses and gardens, in England and
Ireland are signed and dated ; many drawings by Shelley and other
similar treasures are also offered in this sale, and with the utmost
confidence that connoisseurs will find in its contents objects for which
they have long searched in vain.
The attributions and ascriptions contained in the catalogue have
been made with great care and deliberate judgement, Sand many of them
are adopted from family tradition or important sale descriptions.
Mr. Wellesley has aimed at obtaining signed works of undoubted
authenticity and to this endeavour his collection owes a great part of
its high merit. No such collection of Cosway relics has come into the
market since the famous Varese sale at Christie's and that included
no documents at all.
It may be [well to add that many of the finest drawings and
miniatures were on exhibition for some years at- the Victoria and
Albert Museum, and were the subject of a special illustrated catalogue
prepared by the authorities of that Museum and illustrated.

( vi )
Others were on exhibition at the Gallery in Bath for nearly two
years at the special request of some eminent art critics, and these also
were the subject of a special catalogue.
The collection has also been fully described in some illustrated
articles in "The Connoisseur" for June and October, 1918, and March,
1919. The American collector will find in the Catalogue several special
rarities which will make a forcible appeal to him.
SOTHEBY, WILKINSON & HODGE.
May, 1920.

ERRATA.
Lot 224 *' [See Illustration] " to be omitted.
Lot 243 " [See Illustration] " to be omitted.
Lot 374 should be headed "THOMAS GAINSBOROUGH."
Lots 444-5 709 should read 708.

CATALOGUE oi"
THE WELL-KNOWN AND VALUABLE COLLECTION
OF
PLUMBAGO, PEN AND INK AND
COLOURED PENCIL
DRAWINGS & MINIATURES
ALSO
A COMPREHENSIVE SERIES OE PRINTS & AUTOGRAPH
LETTERS RELATING TO RICHARD COSWAY, R.A.,
THE PKOPEKTY OF
FRANCIS WELLESLEY, ESQ.

N.B. — The sizes and descriptions of the objects are, as a rule, taken from
the privately printed Catalogue of Mr. Francis Wellesley's
Collection (Royal 4to edition) . The numbers in brackets thus (503)
are from the same Catalogue and are those attached by Mr. Wellesley
to his purchases. They have not been omitted nor removed from
the objects, in order to assist those persons who possess his Catalogues
in either edition.
The arrangement is alphabetical throughout.
The descriptions are as the spectator views the picture.
IOD A CASTRO
Lot. 1 Guil A Castro. Half-length, viewed to the right, eyes looking to
the left. Standing' in his study before a table on which are
papers, pen and ink, and a geometrical globe. A bookshelf in
the background to the left, an open window showing a land
scape to the right. He wears a flowing robe with short sleeves

First Day 8
Lot 1 — continued. *
over his doublet with stiff collar and cuffs, skull-cap, and hair
falling to the shoulders, small moustache and beard. His
right hand rests on the table, his left is placed on his breast.
Fen, ink, and plumbago. Rectangular, 6 by 8 in. On vellum.
Signed and dated 25th Dec. 1651.
From the Van Gogh CoUection.
%* There is a long inscription in Latin beneath the portrait. (503)

SARAH ADDINGTON
Exhibited at the Boyal Academy 1778-1803.
2 The Marquess Cornwallis. Bust, viewed to the left. He
wears a red coat with blue collar and gold epaulettes, white
waistcoat and frilled cravat ; his short powdered hair is tied in
pigtail. Oval, 1\ by 3 in. On ivory.
Signed and dated 1800.
From the Lindsay Collection.
The Marquess fought in the American Revolution and sur
rendered at Yorktown in October 1781.
See infra, Plimer (331). (330)

ANDREA DEL SARTO
1487-1531.
3 A Young Man, name unknown. Half-length, viewed in profile to
'the left. Coat buttoned up to the neck ; short hair.
Silver point. Rectangular, 6£ by 4J in. On paper.
From Jonathan Richardson's Collection, with his stamp.
Silverrpoint drawings by Andrea del Sarto are very rare. (196)

No. 4.

9 First Day
ANTONIO APPIANI
1757-1817.
Napoleon I. A head, viewed to the right, eyes looking to the left.
He wears a hght coat and black stock tied in front with a bow.
Dark hair brushed forward and falling in curls about the face.
Black and red chalks. Rectangular, 9| by 13 in. On paper. peror. :ure." (706)

%* One of the earliest and most striking portraits of the Emperor.
A contemporary note states that it was " Drawn from nature.'

[See Illustration.]

BENJAMIN ARLAUD
1670-1731.
George, Prince of Wales (afterwards George II), and Caroline,
Princess of Wales. The Prince is represented half-length,
viewed full, face to the right, eyes looking slightly to the, left.
Grey coat with gold braid, red mantle edged with gold over the
shoulders, long lace cravat, long powdered wig. The Princess
is also represented half-length, with her face to the left, eyes
to the right. 'Blue decollete bodice edged with lace and
embroidered in gold, with a jewel at the boSom and on one
sleeve ; a red mantle about her shoulders. Her powdered
hair is bound with pearls and falls in curls to the shoulders, a
small curl over each temple.
Body colour. Ovals, 5| by 4.J-- in. On vellum*
%* George Vertue states that Arlaud was " limmer " to both
George I and George II. (499 and 500)

JACQUES ANTOINE ARLAUD
1668-1746.
6 Charles Louis de Boulanger. Bust, viewed to the right. Blue
coat, long lace cravat, long brown wig falling over the shoulders.
In the original gold and diamond frame.
Oval, If by 2\ in. On a card.
*** This Artist also painted a few portraits in England.. (399)

First Day 10
EDMUND ASHFIELD
flourished 1670-1700.
7 La Duchesse de Mazarin. Half-length, viewed to the right,
holding a black and white spaniel in her arms to the right.
( She wears a blue decollete bodice, edged with lace and richly
embroidered in gold, with full mauve over-sleeves falling in
folds' to the elbow and fastened with jewels at the shoulders.
Jewelled clasp at the bosom, pearl necklace and ear-rings,
light brown hair falling in curls to the shoulders.
Oval, 2\ by 3 in. On card.
Exhibited at Brussels in 1912.
Figured and described in Foster's " Samuel Cooper and the
Enghsh Miniature Painters of the XVI Ith Century."
Perhaps the finest of Ashfield's miniatures known. (117)
[See Illustration,]
EDMUND ASHFIELD
8 John, Fourth Duke of Somerset and Marquess of Hertford.
Almost half-length, viewed to the left, eyes looking full. He
wears a cloak about his shoulders, elaborate lace collar, hair
falling in curls to the shoulders. ,
Pencil. Rectangular, 13 J by 10 in. On paper.
'.*" One of the finest drawings of this period in existence.
%* From George Vertue's Collection.
There seem to be good reasons for accepting this attribution.
The Drawing is an amazing work. (577)
[See Illustration.] .
ETIENNE AUBRY
1745-81.
9 A Sketch. A Youth is represented weeping before a bust on a
pedestal to the left. A dog lies at his feet ; his hat and stick
are beside him, while a Girl wrapped in a loose gown is shown
about to leave the room by a door. She turns her head for a
last glimpse of her companion.
Pencil and wash. Rectangular, 7 by 9 in. On paper. (713)

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No. 8.

11 First Day
JULIEN HONORS GERMAIN AUBUISSON
1786-
10 A Lady, name unknown. Half-length, turned slightly to the
left, face full. She wears an indigo habit, with stiff lace collar
and a broad-brimmed indigo hat, tied under the chin and
trimmed with a black ostrich feather. Brown curly hair.
Oval, 2f by 3 in. On ivory.
Signed and dated 1817. (574)
' JEAN. BAPTISTE JACQUES AUGUSTIN
1759-1832.
11 A Lady, name unknown. Half-length, viewed in profile to the
right. Bodice and fichu, with a scarf brought round over the
arm. She wears a turban, below which her hair falls in a fringe
of curls.
Pencil. Circular, diameter 3 \ in. On paper. (340)
JEAN BAPTISTE JACQUES AUGUSTIN
12 Madame Recamier, unfinished. A head, viewed to the right
Brown hair, simply arranged about the head in a broad coil.
Rectangular, 2\ by 3 in. On paper,
Augustin painted nearly- all the members of Bonaparte's
family and circle. S;;
%* A brilliant sketch by this eminent artist. (35)
DAVID BAILLY
1584-1661.
13 The Artist's own Portrait. Half-length, viewed to the right,
eyes looking to the left. Tight doublet, with stiff lace collar ;
short wavy hair, pointed beard and moustache. The right
arm slightly raised.
Pen and ink. Rectangular, 4 by 5 in. On paper.
Dated 1623.
*„.* Exhibited at the Victoria and Albert Museum, 1916-18.
From the C. Ploos van Amstel Sale, 1800. (435)

First Day 12
DAVID BAILLY
14 Johannes V dn Boogaardt. Bust, viewed to the right. He
wears a dark doublet with fur stole, white ruff ; short hair,
pointed beard and moustache.
Pen and ink. Circular, diameter \\ in. On ivory.
Dated 1651.
%* From the Van Gogh Collection. (501)

DAVID BAILLY
15 Guillaume Corneille Schowten, the famous Navigator.
Bust, viewed to the right. Striped doublet and ruff,
small beard and moustache ; the hair brushed back from
the forehead. Inscribed : " Guillaume Corneille Schowten
Navigateur dans la Mer du Sud."
Pen and ink* Rectangular, 4 by 2| in. On vellum.
*%* Dr. Martin, in his " Art in Leyden," relates that these tiny
portraits by Bailly were in great request during the Artist's
lifetime. (440)

JACQUES LUC BARBIER
1769-1860.
16 An Officer in Uniform, name unknown. Full-length, viewed
full, face to the right. His left hand, outstretched, rests
on his sword, the right on his hip. Two cannon mouldings
are on the ground to the right.
Pencil. Rectangular, 11 by 16 in. On paper
Signed and dated 1793. (128)

13 First Day
BERNARD BARON
1700-1766. .
17 Charles I, Henrietta Maria, Charles II, and James II. The
King, to the left, is viewed full, face to the right, eyes full.
The Queen, to the right, is viewed full, face to the left. At
the King's left knee stands Prince Charles in tight cap and
long frock, while the Queen holds Prince James in her lap.
Two dogs beside her to the left. The King is dressed in
slashed doublet and silk hose. A cape with the Star of the
Order of the Garter is over his right arm. The ribbon of the
Garter is round his neck. Falling ruff, the familiar beard
and moustache. The Queen wears a full light satin bodice
and skirt, pearl necklace and pendant, pearl drops in the
ears. The familiar head-dress of fringed curls, with jewelled
ornament. A covered table to the left on which rest the
Crown, Orb, and Sceptre. Two columns with looped-up
curtain in the background to the right. The Thames with
buildings, presumably Westminster, in the distance to the
left. Indian ink and wash. Rectangular, 15 by 19J in. On paper.
%* The finished study for the well-known engraving which was
published in 1741. . (588)
JAMES BASIRE, Senr.
1730-1802.
18 Sir James Barrow, Knt. Half-length, viewed to the left.
Dark coat, long tab collar, long wig.
Pencil. Oval, 7 by 5£ in. On paper.
Signed.
*„* This differs entirely from the published portrait. (166)

MARY BEALE
1632-1697.
19 A Gentleman, name unknown (at the age of 37). Head and
shoulders viewed to the right, eyes looking full. He wears
a rose coloured coat with a brown cloak over it. Brown falling
collar. Long brown wig.
Crayons. Rectangular, 7f by 10 in. On paper.
Dated 1677.
' Exhibited at the Bath Gallery, 1919. (805)

First Day 14
MARY BEALE
20 Catherine Sedley, Countess of Dorchester (James II's
mistress). Half-length, viewed full, face to the left. She
wears a chocolate-coloured decollete bodice, trimmed with
white, and a blue scarf draped over the right shoulder, secured
at the breast with a pearl pin. Light brown scarf over her
black hair, red curtain and column in the background.
Oval,.3^ by 4 in. On a card.
Signed " Lady Dorchester by Mary Beale, 1677."
%* This miniature, which is recorded in Charles Beale's " Diary "
as having been painted in 1677, was until recently in the
possession of the Colyear and Dawkins families, descendants
of the Earl of Portmore, who married Lady Dorchester in
1696. Mary Beale's miniatures are very seldom to be seen.
An original autograph letter from Lord Portmore accom
panies this miniature.
Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century." (386)

Attributed to MARY BEALE
1632-1697.
21 La Duchesse de Mazarin. Bust portrait. Eyes full, looking
to the right. Hair dressed a l'Espagnole with mantilla.
Red chalk. Rectangular, 6J by 4| ins. On paper.
From the collection of Nathaniel Hone, R.A., 1785 (834)

ISAAC BECKETT
1653-1719.
22 Louis, Earl of Feversham. The famous General. Half-
length, viewed to the left, eyes looking to the right. Satin
cloak, lace cravat, wig in curls to the shoulders.
Plumbago. Oval, 3^- by 2\ in. On vellum.
%* Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue. Also exhibited at the Victoria and Albert Museum,
1914-18, and described in the special Catalogue. (123)

15 First Day
N. BELLAMY
23 Oliver Cromwell. Bust, viewed full, face to the left, clad in
armour, soft falling collar. Hair parted in the centre and
falling to the ears. The whole contained in a medallion,
ornamented above and below with an elaborate design of flags .
and insignia and with the family coat-of-arms, the whole
set in an acanthus border.
Plumbago and Indian ink. Rectangular, 6f by 9 in. On vellum.
Signed and dated 1659.
*** Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVI Ith Century."
Nothing whatever appears to be known of this Artist. (152)

JOHN BOGLE
flourished 1769-1803.
24 Colonel Duncan. Bust viewed to the left. He wears a red
uniform with green facings, high green collar, with stock and
cravat. Powdered hair. Oval, 1| by If in. On ivory.
Signed ahd dated 1783.
From the S. E. Kennedy Collection. (778)

JOHN BOGLE
25 A Lady, name unknown. Half-length, viewed to the left, eyes
looking to the right. She wears a white silk dress open at
the neck. Her powdered hair, which is secured with a gold
band, falls in curls to her shoulders. Oval, 2\by If in. On ivory.
Signed and dated 1794. (912)

JOHN BOGLE
26 Colonel (Humphry) Graham. Bust, viewed to the right.
He wears the uniform of the 1st Royals : red coat with gold
epaulettes, white ribbon with gold clasp bearing the Royal

First Day 16
Lot 26 — continued.
cypher, high blue collar, black stock and lace cravat. Pow
dered hair. Oval, 11 by If in. On ivory.
Signed and dated 1797.
Exhibited at the Glasgow Exhibition in 1911, and at Brussels
in 1912. Illustrated in the Brussels Exhibition Catalogue. (25)

Mrs. Graham (nee Isabella Farquhar). (The companion
miniature). Bust viewed to the left. Simple white blouse,
brown hair falling in ringlets about her shoulders.
Oval, 1\ by If in. On ivory.
Signed and dated 1797.
Exhibited at the Glasgow Exhibition in 1911, and at Brussels
in 1912. Illustrated in the Brussels Exhibition Catalogue.
%* Although Bogle is but little known, his miniatures are of
exceedingly fine quality ; they closely resemble the work of
Smart.
A PAIR OF VERY FINE MINIATURES. (26)
[See Illustrations.]

B. BOHM
27 A Gentleman, name unknown. Almost half-length, viewed full,
face to the left. Costume of the period ; wig in pigtail. Con
tained in a circle, ornamented above with the conventional
" true-lovers' knot."
Pencil. Rectangular, 7f by 6 in. On paper.
Signed and dated 1786. (291)

LOUIS LEOPOLD BOILLY
1761-1845.
28 A Boy, name unknown. " Le Petit iScolier." Bust, viewed
full, face to the right. Open jacket with falling collar, short
hair. Pencil. Rectangular, 5£ by 7 in. On paper.
From the Cailleux Collection.
%* See long inscription on the reverse. (407)

No. 30.

17 First Day
LOUIS LEOPOLD BOILLY
29 Mlle. L. de Mayenne. Half-length, viewed to the right,, eyes
looking full. Short-sleeved decollete bodice, hair simply
arranged and falling in short curls about the forehead. She
wears circular ear-rings.
Pencil. Circular, diameter 2|| in. On vellum.
Signed and dated 1796 (on the reverse).
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue. (293)

LOUIS LEOPOLD BOILLY J .,
30 Napoleon I. Bust, viewed full, face to the. right. He wears
the well-known high-collared coat edged with gold embroidery
and a black stock over a white collar, short hair brushed
forward. Pencil and Indian, ink. Oval, 10 J by 8 in. On paper-.
*** This portrait was drawn in 1801, and is the study fpr the well-
known engraved portrait. (700)
[See Illustration.]

CHARLES BOIT
1663-1727.
31 James Crofts, The natural son of James, Duke of Monmouth
(the natural son of Charles II), and Eleanor Needham. Bust
, viewed to the right. Blue, coat, lace cravat, long powdered
wig. Oval, If by 2 in. Enamel.
In the original frame, set with 56 Brazilian diaihonds.
Boit was Queen Anne's favourite Miniaturist. (471)

First Day 18
CHARLES BOIT
32 William III (when Prince of Orange). Bust in armour, viewed
full, face to the right, looking full. Full lawn cravat, white
satin cloak lined with red over the right shoulder and secured
across the breast with a jewelled chain ; under this is just
perceptible, the red ribbon of an Order ; long brown wig to
the shoulders. Oval, If by If in. Enamel.
One of Boit's finest miniatures. (466)
FERDINAND BOL
1616-80.
33 A Man, in the manner of Rembrandt. Half-length, viewed
almost full. Loose coat, edged with fur, flat cap ; full beard
and moustache. The hands rest on a staff.
Pen and ink. Rectangular, 4| by 3J in. On paper.
This drawing was afterwards engraved by Bol himself. Bol
studied under Rembrandt and their works are frequently
confused. (96)
%* Inscribed on the reverse :
" Ferdinand Bol "
" il a lui meme fait une gravure "
" a l'eau forte apres cet dessin." Voyez, B.P.G., No. 9."
HENRY BONE.
1755-1834.
34 William Aspinwall of Brookline, Mass., U.S.A. Half-length,
viewed full face to the left. He wears an olive-green coat
with white waistcoat and neck cloth. Short powdered hair,
parted in the centre. His left arm rests on the back of the
chair in which he sits. Crimson curtain in the background.
Rectangular, 3J by 3| ins. Enamel.
Signed and dated 1797 on the reverse thus : " Mr. Aspinwall.
Henry Bone pinx', after John Opie, R.A. Nov. 1797."
Aspinwall, who was a Physician, fought as a Volunteer at the
battle of Lexington. He afterwards served as a doctor in the
Revolutionary Army and is said to have established vaccina
tion in America. He died in 1823, aged 80.
His portrait was also painted by Gilbert Stuart, and bore
such a striking resemblance to that of George Washington,
that it was spared being burned by a mob during the Anti-
Slavery riots in New York. (800)

* *
*

19 First Day
ANTONIO BONFIGLI
Early XlXth Century.
35 A Lady, name unknown. Half-length, viewed to the left, the
head slightly inclined to the right. She wears a white decollete
bodice : the sleeves trimmed with lace. Her left hand
grasps a brown fur wrap which has fallen from her shoulders ;
her brown hair, bound with a black ribbon, is parted in the
centre and disposed in coils over the ears.
Rectangular, 4| by 4 in. On ivory.
Signed. This Miniaturist worked principally at Siena. (249)

FRANgOIS BOUCHER
1704-70.
36 A Lady, name unknown. Full-length. She is viewed reclining
on a bank, her left arm supporting her body. French costume
of the period, hair in curls. Black and white chalk.
Rectangular, 9 by 13 in. On bluish-grey paper.
%* This is probably the Study for a portrait.
From the Collection of William Hoare, R.A. (900)

Attributed to FRANCOIS BOUCHER
37 An Artist, name unknown. Half-length, viewed full, face to
- the right. He wears a loose jacket over a plain shirt without
' his cravat, a *white turban on his head. He is engaged in
drawing on a block held before him, with paper, compasses,
etc., within reach.
%• This drawing has also been ascribed to Nicolas Bernard
Lepicie.
Pencil, heightened with colour. Oval, 9 by 6J in. On paper.
From the Collection of Samuel Rogers. (704)

First Day 20
JOSEPH BOZE
1744-1826.
38 Louis XVI, Marie Antoinette and the Dauphin. Three
bust portraits grouped together (the Dauphin between the
King and Queen), viewed in profile to the right. The King's
hair is arranged in three rows of curls over the ears and falls
to the shoulders, while that pf the Queen is simply disposed
in curls and bound with a fillet of pearls ; she wears ear-rings.
Pencil and Indian ink. Octagon, 2\ by 3 in. On paper.
%* Boze's devotion to the French Royal family very nearly
cost him his head. (342)

ADAM BUCK
1759-1834.
39 Master Betty. He is represented full length, viewed full,
face to the right, standing in a wood holding a bow and
arrow. He wears a white jacket with wide falling collar and
a kilt with pantelettes ; short light brown hair, his cap on
the ground beside him to the right. Background of trees.
Pencil, heightened with colour. Rectangular, 6| by 8| in. On paper. (190)
ADAM BUCK
40 John Philpot Curran. He is represented three-quarter length
seated, legs crossed, nua low arm-chair. He wears a dark
coat and knee breeches, white waistcoat and frilled cravat.
Short brown hair parted in the centre. His head rests on
his right hand, his left holds a roll of parchment. A classic
portico with columns and a statue of a Roman Senator in
a niche in the background to the left and right.
Pencil, heightened with colour. Rectangular, 10 J by 13| in. On paper.
%* Buck, who was a Cork man, left Ireland for England in 1795.
The drawing dates from about 1790. (769)

21 First Day
, ADAM BUCK
41 Sir George Hill. Bust, viewed to the left. Blue coat with
black collar, white cravat, short brown hair.
Oval, 2\ by 2| in. On ivory.
Signed and dated 1801 . (490)

SAMUEL BULKELEY,
flourished first quarter of the XVIIIth Century.
42 George Frederick Handel—" ad vivum." Half-length,
viewed to the right, eyes looking full. Open coat, long white
neck-cloth, short full wig.
Plumbago. _ , Oval, 3f by 2-^ in. On vellum.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue. Also at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue. i
Nothing seems to be known of the man who drew this fine
portrait, and we have never seen another example of his work. (145)

He *
*

HENRY WILLIAM BUNBURY
1750-1811.
43 A Revoke. A caricature representing three men and a woman
(full lengths) seated at a table playing cards.
Pencil. Rectangular, 10 \ by 8 J in. On paper. (258)
EDWARD BURCH, R.A.
1730-1814.
44 Mr. Fitzherbert of Swynerton. Bust, viewed full, face to
the left. He wears an indigo blue coat with brass buttons,
white waistcoat, frilled cravat ; a heavily powdered wig has
slightly whitened the shoulders of his coat.
Oval, 2\ by 2| in. On ivory.
Signed.
*** Burch also painted Mrs. Fitzherbert. She married Gebrge IV
after her husband's death. (469)

First Day 22
EDWARD FRANCIS BURNEY
1760-1848.
45 The Duke of Wellington. Bust viewed in profile to the left.
Indian ink and red chalk. Rectangular, 7f by 6 J in. On paper.
%* This portrait was drawn in 1814 and engraved by Heath the
same year. (828)

H. BYRNE
. flourished 1660-1680.
46 Barbara Villiers, Countess of Castlemaine and Duchess of
Cleveland. Half-length, - viewed to the right, eyes looking
full. She wears a blue decollete bodice with full grey sleeves,
a crimson scarf across the right shoulder. A pearl circlet is
fastened to her bosom with a black ribbon ; a pearl necklace
and pearl drops in her ears. Her brown hair, parted across
the centre of the head, falls in curls about her face.
Oval, 2f by 2\ in. On card or vellum.
Signed " H.B."
%* The only other undoubted examples of Byrne's works of which
we are aware are the four at Welbeck Abbey. (804)

JACQUES CALLOT
1592-1635.
47 Two Studies of Musicians. Full-length figures of men. The
first, viewed in profile to the right, is dressed in the elaborate
French costume of the period and wears a sword, high crowned
hat with feathers. He plays a violin. The second is viewed
with his back to the spectator and is dressed in a similar
costume. In his left hand he holds a sword, his right hand
rests on a pillar and his right foot on the step.
Pen and ink. Rectangular, %\ by 9 in. On paper.-
%* From the Collection of William Hoare, R.«A. (895)

( 23 First Day **
JACQUES CALLOT
1592-1635.
48 A " Village Fete. Several figures are represented drinking '
outside a tavern to the right, while in the foreground groups of
men and women are seen gathering round the booths of
merchants or dancing round a tree. A Church spire on a
hill in the distance.
Plumbago. Rectangular, 3f by 2-f in. On vellum.
Signed.Exhibited at the Victoria and Albert Museum, 1916-18. (343)
%* This beautiful drawing has two owners' stamps upon it.

PAOLO CARANDINI
flourished 1650-1677.
49 Lady Shannon. One of the beauties of the Court of Charles II.
Bust, viewed full, face to the left. Grey decollete bodice,
edged with black, white gauze scarf over her black hair, and
falling to the shoulders. ,
Oval, 2J by 2\ in. On a card.
Signed " P.C."
*** This Artist is said to have come to England in the suite of
Mary of Modena. He died quite young, it is stated from
poison, and his miniatures are of great rarity. (419)

Attributed to GIULIO CAMPI
1502-1572. ;- «.
. 50 A Venetian Senator, name unknown. Three-quarter length,
viewed to the right, looking to the left. He wears the long
black Senatorial robe trimmed with ermine and secured with
a gold buckle, white lace collar and white lace ruffles. Grey
hair, whiskers and moustache.
Painted in oil. Rectangular, 6 J by 4| in. On a wood panel.
%* From the Blenheim. Palace Collection. (879)

First Day 24 ,
LOUIS CARROGIS CARMONTELLE
1717-1806.
51 Monsieur Vanici. Bust, viewed in profile to the right. Frilled
cravat, hair in pigtail. •
Pencil and Indian ink. Rectangular, 3 by 2\ in. On paper.
Signed. (565)
i
AGOSTINO CARRACCI
, 1557-1602.
52 The Artist's own Portrait. A head, viewed full. Open
falling collar, short dark hair brushed up from the forehead, '
small moustache and tuft under the lip.
Black and red chalk. Rectangular, 3| by 5 in. On paper. (714)
ANNIBALE CARRACCI
1560-1609.
53 An Elderly Man, name unknown. He is viewed to the right.
Round collar, short dark hair, short round beard and dropping
moustache. Pencil, heightened with red chalk. Rectangular, 6 J by 1 1 in.
On paper. (672)

ROSALBA CARRIERA
1675-1757.
54 (Frederick) Augustus III of Saxony and Poland. Half-
length, viewed to the left. He wears a crimson coat with buff
waistcoat and collar, the Star of an Order on his breast, long
blond wig to the shoulders. Oval, 3 by 3| in. On vellum.
%* Drawn in 1718. (See inscription „on the reverse). (473)

25 First Day
JEAN BAPTISTE CARVELLE
~\.
55 Mlle. Colombe, the French Actress. Half-length, viewed in
profile to the left. She wears a simple bodice folded across
her breast. Hair en pompadour and adorned with a lawn
scarf which falls over her shoulders. Two long curls at the
neck.Silver point Oval, 2\ by 3f in. On vellum.
Signed and dated 1783.
*„* Carvelle's miniatures are of the greatest rarity. The only
^ authority who mentions him is Thieme, who records that he
gave his miniatures " tone " by previously dusting the vellum
' with pumice and carmen. This technique, which he was the
first to employ, is spoken of as " a la Carvelle." ' (812)
FLAVIEN CHABANNE ,
1799-1858.
56 A Series of thirteen finished Studies for Miniatures.
Pencil. Framed together. On vellum. (364)
GIOVANNI BENEDETTO CASTIGLIONE
" Il Grechetto "
, 1616-1670.
57 An Elderly Man, name unknown. Half-length, viewed to the
right, eyes looking ydown to the right. Short hair and a fur
cap, very long beard and moustache.
Pen and ink. Rectangular, 7\ by 6 in. On paper.
*** This portrait was etched by Henry French and an impression
of the etching is framed with the drawing. (893)
SIR GEORGE CHALMERS
1715-1791.
58 James Graham of Airth. A head viewed to the right, eyes
looking full. Long curly wig. A sketch with the shoulders
lightly indicated.
Pencil. Rectangular, \\ by 5f in. On paper. (782)

First Day 26
MASON CHAMBERLIN, R.A.
Exhibited at the Royal Academy, 1769-1786.
59 Benjamin Franklin. Three-quarter length, viewed almost
full, face and eyes to the left, seated in a green arm-chair.
He wears a chocolate-coloured coat, waistcoat and breeches,
small lace cravat and lawn cuffs, short powdered wig. His
right hand holds some papers on a red-topped table before him,
his left, a quill pen. He is about to record observations onx
the action of a lightning register (two bells with a conductor
wire) that hangs beside him. An open window to the right
shows a church steeple and another structure being struck by
lightning. Rectangular, 3J by 4| in. On ivory.
%* This very important miniature appears to be the finished
study for the well-known portrait. (720) |

JEAN BAPTISTE SIMEON CHARDIN
probably by.
60 A Youth, na,me unknown. Three-quarter length, viewed to the
right, eyes looking to the right. He wears a long coat, thrown
open, with a broad turned-down collar. His left hand rests
on his chest, his right hand on his thigh. Hair to ears, broad
soft cap.
Black chalk and pencil. Rectangular, 1Q\ by 7 in. On paper.
%* Probably the Study for a portrait.
From the Collection of William Hoare, R.A. (902)

A. CHARLES
flourished end of the XVTIIth Century.
61 The Lady Elizabeth Townsend. Half-length, viewed to the
left, eyes looking to the right. Simple buff-coloured bodice,
light brown hair falling in curls over her shoulders.

Oval, 2\ by 2| in. A brilliant sketch on ivory.
Signed on the back : " By Mr. Charles, Miniature Painter to
the King. Strand."
Exhibited at Brussels in 1912. (149)

27 First Day
NICOLAS CHEVALIER
1655-1720.
62 The Artist's own Portrait. Half-length, viewed to the right,
eyes looking to the left. Hplding a medal before him in his
left hand. Embroidered cloak, lace cravat, curly wig to the
shoulders. Plumbago and Indian ink. Rectangular, 5 \ by 8| in. On vellum.
Signed and dated 1688.
*„.* There are 8 lines of verse written below the portrait.
Chevalier's best-known illustrations are those to his " Histoire
de Guillaume III par Medailles 1692." \ (383)

GEORGE CHINNERY
1748-1847.
63 Charlotte; Countess of Dysart. Half-length, viewed to the
right. Head to the right and looking down. She wears a
white decollete bodice with blue drapery over the right
shoulder, soft yellow veil piqued with red depending to the
shoulder ; brown hair. Oval, Z\. by 2| in. On ivory.
Painted in 1793 for her sister, H.R.H. fhe Duchess of Gloucester.
Exhibited at South Kensington Museum in 1865.
From the Keppel and Beavan Collections. (239)

GEORGE CHINNERY
63a Hugh Douglas Hamilton. Portrait painter. Half-length,
viewed full, head leaning to the left, eyes looking up and to
the right. Indigo coat and waistcoat, frilled cravat, powdered
wig. Rectangular, 3| by 4 J in. On ivory.
Signed and dated 1796.
Exhibited. at the Royal Academy in 1798. (554)

First Day 28
DANIEL NICOLAUS CHODOWIECKI
1726-1801. ,
64 Professor Nieuwland. Bust, viewed to the right, eyes looking
slightly to the left. HighTcollared coat, frilled cravat, pow
dered hair curled and tied in pigtail.
Pencil and silver point. Oval, 3^ by 2^ in. On vellum.
i
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue. (472)

PIERRE PHILIPPE CHOFFARD
1730-1809.
65 Louise, Daughter of Louis XV. Bust in profile to the right.
She wears a decollete bodice, edged with ruffles. Hair
arranged about the head in curls with a bow and small flowers,
a lock falling to the shoulder. Contained in circle representing.
a frame with a bow knot above and a fleur-de-lys at each side.
Shield below with three fleurs-de-lys surrounded with leaves
and flowers.
Pencil Rectangular, 6 by 7 in. On paper. (303)
CARLO CIGNANI.
1628-1719.
66 The Artist's own Portrait. Bust, viewed to the right, eyes
looking full. He wears a loose cloak over a doublet buttoned
up to the neck, long falling collar ; short wavy hair confined in
a tight-fitting cap.
Red chalk. Oval, 5 J by 6| in. On paper.
Signed.
%* This drawing belonged to the younger Richardson and,
according to the inscription in his handwriting on the reverse
of the mount, was acquired by him from Charles Lucy, a pupil
of Cignani, for whom it was' made as a parting gift from his
master. It also states that Cignani was a pupil of Albano,
and ends with a eulogistic account of his worth as a man and
an artist.
From Richardson's and Dr. Wellesley's Collections. (767)

29 First Day
GIOVANNI BATTISTA CIPRIANI
1727-85.
67 The Madonna and the Infant Christ. Our Lady is represented
half-length, to the left, holding the Babe to' her breast.
Drapery about the head and shoulders.
Pencil. . Rectangular, 6 by' 8 in. On vellum
Signed. • (195)
J. CLINGBRING circa 1650.
68 A Lady, name unknown. Seated, three-quarter length, viewed
full, face to the left, her arms folded in her lap. Laced-up
bodice and elbow sleeves. Her hair confined in a high cap, with
curls falling over each ear. A cloak thrown over the back
of the chair.
Pencil. Rectangular, Q\ by 9 J in. On paper.
Signed. (661)
CLAUDE MICHEL CLODION
1738-1814.
69 The Princesse de Talleyrand. Bust, viewed in profile to the
right. Decollete bodice, draped with a scarf about the
shoulders, hair arranged en pompadour , and bound with a
jewelled fillet, a curl falling over each shoulder.
Pencil. Oval, 4 by 3\ in. On paper.
This is probably the finished study for a bas-relief.
Exhibited at the Victoria and Albert Museum, 1917-18. (701)

ALBERT CLOUET
1624-87.
70 Sir Anthony van Dyck. Bust, viewed from the back, the head
turned and regarding the spectator. Falling lace collar,
curly hair to the ears, pointed beard and moustache.
Plumbago.^ Rectangular, 3f by 4| in. On vellum.
This drawing has been engraved.
Exhibited at the Victoria and Albert Museum, 1916-18. (555)

First Day 30

Attributed to FRANQOIS CLOUET
1*510-72.
71 A Lady, name unknown. Head and shoulders, viewed to the
right. She wears a simple bodice with narrow frilled collar ;
her hair, drawn tightly back from her forehead, is confined in
a small loose cap set at the back of her head.
Plumbago, heightened with Chinese white.
Rectangular, 4| by 3 in. On paper.
%* This charming drawing is reminiscent of Clouet's portraits-,
now in the Bibliotheque Nationale.
Exhibited at the Victoria and Albert Museum, 1917-18.
From the Collections of Sir Peter Lely and Bernard Granville
of Calwick. (719)

CHARLES NICOLAS COCHIN
1715-90.
72 An Ecclesiastic, name unknown. Half-length, viewed in profile
to the left, face to the left, eyes looking full. Soutane and
dark tabbed collar. Hair brushed back from the forehead
and falling to the ears.
Pencil. Rectangular, A\ by 5| in. On paper.
Signed and dated 1772. (462)

CHARLES NICOLAS COCHIN
73 L'Abbe Raynal. Bust, viewed in profile to the left ; powdered
wig.Pencil. . Oval, 3 J by 2\ in. On paper.
This drawing has been engraved. (619)
CHARLES NICOLAS COCHIN
74 Charles de Secondet, Baron de Montesquieu. Bust, viewed
in profile to the right, contained in a medallion with title below,
ornamented with a pair of fasces.
Pencil. Rectangular, 5£ by 7 in. On paper. (347)

31 First Day
ALEXANDER COOPER ,
** 1605-60.
75 Elizabeth of Bohemia', daughter of James I. Half-length,
viewed full, face to the right, eyes looking full. She wears a
richly embroidered orange bodice, edged with point lace, a
thin jewelled chain about her neck, pearl drops in her ears ;
her hair is unbound and falls in wavy locks to her shoulders.
On vellum or card.
(See note under 81). (631«)

ALEXANDER COOPER
76 The Countess of Buchan (Countess in her own right and
daughter of the fifth Earl of Buchan). Half-length, viewed
to the right. Decollete bodice with slashed sleeves, decorated
at the shoulders and bosom with blue bows, a pink rosette
in the centre ; double pearl necklace with suspended golden
heart ; pearl drops in her ears, a sprig of roses in her hair,
which falls unconfined down her back. On vellum or card.
Inscribed " La Comtesse de Bvqhanne."
(See note under 81). (631)
i These two are in one frame.

ALEXANDER COOPER
77 Henry, Prince of Wales, eldest son of James I. Viewed in
profile to the right. Classic costume : blue doublet with an
embroidered rose-coloured cloak over it, secured at the
shoulder with a jewelled clasp ; short wavy hair.On vellum or card.
Inscribed " Henry Prince de Gavle."
(See note under 81,). (629)

First Day 32
-ALEXANDER COOPER
78 George Gordon, Second Marquess of Huntly, the famous
Royalist who was executed in 1649. Half-length, viewed to
the left, eyes looking full. In full armour with falling point
lace collar ; hair in curls to the shoulders, pointed beard and
moustache. On vellum or card.
Inscribed " Le Marquis de Gordon."
(See note under 81). (632)

ALEXANDER COOPER
79 Lady Killigrew (Jael de Peigne). Married in 1590 (as his
second wife) Sir Henry Killigrew, who was Ambassador from
Elizabeth to Mary Queen of Scots. Half-length, viewed to the
right, eyes looking to the left. She wears a simple white
bodice edged with lace at the waist and caught up over the
bosom with a bow, a double string -of pearls about her neck
and pendant pearl drops in her ears ; hair in waves to her
ears and covered with a lace veil, which falls down her back.
On vellum or card.
Inscribed " Madame Killigrev."
(See note under 81 ) . (632«)
These two are in one frame.

ALEXANDER COOPER.
80 The Duchess of Lennox (Frances Howard, widow of Edward,
Earl of Hertford). Half-length, viewed to the right, eyes
looking full. Decollete bodice with point lace cape over it,
pearl necklace and pearl drops in her ears, short wavy hair
and pointed lace cap at the back of her head. On vellum or card.
Inscribed " La Duchesse de Lennox."
(See note under 81). (630)

33 First Day
ALEXANDER COOPER
81 La Duchesse de Croy (?) Viewed to the right ; attired as a
Shepherdess. ' Eyes looking full. Wearing a tight-fitting
bodice edged with lace, a green cloak over her shoulders,
slashed puff sleeves, broad-brimmed hat, decorated with a
gold band, pink ribbons and a spray of roses ; a pink bow at
her elbow and bosom. The right hand holds a shepherdess's
crook over her right shoulder.
A very remarkable series of seven rectangular portraits ;
each measures 3\ by 4f in.
Plumbago, slightly heightened with colour. On vellum or card.

* *
*

These portraits were in the old Royal Collection at Kensington
Palace and hung in Queen Caroline's (wife of George II)
" closet next to the State bedroom." They are recorded nT
the Catalogue of the Queen's pictures which George Vertue
prepared in September 1743, and are also noted by Horace
Walpole as having been in the Queen's " closet." From
Horace Walpole they passed to his friend Richard Bull, and
from the last named direct to the Swinburne family. Miss
Isabel Swinburne sold them.
They 'are very fully described (and four of them reproduced)
in Williamson's " Portrait Miniatures," and one is repro
duced by Foster in his " Samuel Cooper, and the English
Miniature Painters of the XVI Ith Century."
Exhibited at Rome in 1911, at Brussels in 1912, and at the
South Kensington Museum 1914-18.
The authorship of these seven remarkably important drawings
has been much discussed by experts.
Vertue, Bull, Walpole, and Williamson were convinced that
they are the work of Alexander Cooper.
They were greatly eulogized by Pinkerton in his " Scottish
Gallery " (published in 1799), who reproduced two of them and
ascribed them, quite definitely, to Isaac Oliver. Mr. Foster
also considers that they are by Oliver (see his " Samuel
Cooper ").
Alexander Cooper was the brother of Samuel Cooper and the
nephew of John Hoskins. (633)

First Day 34
RICHARD COOPER
1730-1820.
82 James Thompson, the Poet. Bust, viewed to the right, eyes
looking full. Wearing a cloak and cap.
Pencil. Circular, diameter 2f in. On ivory.
Signed.
Inscribed, " en j. Thompson qui . quator anni tempora
egrigie cecinit." (576)

SAMUEL COOPER
1609-72.
83 Barbara Villiers, Lady Castlemaine, afterwards Duchess
of Cleveland. Three-quarter length, viewed to the left,
eyes looking full. She is seated under a tree dressed in yeUow
satin with broad lace ruffles. Her right arm, resting on
a pillar, supports her head, her left hand lies in her lap. Her
long brown hair falls in masses below her knees. Pearl
necklace and a string of pearls across her corsage. Landscape
background. Painted on vellum. Rectangular, 6| by 5£ in.
This large miniature appears to have been inspired by Lely's
well known portrait. It differs, however, from the Faithorne
portrait (also inspired by Lely) in the Duke of Buccleuch's
collection. From the Strawberry Hill Collection.
It has an early inscription in pencil on the reverse, which
has been copied in ink. (899)

SAMUEL COOPER
84 A Divine, name unknown. He is viewed full face, turning slightly
to the right and looking towards the spectator. The head
is covered with a heavy wig, surmounted with a black skull
cap. He wears a black silk gown and white lawn scarf.
Oval, 2\ by 2 in. On a card.
In the original gold frame, with a monogram on the reverse. (843)

35 First Day
Attributed to SAMUEL COOPER
85 Oliver Cromwell. Bust in armour, face to the left looking
to the left. Lawn collar, hair parted in centre 'and falling
to the neck.
Plumbago. Oval, 3 by 3\ in. On vellum.

* *
*

This is a version of the well-known portraits in the Duke
of Buccleuch's and Lord Warwick's collections. It differs
from them, however, in certain details, notably that the
Protector is looking to the left and not to the right.
In its grandeur and dignity this portrait resembles the signed
work Lof Cooper, but we have no evidence of his having drawn
in plumbago, and it may be a copy by some contemporary
artist of one of Cooper's miniatures. It is, in any case a
work of remarkable interest. (65)

SAMUEL COLLINS
flourished 1740-68.
86 The Reverend Just. Alt. [Mixbury — married a Bowles]
see inscription on reverse. Half-length, viewed to the right,
eyes looking full. He wears a plain open coat, white waist
coat and stock. Dark hair ^curled in pigtail.
Indian ink. Oval, If by 2\ in. On vellum.
In a curious old silver frame with hinged back and set with
stones. (814)

SAMUEL COLLINS
87 The Duchess of Beaufort. Half-length, viewed to the right,
eyes looking full. She wears a black decollete bodice trimmed
with bows and frilled lace, and a pearl necklace tied with
a black bow ; her dark hair is simply arranged and confined
in a lace cap.
Plumbago. Oval, If by 2\ in. On vellum.
Signed and dated, 1765. (248)

First Day 36
SAMUEL COLLINS
88 A Young Gentleman,' name unknown. Bust, viewed full,
face to the left. XVIIIth century costume, curly hair to
the ears.
Plumbago. Oval, 2\ by 2 in. On vellum. (161)
SAMUEL COLLINS
89 Mrs. (Hester) Pitt, afterwards Countess of Chatham. Half-
length, viewed to the right, eyes looking to the left. Tight
fitting bodice with lace-edged fichu secured at the bosom
with a bow, lace mob-cap tied under the chin* in a bow, hair
simply arranged in curls.
Pencil. Oval, 2f by 2& in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue.
%* Although ascribed to Collins, this may be by a far greater
Miniaturist. (506)
JOHN COMERFORD
1762-1832.
90 William Hamilton, r.a. ' Half-length, viewed in profile to
the right, face to the right. He is represented seated before
an easel holding a palette in his right hand. Coat with
fur collar.

Pencil.

Rectangular, 3\ by A\ in.

On paper.

Signed.

JOHN CONDfi
Died 1794.

(616)

91 A Young Girl, name unknown. Three-quarter length, viewed
to the right, face full. White dress with a sash from which
hangs a watch and chain, light brown hair falling about
her face ; her right hand raised in gesture, her left drops
to her side.
Pencil, heightened with colour. Oval, 3f by 5in. On paper.
Drawn in 1793. (159)

37 First Day
PETER CONDE
Died 1824
92 The Artist's own Portrait. Head and shoulders, viewed
to the right. Light coat, a loose neck-cloth bound high round
his chin ; blond hair, cut short at the ears.
Pencil, heightened with colour. Oval, 2f by 3f in. On paper.
Exhibited at the Royal Academy in 1811. (699)

PETER CONDE
93 James Northcote, r.a. Bust, viewed full, face in profile to
the left. Loose coat, frilled cravat, hair in pigtail.
Pencil. Oval, 2\ by 4| in. On paper.
This drawing was engraved by Conde in 1795. See print
on the reverse.
Exhibited at the Victoria and Albert Museum, 1916-1918.
%* An Important Portrait. , (116)
/
GONZALES COQUES
1618-84.
94 A Dutch Gentleman, name . unknown. Half-length, viewed
to the right, eyes looking full. Long cloak with wide sleeves
and wide falling collar, hair in curls to the shoulders, moustache.
His left arm and gloved hand rest on the balcony in front
of him.
Plumbago. Rectangular, 4 by 5J in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (181)

MARIA COSWAY
1760-1838.
95 A Classical Subject. Two full-length male figures, representing
a captive being bound to a tree.
Indian ink". Rectangular, 11 by 13J in. On paper.
. Signed. (657)

First Day 38
MARIA COSWAY
96 Two Female Figures. Representing a mother, seated in
the centre, embracing her daughter to the right. She wears
a loose gown with lace cuffs and ruff collar, pearl necklace.
The child wears a slashed overskirt and puff sleeves ; her
hair is confined in a tight cap.
Pencil. Rectangular, 5 J by 9\ in. On paper. (137)
MARIA COSWAY
97 A Lady^ name unknown. Half-length, viewed full, in classic
costume, hair parted in the centre and bound with a fillet,
with two curls falling over each ear.
Pencil. Rectangular, 7f by 1Q\ in. On paper.
Signed. (668)
RICHARD COSWAY
1742-1821.
98 The Artist's own Portrait. FulWength, viewed to the left,
/ face in profile to the right. In fancy costume, cape, doublet
and hose, plumed hat. His left foot rests on a rock, his
left knee supports an open book in which he is writing.
Indian ink. ^Rectangular, 4f by 5\ in. On paper.
A very early work, dating from about 1775. It has never
been engraved. (667)
RICHARD COSWAY
99 The Church Children. The elder boy, dressed in white satin
jacket and collar, is seated with his arms round the younger,
who is dressed in yellow satin. They are seated cheek to
cheek ; both faces are viewed almost full. Both have brown
hair and eyes. Oval, If by 2 in. On ivory.
Inscribed on back of the original gold frame, " Philip and
John, eldest sons of J. B. Church, M.P., Richard Cosway
fecit 1790."
%* Philip and John, the eldest sons of John Barker Church, Esq.,
M.P. for Wendover. Their mother was the daughter of
General Schuyler, and they were, therefore, nephews of

39 First Day
Lot 99 — continued.
Alexander Hamilton, the American statesman. It is interest
ing to note that the elder of the two little boys joined his
mother's relations in America, where he founded, the town
of Angelica (named after his mother), Alleghany Co., and
was the promoter of the Genesee Valley Canal and the New
York and Erie Railway ; he died in 1861. The miniature
was acquired from a member of the Church family.
Exhibited at Brussels in 1912 and illustrated in the Exhibi
tion Catalogue.
Cosway painted two miniatures of these boys. The other
was purchased by the late Mrs. Joseph Drexel, of Philadelphia,
for 3,000 dollars, in 1909.
Cosway also painted the boys' father, J. B. Church.
This exquisite miniature is surely unsurpassed by anything
from Cosway's brush.
A DELIGHTFUL PORTRAIT. (61)
[See Illustration.]

RICHARD COSWAY
100 Mrs. Fisher, Mary Gainsborough, daughter of Thomas
Gainsborough, R.A. (In • fancy costume). Seated, three-
quarter length, viewed full, face to the left. She wears a
tight-fitting bodice with falling lace collar and puff sleeves;
caught up with ribbons at the elbows. Her hair is arranged
in a mass of tight curls about her face and confined in a
wide-brimmed hat decorated with ostrich plumes. Pearl
necklace. Her hands, holding a fan, lie in her lap.
Pencil, heightened with colour. Rectangular, 4 by 4| in. On paper.
The- studios of Cosway and Gainsborough adjoined in Pall
Mall. (726)
RICHARD COSWAY
101 A group in Moyen-age Costume. Full-lengths. Representing
a Knight saluting a Lady in male attire. A young groom
stands beside his horse to the left.
Indian ink. Rectangular, 1 1 1 by 7f in. On paper. (658)

First Day 40
RICHARD COSWAY
102 General Hall, Colonel of the 3rd Regiment of Foot. Bust,
viewed full, face to the right. Red coat and waistcoat,
white cravat, powdered hair in pigtail.
Oval, If by If in. On ivory.
An early work by Cosway. - (475)
[See Illustration.]

RICHARD COSWAY
103 Sir William Jones, the Indian jurist. Bust, viewed to the
left, eyes looking full. Blue coat, white, waistcoat with
peaks, white cravat, powdered hair in pigtail.
Oval, If by ,2 in. On ivory.
Painted at Cosway's best period. (655)

RICHARD COSWAY
104 Leda and the Swan. She is represented full length, nude,
half-kneeling on a bank beneath a tree with her back to the
spectator, her head turned to the left. The Swan beside her
to the right. On her left sits a winged Cupid drinking from
a flask. A wood in the background.
Indian ink- Rectangular, 7 by 8f in. On paper.
A favourite subject with the artist. (808)

RICHARD COSWAY
105 The Comtesse de Peregord and Daughters. The Comtesse
is represented seated, face to the left, inclined to the right,
holding one daughter in her lap with her left arm, her right
arm holds a dove above the child's head. The other daughter
stands to the right, clasping her sister's legs. The Comtesse
wears a white decollete bodice with shoulder sleeves, auburn
hair simply arranged. The children wear simple white
frocks and lace caps. A curtain and wall in the background.
Pencil, heightened with colour. Rectangular, 6| by. 8.| in. On paper.
This drawing dates from Cosway's later period. (636)

No. 102.

No. 108.

41 -First Day
RICHARD COSWAY
106 John and Frederick Ponsonby. The elder boy is represented
in profile to the right, stooping to point out to his brother
the space on, the base of a classic urn to the right (where in
the engraving is added the beginning of an epitaph). The
younger boy, resting his right knee on a step of the pedestal,
turns an inquiring face to his brother. Both wear satin
jackets and breeches, and the older boy a cloak. A wall
and trees in the background to the right and left.
Indian ink. Rectangular, 7\ by 9 in. On paper.
Drawn in 1787 and engraved. The engraving is framed
with the drawing. (656)

RICHARD COSWAY ,
107 The Lady Christine Reede-de-Ginkle. Half-length, viewed
full, face to the right, eyes looking to the left. Blue bodice,
falling circular collar with lace points, red cloak edged with
brown fur, pearl necklace, pearl drops in the ears ; short
brown hair. .,
Painted in oils. Rectangular, 4J by 5\ in. On copper.
Recorded in Williamson's " Life of Cosway," page 157. (444)

RICHARD COSWAY
108 The Right Hon. George Rose, M.P. Bust, face to the right,
looking to the right. Blue coat and white cravat, powdered
hair.
Oval, 1\ by l\in. On ivory.
Signed on the back : " Rdus. Cosway, Primarius Pictor
Serenissimi Walliae Principis, Pinxit 1787."
%* This powerful portrait, which was engraved by Agar, is
mentioned in Williamson's " Life of Cosway," Appendix VI,
as then missing.
Rose, a close friend of William Pitt, filled many important
Government offices.
From the Beavan Collection. (242)
[See Illustration.]

First Day ' 42
RICHARD COSWAY
109 Two Studies of Cupids. One represents two Cupids.
Indian ink; Rectangular, 6 by 4 in.
The other a Cupid lying on the ground reading from a scroll.
Pencil. Rectangular, 7\ by 4 in. On paper.
V Exhibited at the Bath Gallery, 1919. (200, 200a)
RICHARD COSWAY
110 William Tell. Representing the hero with his crossbow about
to embrace his son, who holds aloft the famous apple pierced
with an arrow.
Pencil. .Rectangular, 3\ by 3f in. On paper.
1 (610)
COSWAY
111 " Kitty Fischer." Full length, , viewed to the right, seated in
a splendid garden. She holds a dove in her lap, while another
is perched on a branch of one of the trees behind her. Two
others are drinking from the basin of an elaborate fountain
to the right. In th^ immediate background to the left is
a large classic urn on a pedestal. A statue is seen through
the foliage to the right. In the distance the facade of a
mansion. She is dressed in a loose decollete bodice and
full skirt. She wears a tiara in her hair, which is caught
up at the back in loops of curls.
Pencil. Rectangular, 14| by 16 in.
Signed " Rd* Cosway," and dated 1767.
This has been believed to be the most beautiful as well as
the most important of Cosway's drawings.
It is in any event an Amazing drawing. (643)
[See Illustration.]
COSWAY
112 Mrs. Delany. Full length, viewed to the left. She is seated
in an elaborately carved armchair, dressed in a gown richly
embroidered with flowers, a wide embroidered hem on the
pannier skirt. A black silk apron edged with lace pinned

•'.

.. ¦

-- im **-~'*a-v
¦fl JK%?$M,

~*^(,.-^*-

No. 113.

43 First Day
Lot 112 — continued.
up to the lawn fichu round her neck. Lace mob-cap secured
under the chin with a narrow scarf, short sleeves with puffs
at the elbow, a black velvet band at her neck.
Pencil. Rectangular, 7\ by 9 in. On paper.
Born Mary Granville, she was married to Mr. Delany in
1743 and died in 1788 in her eighty-ninth year. Both her
" Autobiography " and " Letters " have been published.
She was godmother to the Earl of Mornington. (727)

COSWAY
113 Frances Abington, the actress. She is represented full length,
seated under a tree; a spaniel by her side. Her right arm
rests on a pedestal, the left arm lies in her lap. She wears
a simple short-sleeved gown embroidered with a pattern
of rosebuds, a tassel girdle round her waist. In the back
ground, to the right, thick foliage, to the left a river and
a glimpse of sky.
Pencil. Rectangular, 6 by 4f in. On paper.
A wonderful drawing. (4-48)
[See Illustration.] COSWAY
114 Mr. Miles. Bust, viewed to the right, eyes looking to the right.
He wears a mauve coat with broad falling collar and white
cravat. Grey hair curled at the side and tied in a pigtail.
Preserved in its original pearl and enamel frame.
Oval, 1£ by 1 in. On ivory. (905)
COSWAY
115 The Marquess of (?) Bust, viewed to the right, eyes looking
full. He is dressed in a dark blue, coat, black lapels and
collar with dull gold braid, lace cravat ; powdered hair
tied at the back in a black bow. Oval, 2 by 2f in. On ivory.
The original frame is ornamented with a Marquess's coronet. (465)

First Day 44
RICHARD COSWAY
, or perhaps Plimer or Shelley.
116 The Sisters. Two girls represented three-quarter length,
standing side by side, viewed in profile to the right. Both
wear simple white Empire gowns with scarfs bound round
the throat and over the head. The figure to the left has
brown, the figure to the right blond hair.
Pencil and, colour. Oval, 3f by 41 in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (621)

POETRAITS OF
RICHARD AND MARIA COSWAY
And Engravings after Cosway's Miniatures
and Portraits, Etc.
117 The Viscountess Cloncurry. Engraved by J. Conde in 1806.
This portrait appears to be entirely unknown. It is not
recorded by Daniell, nor is it in the British Museum Collection.
Lady Cloncurry was divorced by her husband in 1807, and
the portrait was probably suppressed by Lord Cloncurry.
From Conde's own Collection. (776)

118 The Earl of Clonmel, Lord Chief Justice of Ireland. Engraved
by Conde. First state. (646)

119 Louisa Cosway, daughter of Richard and Maria Cosway
(died 1796, setatis 5). Painted by Cosway, engraved by
A. Cardon, 1797.
Another impression, engraved by John Conde. Unique
proof before letters.' This state was never pubhshed.
The two impressions are framed together. (696 and 696a)

45 First Day
120 Richard Cosway. The Sale Catalogue of the "Entire Col
lection of Pictures of Richard Cosway," 1791.
This unique copy contains an Original Autograph letter written
by Sir Joshua Reynolds to Cosway concerning a certain
Rubens drawing belonging to Cosway and which Sir Joshua
desired to acquire (see page 44 of the Sale Catalogue). This,
the Walpole letter and the Gainsborough letter (see post),
are the only ones addressed to Cosway that have ever been
heard of. The Sale Catalogue, too, is of very great rarity. (227)
121 Richard Cosway's Drawing B6ok. A series of thirty-six
engravings, published in 1800. Daniell in his Cosway Cata
logue only records twenty-four engravings. Six of the
engravings are in two states. (295)

122 Richard Cosway, " Raccolta di Disegni Originali." A series
of engravings published at Florence in 1826. (296)

123 Richard Cosway. Catalogue of his Engraved Works by Daniell,
1890. Original impressions of some of Cosway's most famous
engravings have been added.
A unique volume. Amongst the additions is the excessively
rare portrait of Edward Goldney which Cosway engraved in
1759 — it is his earliest engraved work. (216)

124 Goldney's Friendly Epistle to the Deists, 1760. The
portrait of Edward Goldney, which forms the frontispiece
to this volume, is by Cosway, and is his earliest work ; it
dates from his eighteenth year. This book is excessively
rare. (710)

125 Richard Cosway, engraved by Bartolozzi. Proof before all
letters. This portrait is not in the British Museum Collection. (213)'
126 Richard and Maria Cosway, as " Abelard and Eloisa." Painted
by Cosway, engraved by Thew, 1780.
First state. (210)

First Day 46
127 Richard and Maria Cosway with their negro servant.
Painted by Cosway and also etched by him, 1784.
First state. (205)
128 Richard and Maria Cosway. Painted by Cosway, engraved
by Lane, 1788. Proof before the inscription. This state
of the plate was unknown to Daniell. (207)

129 Maria Cosway, as " The Milkmaid." Painted by Cosway,
engraved by Hogg, 1802. (391)

130 Richard Cosway. Painted by himself, engraved by Bova,
1786. Open letter proof . This state of the plate was unknown
to Daniell. (211)

131 Richard Cosway. Painted by himself, engraved by Clarke,
1788.
First state. (208)

132 Richard Cosway. By G. Dance, engraved by W. Daniell,
1811. (212)

133 Maria Cosway. Painted by Cosway, engraved by Bartolozzi,
1785. Open letter proof. This state of the plate was
unknown to Daniell. (209)

134 Maria Cosway. Painted by herself, engraved in mezzotint by
Valentine Green, 1787. A very brilliant and early impression,
with the Publisher's first address. Glass broken. (625)

135 Maria Cosway. A view from Mr. Cosway's breakfast-room,
Pall Mall, with the portrait of Mrs. Cosway. The landscape
by Hodges, the portrait by Cosway and engraved by Birch,
1789. (558)

136 Maria Cosway. Painted by Cosway, engraved by Schiavonetti,
1791.First state. (206)

V
47 First Day
137 Maria Cosway. " Progress of Female Dissipation." Two
volumes of engravings.
Published in 1800. (297)
138 Richard Cosway and Maria Cosway. Two excessively rare
mezzotint caricatures, published circa 1782, entitled " The
Macaroni Painter " and " The Paintress of Maccaronis." The
first named was described as " excessively rare " as long
ago as 1828, and the second appears to be quite unrecorded.
They are reproduced in the new edition of Nollekens' Life. (42)
139 "A Smuggling Machine or a Convenient Cosway for a
Man in. a Miniature." This caricature, published in 1782,
depicts Cosway, his wife, and the Duchess of Devonshire.
It is so vary rare as to be unknown to all Cosway's biographers.
It is reproduced in the new edition of Nollekens' Life. (420)
140 The Hon. Mrs. Damer. Engraved by Schiavonetti.
Proof. (363) j
141 La Chevaliere D'Eon de Beaumont. Engraved by Chambars.
Proof before all letters. This state of the plate was . un
known to Daniell. (394)
142 Donald and Jessie. Engraved by Bartolozzi. Published
in 1790. Proof before all letter's. Unknown to Daniell
in this state. . (334)
i
143 The Marquis of Downshire, 1786. Engraved by P. Conde.
This appears to be a totally unknown engraving. It is not
in the British Museum, nor is it mentioned in Daniell's
Catalogue of Cosway's engraved works. It is probably a
trial proof or a private plate, and was formerly in the posses
sion of Conde, the engraver. (194)

144 The Hon. Thomas Erskine. Engraved by W. Sharp. Proof
before all letters. Full untrimmed margins. This state of
the plate was totally unknown to Daniell — it is not in the
British Museum Collection. (392)

First Day 48
145 The Hon. Thomas Erskine. Engraved by W. Sharp. Open
letter proof before the plate was retouched. This state
was also unknown to Daniell — it is not in the British Museum
Collection. (393)

146 George, Fourth Duke of Marlborough. Engraved by
Agar. First state, proof before the inscription. This is a
" private plate," and the engraving was only issued to the
Duke's family and friends ; it is very rare. (709)

147 Mrs. Merry, wife of the English Envoy to the United
States in 1803. Engraved by Cardon.
First state. (645)
148 Miss O'Neill, as a Beggar Woman. Engraved by Agar.
First state. (325)'
149 Miss Woolls. Engraved by Dawe in 1773.
First state before Miss Woolls's name was engraved on the
plate. (230)
150 * Miss Woolls, the Lady's name added. Published in 1774. (230a)

151 Flora dispensing her favours on the earth. Engraved
by Burke, 1812. Printed in colours. This is entirely un
recorded by Cosway's biographers. (647)

152 Improvement. Published in 1785.
First state. (335)
153 A Lady and her Daughter, names unknown. Proof before
all letters. Unpublished and undescribed. Formerly ih
the possession of Conde, the engraver. (193)
154 A Lady in the character of a Gipsy Woman. Engraved
by Agar.
First state. (326)

49 First Day
154a Mrs. Whitefoord and, Her Son. Tinted faces. Engraved by
Giacamo MinasL
Proof before letters. (813)

154b The Prince Regent. Oval.
Proof on india before any letters. (799)
154c Mrs. Dickson. Engraved by Conde. Early state. (794)

154d Docet Amor, Engraved by Conde. Published 1791. (795)
154e Richard, Lord Barrymore. Engraved by J. Jehner. Published
% by Boydell June 24, 1778
< Mezzotint proof before letters. v (835)-

154f Lord Fitzgibbon. Engraved by F. Bartolozzi, R.A. Published
by Dickenson, 1790.
Tinted proof. (824)'
154g Venus and Adonis. Engraved iby F. Bartolozzi, R.A.
Published by Walker, 1778.
Circular proof in sanguine. (796)
154h Sir W. Burrell.
Mezzotint. Fine proof before letters. (797)

•

154j Mrs. Butley (?) •
Proof before letters in brown. (798)
154k Cosway's Tomb.
Proof on india. (793)
154l A Caricature of Cosway, with inscription written beneath,
" Richard Cosway, Esq."
Proof. (792)

First Day 50
LETTERS AND MANUSCRIPTS OF
RICHARD AND MARIA COSWAY
and Relating to Them.
155 Maria Cosway. An original letter in her handwriting, signed
" M. Cosway," to Madame la Grange, dated Lyons "7th
Brumaire" (Oct. 28th). An interesting letter in which she
speaks of Madame Vigee-le-Brun, Chopin, and other
celebrities. (735)

156 Maria Cosway. An original letter in her handwriting, signed
" M. Cosway," to James Northcote,' R.A. (736)

157 Maria Cosway v An original letter in her handwriting to
Thomas Erskine. The letter is dated from Mortimer Street,
February 11, 1795, and mentions Richard Cosway.
Cosway painted the Hon. Thos. Erskine's miniature in 1791.
Erskine was afterwards Lord Chancellor' of England. (737)

158 Maria Cosway. An original letter in her handwriting, dated
from 31, Edgware Road, addressed to Mr. Scales. (738)

159 Maria Cosway. An original letter in her handwriting, signed
'.' Maria Hadfield." This is a very long letter, in Italian,
addressed to Ozias Humphry, r.a.
Maria Hadfield married Richard Cosway in 1781. (732)

160 Maria Cosway. An original letter in her handwriting, signed
" Maria Hadfield." In Italian, addressed to James
Northcote, r.a. (733)

161 Maria Cosway. An original letter in her handwriting to General
de Paoli, with the General's reply on the fly-sheet.
Both the letter and the reply are printed by Dr. Williamson
at pages 97 and 98 of his " Richard Cosway " (1905). Cosway's
portrait of Paoli is well known. (734)

51 First Day
162 The Original Account Book of John Conde (the engraver).
From the year 1792 to 1821.
This book records (inter alia) the sales to various London
print-sellers of Condi's engravings after Cosway's most
famous miniatures and drawings. It is interesting to note
the prices charged by Conde, which were as follows : —
The Prince of Wales (George IV)-*— 4s. ordinary, 5s. in brown,
8s. coloured and 8s. a proof.
Mrs. Fitzherbert — 8s. ordinary, 12s. half-coloured, 16s. coloured
and 16s. a proof
Mary Robinson (" Melania ") — 2s. 6a", ordinary and 7s.
coloured.
¦ Madame du Barry — 2s. Gd. ordinary and 5s. coloured.
Mrs. Tickell — 4s. Qd. ordinary and 9s. coloured.
Mrs. Bouverie — 4s. Qd. ordinary and 9s. coloured.
Horace Beckford — 4s. 6a". ordinary and 9s. coloured.
Mrs. Jackson — 4s. ordinary and 9s. coloured.
Andromache and Ascanius — 6s. ordinary and 12s. coloured.
Polindo and Albarosa — 6s. ordinary and 12s. coloured.
Minerva directing the Arrows of Cupid — 3s. ordinary and
6s. coloured.
Queen Margaret of Anjou and her son — 8s. ordinary.
No cploured copies are recorded.
Docet Amor — 2s. 6o\ ordinary and 5s. coloured.
Leda — 3s. ordinary and 6s. coloured.
Ticket for Signor Marchesi's Night — 2s. ordinary.
No coloured copies are recorded.
Conde also engraved two others of Cosway's portraits —
Lady Louisa Manners and Caleb Whitefoord — but neither
of these is mentioned in his Account Book.
The volume also contains three beautiful pencil drawings by
Conde, probably original designs for miniatures. (215)
163 Richard Cosway. An original letter, entirely in his handwriting
and signed " R. Cosway."
• This is an extraordinary love-letter (with Cosway's seal)
addressed to "Miss Woolls, Oyster Street, Portsmouth"
(1773). Cosway writes to his Inamorata :
Every hour of my existence has been painfull to me since I had reason
to expect an answer to my letter' what can be your motive for rendering

First Day 52
Lot 163 — continued.
me so long wretched. ... I give you my honour I have not slept for
many nights. ... If ever ypu entertained a friendship for him whose
Life and Soul must ever be devoted to you, I entreat you to answer this
letter. . But if you are inexorable and are determined to put an
end to my misery and my Life by returning the Picture, I will meet you
at Portsmouth.
Cosway painted Miss Woolls's " picture " in 1773, and it
was engraved by Dawe (see Lots 149 and 150). The lady
became, pace Cosway, Mrs. Bullock. (505)
In his " Richard Cosway, R.A." (1905), Dr. Williamson records the
total disappearance of Cosway's letters : "A few words may be added
as to Cosway's handwriting. In preparing his Memoir in 1896, I had
occasion to. make a special search for any autograph letters from the
Artist, or for any specimens of his signature. I found my task one of
peculiar difficulty ; and as the result of a prolonged search, J* did not
obtain one single specimen of the signature for which I was eagerly seeking.
It is curious to narrate that none of the autograph collectors who form
the Society of Archivists seem to possess any autographs of Cosway.
I sent a circular letter to every one of them, enclosing an addressed
postcard, and I further despatched the same missive to about 150 other
collectors. A great many persons did not reply at all to my circular,
but of those who did favour me with a letter, not one was able to send
me the signature I wanted. Several letters from Mrs. Cosway (nee
Maria Hadfield and afterwards Baroness Cosway) rewarded my search,
and some of them were of great interest, but not a scrap did I obtain of
her husband's writing. Fortunately, I had found in Italy and elsewhere
a few items of correspondence to and from the Artist, and had seen a
parcel of family papers and deeds, or my work would have been seriously
crippled ; but the scarcity of the great Artist's signature is a somewhat
curious circumstance."

164 Richard Cosway. An order, signed by him " Rd- Cosway,"
appointing Josiah Woolley to act as his Agent and " bid
in " pictures at his sale at Christie's on March 5, 1792. (731)

165 Maria Cosway. An original letter (of great length) in her
handwriting, ' signed " Maria Cosway," dated from Lodi,
December 2, 1822, to John Taylor, the Editor of the Sun
newspaper. • ,
An extremely interesting letter relative to the death and
burial of Canova. In the course of the letter she mentions
that her husband's drawings were said to rival those of
Correggio and Parmigiano. (743)

166 Maria Cosway. An original letter in her handwriting, signed
" Maria Cosway," dated May 4, 1824, to Mr. Stanley, directing
him to deliver her, pictures by Rembrandt and Michael Angelo
to Mr. Cosway. (744)

53 First Day
167 Maria Cosway. An original letter, of great length, in her
handwriting, signed " Maria Cosway," dated from Lodi,
January 10, 1824, to Mr. Stanley.
A very remarkable letter stating her reasons for leaving
- England, describing her school at Lodi, arid concluding
with an eloquent eulogy on her husband. (745)
'. . . Mr. Cosway's works have the admiration of all the places. . .
Poor Mr. Cosway forgotten and undervalued in his own Country . . at
Parma they were so astonished to see the Grace and Stile of their beloved
Correggio and all said that he (Cosway) had inherited his Soul and
Spirit. . '.

168 Maria Cosway. The original manuscript of her autobiography,
which was sent to Sir William Cosway. It is signed " Maria
Cosway,"and is dated from Lodi, May 24, 1830.
This very long and extremely important letter is printed
in full by Dr. Williamson in his " Richard Cosway " (1905),
pages 12, 13, 14, and 15. (746)

169 Maria Cosway. An original letter in her handwriting, signed
" M. Coswaj'," addressed from Paris, March 23, 1802, to
Mr. Colnaghi. (739)

170 Maria Cosway. An original letter in her handwriting, signed
" Maria Cosway." to Colnaghi (1809) in reference to Hoppner's
portrait of Lord Chatham. (740)

171 Maria Cosway. An original letter in her handwriting, signed
" M. Cosway," dated October 29, 1810, addressed to Madame
de Chavagnes, Paris, Relative to the opening of. the Paris
Salon. (741)
172 Maria Cosway. An original letter in, her handwriting, signed
" Maria Cosway," to Mr. G. Menasi, the engraver, dated
December 2, 1820. (742)
173 Maria Cosway. An original letter in her handwriting to
Mr. Colnaghi, dated October 15, 1826. (615)
Dear Signor Colnaghi,
Hearing that you are about to go to London I send you four parts of
the works of Lasinio that I have this morning received .from the author
on ordinary paper. I have addressed these prints of fine ladies to your

First Day 54
Lot 173 — continued.
bureau in London. Sir Thomas Lawrence and others were awaiting with
anxiety those that were sent on the occasion of Lord Guilford's visit.
I am sure that you will do all that is in your power to get subscribers.
I should have liked your wife and daughter to have come to the examina
tions which took place last month, but Artaria not being able to come
I did not know by whom to have them accompanied. If you- came to
spend another day in Lodi I would show you a little silver niello which
I have just bought. I will have an impression taken, which I will send
to you. Believe me,
Yours sincerely,
Maria Cosway.
Lodi, October 15, 1826.

174 Richard Cosway. An original admission ticket to a Royal
Academy lecture, filled up by Cosway and signed by him
" Ricd* Cosway." It is dated December 4, 1820.
Cosway died on July 4, 1821 — exactly seven months later. (729)

175 Richard Cosway. An original memorandum in his handwriting.
Dr. Williamson records this in his " Richard Cosway "
(page 126) :— (730)
The only scrap of his handwriting in my possession I found at the back
of one of his miniatures. It is a note, (apparently torn out of an old
account— book) reminding him that he has to pay a ground-rent oi
£19 13s. lid. to the Duke of Portland, and that it must be paid before
a certain date, and at 66 Berwick Street.

175a Richard Cosway. An original letter from Stratford Place,
dated January 1795. (614).

176 John Flaxman. An original letter in his handwriting, signed
" John Flaxman " and dated January 12, 1798.
This letter is addressed to Anker Smith, the engraver, and
mentions Richard Cosway and James Northcote, R.A. (750)

177 Thomas Gainsborough, r.a. An original letter in his hand
writing addressed to Richard Cosway, proposing to pay him
and Mrs. Cosway a visit " if they do not expect any other
Company."Cosway and, Gainsborough were next-door neighbours in
Pall Mall from Michaelmas 1784 till Gainsborough's death
in 1788, (752)

55 First Day
178 General de Paom. An original letter in his handwriting,
addressed to Mrs. Cosway.
Honoured Signora Gossip,
A Lady, clever as she' is beautiful, who is here just now, has lent me
the poems of Dr. Darwing (sic). In them I have found a note upon your
picture of little Lubomirski. My leisure permits me to copy it, and to
send it to you with as many good wishes as you deserve. If you have not
already got them (the poems), this poet-physician, of no mean talent, is
worthy to be in your possession for the justice which he does you in a
poem which is now read by almost everyone, for it more' particularly
treats of a:subject with such figures, allegories, and also expression, as
are capable of giving life even to the driest bones, and it will therefore
always be read in spite of the scathing literary criticism of Dr. Mathius.
It is past half -past one, and I have been out expecting the paper to have
come to confirm the news, given out for certain yesterday evening, that
the fleet of Tolon had had an encounter and been defeated, and that
Buonaparte had been taken prisoner. If they send him here, one might
really say that he must have won the esteem and respect of this nation,
so great will be the marks of distinction with which he will be honoured
by all, and these to his good and generous soul will be as great a consola
tion as though he had entered London amid blood and carnage, and at
the head of soldiers who might reasonably lay claim to a large share of
the glory and honour of the victory. And if after the manner of the
Roman conquerors the English should cause him to appear loaded with
chains, how many beautiful and generous hands would not break them
from off his feet to entwine them round his heart ! Ah, fair ones ! it is
you who have nourished and fomented the passion of the warrior heroes
who are the scourge of nations ! I fear the post is going.
A thousand thanks to my good gossip for the letters sent to me.
Accept my homage, and believe me ever yours. (Translation) .
Interesting from its reference to Bonaparte and to Cosway's
famous miniature of the Princess Lubomirski. (747)

179 General de Paoli. An original letter in his handwriting, signed
" PP," addressed to Mrs. Cosway. Bath, March 30, 1798.
Honoured Signora Gossip,
I should have written to Pietris my complaints against you for not
having acknowledged the receipt of my last letter, but by good luck in
Pietris' letter I found yours, which has edified me, and has altogether
disposed me to follow your wise, good, and saintly counsel in these days
of propitiation, so that you will no longer doubt of my orthodoxy, although
perhaps at this hour the poor Catholic Church may be without a head.
But what matter, her dogmas will endure so long as the world lasts, and
I believe them by the authority by which she has manifested them, and
in this put aside all the doubts which the weakness of the human mind
would strive to pass off as arguments to the contrary. The moral is
good ; whoever recommends it cannot have a bad disposition or be a
liar. The air of Bath is not so good as that of Clifton. After the holidays
I shall perhaps return there from being busy. Receive my homage.
(Translation.)
Cosway painted his miniature of Paoli in 1784. (748)

First Day 56
180 George Stanley. An original letter in his handwriting, dated
July 16, 1822, addressed to John Thomas Smith (of the
British Museum), presenting Cosway's favourite Chairs.
John Thomas Smith gives a very entertaining account of
Cosway in his " Life of Nollekens the Sculptor." (749)

181 Horace Walpole. An original letter in his handwriting,
signed " H. Walpole," addressed to Richard Cosway, Pall
Mall. It is dated January 30, 1787.
Walpole writes : —
You have too good an opinion, dear Sr- of my Antiquarian knowledge ;
I cannot expound the letters of the ring — but I can send you to the
fount of explication, Mr. Astle — nay, I dare say that half of the Initiated
of the Society can decypher the letters, tho' they may not be able to read
anythmg else.
The engraving of the Stone is certainly not Antiquarian but Antique,
& contains one of those Chimeras formed of heads of Minerva & Socrates.
Our Ancestors frequently adopted Grecian or Roman Intaglios for Seals.
I think I have seen somewhere that an Archbishop made use of one of
those triple Chimeras, where there was a Mercury too, for an emblem
of the Trinity.
I return the ring, but have retained the Impression, which I will show
to the first Wizard I meet.
There are several references to the Cosways in Walpole's
Letters. (751)

FRANCIS COTES, R.A.-
1726-1770.
182 Elizabeth (Gunning), Duchess of Argyll and Hamilton. A
portrait of the head and neck. She is viewed looking to
the left. Her hair is poudre and dressed high, being tied
with a white silk scarf under her chin. A pink bow is at
her throat.
Pastel. Rectangular, 12 by 9 in. On paper.
%* Exhibited at the Exposition des Pastellistes Anglais du
XVIIP* Siecle, Paris 191 1 . It was then attributed to Catherine
Read. (844)

SECOND DAYS SALE.

Attributed to FRANCIS COTES, R.A.
183 A Gentleman, name unknown. Half-length, viewed to the
right, eyes looking to the right. He wears a plum coloured
coat over a richly embroidered waistcoat, white stock.
Powdered hair, tied with a black ribbon.
. Oval, l\by \\ in. On ivory.
*** It appears like the work of a painter in pastels, such as Cotes
was. , (916)
Attributed to FRANCIS COTES, R.A.
184 Mrs. Richardson. She is represented half-length, viewed to
the left, face full, her arms leaning before her on a pedestal.
Decollete gown with long bag sleeves, hair simply arranged.
Pencil. i . Oval, 4J by 6 in. On paper. (425)
SAMUEL COTES
1734-1818.
185 Thomas Gainsborough, r.a. Half-length, turned to the right,
. face to the right, eyes full. He is represented holding a
red book and dressed in a drab coat with lace cuffs and white
waistcoat, lace cravat, powdered wig.
Oval, 2\ by 3\ in. On ivory.
Signed and dated, 1782.
Painted in 1782, when Gainsborough was at the height of
his fame. In this year Sir Joshua Reynolds purchased his
" Girl with the Pigs."
Exhibited at Brussels 1912, and illustrated in Catalogue of
the Exhibition. This miniature was wrongly catalogued
at Brussels, being called " Horace Walpole."
Samuel Cptes was one of the pall-bearers at Gainsborough's
funeral in 1788.
An important portrait. (55)

Second Day 58
SAMUEL COTES
186 Elizabeth Gunning, Duchess of Hamilton and Argyll. Bust,
viewed to the left. She wears a black bodice with white
fichu beneath, frilled mob-cap with lavender ribbons and
bow, secured with a white scarf tied under the chin.
Oval, 2 by 2| in. On ivory.
Signed and dated 1792.
This is a miniature version of his brother's (Francis) portrait
of the famous Duchess.
From the Dawkins Collection. (387)

Probably the work of SAMUEL COTES.
187 A Lady, name unknown. Half-length, viewed to the left. She
wears a white fichu with narrow black lace scarf about her
shoulders, white cap tied under the chin, powdered hair.
Oval, 1\ by \ in. On ivory.
(112)
NICOLAS ANDRE COURTOIS
1734-1806.
188 A Gentleman, name unknown. Half-length, face to the right.
Blue coat, striped green waistcoat, white neck-cloth, brown
hair. Oval, If by 2\ in. On ivory. (6)
SAMUEL COUSINS
1801-1887.
189 The Infant Christ. Representing Our Lord, dressed as a
Shepherd and holding a crook, leading three sheep through
a pasture. Foliage in the background. Title below.
Pencil. Rectangular, 9\ by Q\ in. On paper. (141)

59 Second Day
JACOB GERRITSZ CUYP
1594-1652.
190 A Study for a Man's Portrait. Bust, viewed to the left,
eyes full. Head covered with a large soft hat.
Black and red chalks. Rectangular, 7\ by 6f in. On paper. (875)
CHARLES ANTOINE COYPEL
1694-1752. I
191 An Artist, name unknown. Half-length, viewed to the right,
eyes looking full. He wears a loose coat with fur lapels
and frilled cravat. Powdered wig. His right hand holds
a palette and brushes, his left hand is raised in gesture. A
geometrical globe sketched in the background to the right.
Pencil and mauve chalk. Rectangular, 6f by 8J in. On paper.
This is believed to represent C. F. Poerson. (660)

k; dachtler
1770-1803.
192 A Cavalier, after Rembrandt. Bust, viewed in profile to the
right, face turned full. Black doublet, white ruff, short
brown hair, beard and moustache. Circular, diameter 2\ in. Enamel.
Signed and dated 1800.
The work of this Viennese miniaturist seems to be little
known outside Austria. (77)

GEORGE DANCE, R.A.
1741-1825.
193 The Chevalier D'Eon de Beaumont. Half-length (in female
attire), viewed in profile to the left. Wearing a tight-fitting
bodice, With frilled collarette and fichu ; an elaborate bonnet
, of fluted lace and ribbons completes the costume.
Pencil. Oval, Q\ by 4J in. On paper.

Second Day 60
Lot 193 — continued.
The Chevalier was treated as a boy, though his sex was
doubtful. He was secret agent of Louis XV at St. Petersburg
and Minister Plenipotentiary in London. As is well-known
he adopted female attire for several years. (707)

GEORGE DANCE, R.A.
194 A Boy, name unknown. Half-length, viewed in profile to the
left. He wears a dark jacket with double lapels, round
falling collar, dark hair brushed forward, two locks falling
to his shoulder.
Pencil. Oval, 6J by 7| in. On paper. (722)
GEORGE DANCE, R.A.
195 Thomas Hardwicke, the Architect. Seated half-length, viewed
in profile to the left. Dark coat, light waistcoat, lace cravat,
powdered hair in pigtail.
Pencil. Rectangular, 7| by 10 in. On paper.
Signed and dated 1795.
This drawing was engraved by William Daniell in 1814.
(See impression on the back).
An important drawing. (155)

GEORGE DANCE, R.A.
196 Sir Watkin Lewes, m.p., Lord Mayor of London. Bust, viewed
in profile to the left. He wears a spotted coat and tight
lawn neck-cloth, powdered wig in pigtail.
Pencil. Rectangular, 4f by 7\ in. On paper. (723)
GEORGE DANCE, R.A.
197 James Stuart, f.r.s. (See inscription). Half-length, viewed
in profile to the left. High-buttoned coat, wig in pigtail.
Pencil. Rectangular, 6 by 8| in. On paper. (163)

No. 198.

61 Second Day
GEORGE DANCE, R.A.
198 J. M. W. Turner, r.a. Viewed seated half-length, in profile to
the left. He wears a green coat over a yellow waistcoat
and white frilled cravat. Brown hair brushed forward and
falling in short locks about the ears.
Pencil and water-colour . Oval, 6| by. 8J in/ On paper.
Signed and dated August 9, 1792,
Exceedingly interesting, being the earliest known portrait
of Turner. It was drawn when he was but seventeen. (702)
[See Illustration.]

GEORGE DANCE, R.A.
199 J. M. W. Turner, r.a. , Seated, half-length, viewed in profile
to the left. Plain open coat, frilled cravat, hair brushed
forward and falling in long strands to the shoulders.
Pencil. Oval, 8 by 6J in. On paper.
A dehghtful portrait dating from about 1795. Both of these
portraits of Turner were probably drawn by Dance in Thomas
Hardwicke's studio. (See Lot 195): (716)
' [See Illustration.]

NATHANIEL DANCE, R.A.
1735-181L
200 ' The Honble. Lavinia Bingham, afterwards Countess Spenser.
Seated, half-length, viewed to the left. She wears a steel-
blue bodice laced up in front with ribbons and a black sash
secured With a silver buckle, wide white fichu, yellow gloves
to the elbow ; browrt wide-brimmed hat over her brown
hair, powdered and curled to the ear's, and then falling in
natural locks to the shoulders.
Water-colour. Rectangular, 7 by S\ in. On chicken skin.
-Signed. (634)

Second Day. 62
WILLIAM DANIELL, R.A.
1769-1837.
201 The Artist's Own Portrait. Seated, three-quarters length,
viewed to the right, eyes looking full. His left arm rests in his
lap, the right arm on the back of a chair. High-collared
coat, white stock, short ' hair brushed forward. The back
ground shows an artist's studio with a picture of two horses
and their jockeys racing. ,
Pencil. Rectangular, 7\ by 9\ in. On paper.
Signed and dated April 12th, 1811. (385)

GEORGE DAWE, R.A.
1781-1829.
202 John Bellingham, the assassin of Spencer Percival. Half-
length, viewed almost in profile to the left. High-collared
coat, open waistcoat, frilled cravat, short hair parted at
the side.
Pencil. Rectangular, 7\ by 9\ in. On paper.
Signed. (270)

GEORGE DAWE, R.A.
203 Sarah Siddons, the Actress. Half-length, viewed full. She
wears a black decollete bodice with puff sleeves and high
girdle tied in a small bow. An oblong jewel set at her bosom,
a string of pearls round her neck. Her dark hair is simply
arranged.Crayons. Oval, 8% by 11% in. On paper.
(446)

ABRAHAM DE BLOIS
flourished 1680-1720.
204 " Nell" Gwynne. Bust, viewed full, face slightly to the right,
eyes looking full. She wears a very simple white decollete

No. 205.

63 Second Day
Lot 204 — continued.
bodice, her hair clustered in curls about her face * one long
lock falls over the left shoulder.
Plumbago. Oval, 7 by 5J in. Vn vellum.
*%* The original drawing for the well-known mezzotint. (300)

JAN DE BRAY s
1626-97.
205 A Youth, name unknown. Half-length, viewed to the left,
eyes looking to the right. , Tight jacket, falling collar, short
hair. Pencil and Indian ink. Rectangular, 5J by 6| in. On paper.
This drawing has also been ascribed to Judith Leyster.
From the Collection of Sir Thomas Lawrence, P. R.A.
There is a drawing of a head on the reverse. (620)
[See Illustration.]

SOLOMON DE BRAY
1597-1664.
206 A Young Lady, name unknown. Bust. She is viewed looking
to the right, wearing a pink dress trimmed with white lace.
Her brown hair falls to her shoulders. She wears a pearl
necklace, pearl ear-rings and a gold brooch with pearl drops.
Painted in oils. Rectangular, 10 by 6 in. On canvas.
(864)
DANIEL DE BLIECK
1620-1673.
207 A Gentleman, name unknown. Half-length, viewed to the
right,: eyes looking full. He wears a tightly buttoned-up
coat and a fur-lined cape, broad white collar. Scanty gray
hair, square cut beard and moustache.
Plumbago. Oval, 4 J by 3 J in. On vellum.
Signed and dated 1649.
Purchased from Dr. Hofstede de Groot. (871)

Second Day 64
LUCAS DE HEERE
1534-84.
208 Thomas Howard, Fourth Duke of Norfolk. Head and shoulders,
viewed to the left, eyes looking full.- He wears a dark doublet
with standing collar edged with narrow lace. Short dark
hair confined in a small cap, small beard and moustache.
Pencil and black chalk, heightened with coloured chalk.
Rectangular, G\ by 5J in. On paper.
Below the portrait* is written in a XVIth century hand,
" Norfolcis dux decollatus sub Elisabetha, 1572 Jun." (or
Jan).
. The Duke formed a project of marriage with Mary Queen
of Scots, was involved in Ridolfi's plot, and executed for
treason. A fine spirited portrait of one of the most remarkable men
of the Tudor period.
From the Collection of the Earl of Arundel and Norfolk
(1586-1646). ' (678)
[See Illustration.]

MARY DELANY
1700-88.
209 Her Sketch Book, containing 89 drawings 15 by 13 in. and
14| by 10 in., in pencil and wash. These drawings date
from 1739 to 1773, and depict (what were then) the suburbs
of Dublin and many of the most famous mansions and gardens
in England and Ireland. All are signed and dated. One,
at least, of the drawings contains her own portrait.
Mary Granville married, first, Alexander Pendarves (in 1718),
and after his death (in 1725), Dr. Patrick Delany. Her
" Autobiography and Correspondence " were published in
six volumes (1861-2). She was godmother to the Earl of
Mornington. Mrs. Delany, in a letter to her sister Anne,
wrote : " Hogarth has promised me to give some instructions
about drawing that will be of great use — some rules of his
own that he says will improve me more in a day than a year's
learning in the common way." The figures in her drawings
certainly exhibit strong signs of Hogarth's influence. (See
typed description in the volume). (753)

65 Second Day
THOMAS DE LEU
flourished 1560-1612.
210 "Claude Expilly. Poet and President of the Parliament at
Grenoble. Bust, viewed to the right, eyes looking full.
A cloak draped across his breast and secured over the left
shoulder with a jewelled clasp ; short hair, square beard
and moustache. Contained in a frame ornamented with
laurels. A coat-of-arms above ,with cupids ; below, two
cupids with torches and a dedicatory verse in French.
Pen and ink. Rectangular, 4 by 5J in. On vellum.
Exhibited at the Victoria and Albert Museum, 1916-18. (85)

WILLEM JACOBSZOON DELFF
1580-1638.
211 Maria Strick. Bust, viewed to the left, eyes looking right.
Contained in a frame consisting of a circle with scroll design
and wreath, draped curtain behind, a pen and ink-well intro
duced in each corner, a lion's mask below, and an uninscribed
blank lozenge. She wears a frilled bodice and ruff, plain
circular cap.
Plumbago. Rectangular, 6f by 9 in. On vellum.
This lady was an eminent teacher of calligraphy in Holland. (324)

ABRAHAM DELFOS
1731-1820.
212 Herman Doomer (" le Doreur"), after Rembrandt. Half-
length, viewed to the right, eyes looking full. Doublet and
falling ruff, wide-brimmed hat, beard and moustache.
Pencil. Rectangular, 5 by Q\ in. On paper. (463)

Second Day 66
GILES DEMARTEAU " L'AINE "
1722-1778.
213 A Boy, name unknown. He is represented, half-length, viewed
full, face turned sharply to the right, sketching in a book
held in front of him. He wears a reddish cloak, open at the
neck. Short curly hair tied in pigtail.
Black and red chalk. Rectangular, 6| by 5f in. On paper.
(790)
(BARON) DOMINIQUE VIVANT DENON
1747-1825.
214 Lady Hamilton, Nelson's " Emma." Half-length, looking to
the left, eyes full. She wears a simple white decollete bodice.
Hair in ringlets under a mob-cap.
Pencil, touched with colour. Oval, 4 by 3 in. On paper.
%* This most interesting and beautiful portrait was given by
Lady Hamilton to Miss Carr, who afterwards married General
Chesney, aide-de-camp to the Duke of York.
On the reverse Lady Hamilton has written : "Emma Hamilton,
Naples, Feby 11, 1792. I had the happiness of my dear
Miss Carr's company all day — but, alas, the day was too
short." Lady Hamilton passed through Paris in 1791, on her return
from London to Naples, and this miniature was probably
drawn by Denon at that time.
Capel Cure Collection.
A VERY IMPORTANT PORTRAIT. (819)

< JEAN BAPTISTE DESCAMPS
1706-91.
215 Jean Francois de la Harpe. Half-length, viewed to the left,
eyes looking to the right. Coat with braid and tassels, lace
cravat and a dark bow at the neck, powdered wig in pigtail,
tied with a large bow.
Pencil. Rectangular, 4f by 3f in. On paper. (549)

No. 218.

67 Second Day
NICOLAS DESPORTES
1718-87.
216 The Stag Hunt. , Representing a river with wooded banks.
The Stag is being worried by the hounds in mid-stream, while
several horsemen are putting out in a boat to capture it.
Two others gallop up from the right. _ A church spire in the
distance. Cloudy sky.
Pencil and body coloytr. Rectangular, 6f by 5 in. On vellum.
Signed and dated 1775. (140)

PIERRE JEAN DE VLAMYNCK
( 1795-1850.
217, The Duke of Wellington. The Duke is represented full
length, viewed to the right, standing in a mountainous land-
Scape, a Regiment is in the foreground marching into action.
He wears top boots and long coat. The left hand holds a
field-glass, the right hand rests pn the hilt of his sword ; his
cloak is thrown over --a rock behind him.
Pencil. Rectangular, 14\ by 18f in. On paper.
Signed and dated 1 81 5.
%* Drawn at Brussels in 1815, on the eve of Waterloo. This
vigorous p'ortrait does not appear to have been engraved.
This Artist was much patronized by the King of the Nether
lands ; he died at Bruges in 1850.
An important portrait. (162)

SIMON DE VOS
1603-76.
218 A Gentleman, name unknown. Half-length, viewed full,
seated with his left arm resting on a table to the left. The
left hand holds a pair, of gloves', the right hand rests on his

Second Day 68
Lot 218 — continued.
hip. Long coat and cape, square falling collar with tassels,
fluffy wig to the ears, moustache.
Plumbago. Rectangular, 10| by 13£ in. On vellum.
Signed and dated 1672.
From Dr. Wellesley's Collection. (231)
[See Illustration.]

CHRISTIAN WILHELM ERNST DIETRICH
1712-74.
219 An Elderly Jew, after Rembrandt. Head and shoulders,
viewed to the right. Short beard and moustache, high
turban.Pencil. Rectangular, 5 by 3| in. On paper.
Signed and dated 1744. (174)

NICHOLAS DIXON
flourished 1667-1708.
220 " Nell " Gwynne. Almost half-length, viewed full, face to
the left. She wears a blue decollete bodice edged with white,
and fastened above the slash in the left sleeve by three jewels,
a string of pearls and jewels across the bosom ; brown hair
parted in the centre and disposed in clusters of curls, one
lock falling over the right shoulder. Oval, 2| by 3 in. On card.
Signed. Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century " ; page 97.
From the Lindsay Collection. (329)

69 Second Day
NICHOLAS DIXON
221 Louise, Duchess of Portsmouth. Bust, viewed full, face tp
the left. She wears a yellow decollete bodice trimmed with
white; a blue scarf, fastened at the bosom with, a jewel,
passes found the right arm. Brown hair with a tiny curl
at each temple and a long lock falling upon the right shoulder.
¦ , Oval, lg by 2% in. On card.
This miniature so closely resembles in its technique, Lely's
portrait of the Duchess (formerly in the Peel Collection)
that it might almost be ascribed to him.
From the Colyear and Dawkins Collections.
Dixon was appointed Charles II's " limmer " in 1673. (366)

JOHN DONALDSON
1737-1801.
222 Lord Clive, Governor-General of India. Bust, viewed to the
left, eyes looking full. Light blue coat with rosettes, white
lace cravat, powdered wig in pigtail, tied with a large black
' bow. Oval, If by If in. On ivory.
The eccentricity of the colour scheme and the blue under-
painting of the flesh tints mark the portrait as the work
pf this curious Scottish artist. (416)

GERARD DOU
1613-75.
223 Anne Spiering. Half-length, viewed to the left, eyes looking
full. She wears a square-cut orange bodice decorated with
embroidered stars, a small orange bow at her bosom ; the
sleeves are slashed in front from the shoulder, showing white
underneath ; narrow frilled fichu edging the bodice and a
frail jewelled chain round her neck pending in three strands

Second Day 70
Lot 223 — continued.
to her corsage. Fluffy light brown hair falling to the ears
and tied on the right side with a small orange bow.
Plumbago, heightened with colour. Oval, 5 by 6J in. On vellum.
Signed and dated 1660.
%* This most beautiful portrait depicts the daughter' of Dou's
great patron, Pieter Spiering, the Swedish Minister at the
Hague. It is drawn (on vellum) in plumbago, heightened with
red chalk, and is signed and dated ; on the reverse, " G. Dou,
Ano. 1660, Anne Spiering." As agent for Christina, Queen
of Sweden, Spiering paid Dou a thousand florins annually
for the privilege of having the first choice of his pictures.
Besides. this annual grant, Spiering paid the ordinary prices,
like any other purchaser, for the pictures which he chose.
Exhibited at the Victoria and Albert * Museum, 1916-18.
Figured and described in " The Connoisseur " for January
1917.
Dou painted Pieter Spiering " sitting at a table in his Art-
cabinet, with his hand on the table-cover ; near him the
lady, his wife, likewise seated, with their eldest daughter
handing a book to her mother."
Dou's drawings are of extraordinary rarity. Dr. Martin,
in his ' Gerard Dou,' only records six, and one of these is
probably by De Bray.
1. British Museum, An old Woman.
2. British Museum, A Lady at a Spinet, probably by
Jac de . Bray.
3. The Louvre, Don's Mother.
4. The Beckerath Collection (Berlin), An- old Woman.
5. Stadel Institute (Frankfurt), A Group of Women.
6. Fodor Collection (Amsterdam), An old Man mending
a Pen.
The present drawing is from the Schiefbaan-Hoviws Collection;
the Hague. (650)^
[See Illustration.]

71 Second Day
JOHN DOWNMAN
1750-1824.
224 The Hon. Peter Robert • Burrell, 1784. A three-quarter
length portrait of a child looking to the left. Head, in frilled
cap, turned full over his left shoulder, resting on box-like
toy or stringed instrument.' His right arm lies across *the
toy, the left rests on the floor with the hand holding the
end of it.
" Original study for a whole-length playing with a toy on
the floor. He was the first child, of Sir Peter Burrell and Lady
Willoughby. Present, his grandmother the Duchess of Ancaster
and his Aunt Lady Charlotte Bertie " (in Downman's hand
writing under the portrait.)
Pencil and black chalk,, heightened with colour.
Oval, 7|- by 6 in. On paper.
Illustrated in Williamson's " Life of Downman," page 8.
Exhibited at Crediton in 1903. (856)
[See Illustration.]

JOHN DOWNMAN, A.R.A.
225 John Thomas Foster and Lady Elizabeth Foster (his wife).
A pair. He is seated in a- red armchair, wearing a brown
coat with white waistcoat, lace cravat and cuffs ; powdered
hair in pigtail. Lady " Betty " is dressed in a pearl-grey
bodice and skirt with thin white fichu, powdered hair, brushed
from the forehead and arranged in loops at the neck, elaborate
head-dress of muslin, bound with blue ribbon and a short
scarf, falling to the shoulders at the back.
Crayons. Ovals, both measuring 4\ by 3f in. On paper.
Two exquisite little portraits. Lady " Betty " Foster was
a daughter of the Earl of Bristol, and married, en secondes
noces, the 5th Duke of Devonshire. (512, 513)

Second Day 72
JOHN DOWNMAN, A.R.A.
226 George Engleheart, the Miniature painter. (See Downman's
inscription.) A very bold sketch in colour, with a "trial"
sketch in pencil on the reverse. •
Rectangular, 3 by 3\ in. On paper.
Exhibited at the Bath Gallery, 1918. (675)

JOHN DOWNMAN, A.R.A.
227 Charles Knowlton. Viewed to the right, eyes looking full.
Powdered wig.
Pencil, heightened with colour.
Rectangular,, S\ by 6 J in. On paper. (274)

JOHN DOWNMAN, A.R.A.
1750-1824.
228 A Cambridge Undergraduate, name unknown. Half-length,
viewed to the left. Face in profile to the left. He wears
the College hood ; powdered wig in pigtail.
Pencil. Oval, 5| by 4| in. On paper.
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue.
From the Hibbert Collection. (427)

JOHN DOWNMAN, A.R.A.
229 Isabella and Charles Downman. the daughter and son of
the Artist. They are represented half-length standing under
a tree. The boy, dressed in a dark jacket and falling collar,
is depicted in the act of embracing his sister, his left hand
being raised to her cheek. She wears a light decollete frock

No. 229.

.73 Second Day
Lot 229 — continued.
: , with short sleeves, her hair falling in curls to her shoulders,
her hands are folded before her.
Pencil. Rectangular, 9J by 7f in. On paper.
This is the original design for the drawing' exhibited at the
Royal Academy in 1802.
From the Collection of John Parry, of Denbigh, a close friend
of Downman. (688)
[See Illustration.]

JOHN DOWNMAN, A.R.A.
230 Edward, Lord Elliot. Half-length, viewed in profile to the
left. Powdered wig in pigtail.
? •
Pencil, heightened with colour. Oval, 5| by 7\ in. On paper.
Signed and dated 1779.
%* Downman has, in his usual interesting fashion, written a short
biography of Lord Elliot underneath the portrait.
Recorded in Williamson's " Life of Downman," page 62. (156)

JOHN DOWNMAN, A.R.A.
231 A Scene from Lucian. Representing a sylvan festival with
groups of men and women feasting in the background to the
right and left. Diogenes, carrying a club, and Lais a festoon
of flowers, are dancing in the foreground under a tree, from
which swing hanging lamps. ,
Pencil and wash. Rectangular, 13£ by 1Q\ in. On paper.
Signed and inscribed. (451)

JOHN DOWNMAN, A.R.A.
232 Two Drawings, designed to illustrate Isaac Disraeli's " Narrative
Poems." One represents a female figure, half-length, clasping a boy
to her breast. A landscape is in the background. The
stanza illustrated is written in the lower right-hand corner.

Second Day 74
Lot 232 — continued.
The other represents the heroine bending over the boy's
prostrate form. Two stanzas are written in the lower right-
hand corner.
Pencil, heightened with colour.
Rectangular, 18 by 14J in. and 17 by 141 in. On paper.
Signed and dated 1803.
The stanzas from Disraeli's ,poem are in Downman's hand
writing.The third drawing is in the Victoria and Albert Museum.
When Disraeli was taken ill at Exeter he was attended by
Dr. Hugh Downman.
From the Collection of John Parry, of Denbigh. (530 and 531)

JOHN DOWNMAN, A.R.A.
233 Miss Petre. Half-length, viewed to the left, eyes looking full.
She is dressed in a white decollete bodice and wide fichu
which is brought down over her shoulders to her waist. She
wears a small straw hat trimmed with stiff white bows. Her
brown hair arranged in curls over the ears, falls in waves
down her back.
Painted in oils. Oval, 8 J by 10§ in. On canvas. (759)

JOHN DOWNMAN, A.R.A.
234 A Lady, name unknown. Half-length, viewed in profile to
the left, seated in a chair. Close-fitting bodice embellished
with ruffles at the shoulders, neck and sleeves. She wears
a high lace cap over her hair, which is brushed back from
from the forehead and gathered in loops at the back, a
narrow velvet ribbon about her throat.
Pencil, slightly touched with colour. Oval, 4 by 4| in. On vellum. (498)

75 Second Day
JOHN DOWNMAN, A.R.A.
235 A Lady, name unknown: Seated, half-length, viewed to the
left. White short-sleeved gown with blue sash, powdered hair
in curls to the shoulders and bound with a pale yellow
turban.
'Pencil, heightened with colour. Oval, 5 J by 3f in. On paper. (431)
JOHN DOWNMAN, A.R.A.
236 Dr. Michael Lort. Half-length, viewed in profile to the left.
Face to the left, eyes looking full. He wears a plain black
coat and white neck-cloth ; full powdered wig. His right
hand is thrust in his waistcoat.
Pencil. Oval, 4| by 3f in. On paper.
(223)

JOHN DOWNMAN, A.R.A.
237 Mr. Smith of Caius College, Cambridge. Half-length,
viewed in profile to the left. Coat with peaked lapels, and
wearing the College hood ; stock and frilled cravat, powdered
wig in pigtail.
Pencil. Oval, 5$ by 4| in. On paper.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
From the Hibbert Collection. (426)

JOHN DOWNMAN, A!R:A.
238 Lady Tremenheere. Bust, viewed to the right, looking to
the right. She is dressed in a white decollete bodice, trimmed
with yellow. In her brown hair, which is dressed high and
falls in curls about the shoulders, she wears a small chaplet
of pearls. Oval, 1J by 1\ in. On ivory.
*%* Downman painted a few miniatures, and this so closely
resembles his manner of work that it is attributed to him.
The attribution is also supported by some family tradition.
(¦¦-. (52).

Second Day 76
JOHN DOWNMAN, A.R.A.
175J0-1824.
239 A Volume of 33 drawings in water-colours of the English Lakes.
On the- fly-leaf Downman has written, " A series of Sketches
on the spot made by J. Downman when he took a tour to
the Lakes in Westmoreland and Cumberland, 1812." The
drawings for the most part measure 9\ by 7\ inches, and the
locus of each is carefully noted by Downman. The drawing
of Windermere contains a portrait of a beautiful girl.
This volume of drawings was given by Downman to his
friend John Parry of Wrexham (see letter inserted in the
volume). None of the drawings has been published. (827)

240 The Life of John Downman. A unique copy of Dr. Williamson's
book. The volume contains six Original Drawings by
Downman, drawn in 1801. It also contains the only original
letter in Downman's handwriting that can be traced (there
is none in the British Museum).
• This letter (January 17, 1808) is addressed to. James Northcote,
R.A., and solicits his vote at the forthcoming election of
Royal Academicians. Downman was elected an A.R.A. in
1795 but, pace this letter to Northcote, he was never elected
a full R.A. (289)

241 Poems by Hugh Downman, two volumes, 1808. These volumes
contain beautiful engravings by John Downman. The
book is very rare. (561)

PIERRE IMBERT DREVET
1697-1739.
242 J. B. Bossuet, Bishop of Meaux. Half-length, viewed to the
left, eyes looking full. He wears the Cappa Magna and wide
falling bands. Grey hair brushed back from forehead.
Plumbago. Oval, 3| by 2\ in. On vellum. (886)

77 Second Day
FRANgOIS HUBERT DROUAIS
1727 '-17*3 '5.
243 Marie Antoinette, when Dauphine. Bust, viewed, to the right,
eyes looking to the left. The low-cut chemise shows her
partly nude 'bust. Her powdered hair is brushed back from
her forehead and falls in ringlets to her shoulders.
Crayons, Oval, 12 by 10 in. On paper.
From the Collection of William Hoare, R.A. (891)
[See Illustration.]

Probably by FRANgOIS HUBERT DROUAIS
1727-75.
244 Le Marquis de Caux. Bust, viewed in profile to the right,
open coat. Hair brushed up from the forehead and tied in
pigtail. Pencil. Circular, diameter 5 in. On vellum. (344).

H. M. DRUMMOND
245 Miss Parr. Represented full length, viewed to the right, standing
before a stone balustrade with two steps and a column to the
right. She is dressed in a simple white Empire gown, her
hands folded before her and holding up a fold of her skirt.
Light brown hair falling in curls to the shoulders. In the
extreme background a suggestion of trees and foliage.
Pencil, heightened with colour. Rectangular, 9| by Q\ in. On paper.
Signed and dated 1802. (406)

Second Day 78
FRANgOIS DUMONT
1751-1831.
246 A Lady, name unknown. Half-length, viewed in profile to the
left. Broad fichu, jewelled collar and gold chain round her
neck, hair arranged in heavy curls on top of her head and
falling to the shoulders in back.
Pencil. Circular, diameter 3f in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
A most remarkable French pencil drawing. (306)

DUN
247 Prince Napoleon Achille Murat. Bust, face to the right,
looking to the right. He is dressed in a Neapolitan military
uniform. Orange coat with gold braid and epaulettes, high
yellow collar, black stock, light brown hair.
Oval, 2-| by l\in. On ivory.
Signed and dated 1813.
The Prince was the nephew. of Napoleon I, and spent much
of his life in the United ' States.
Dun, who was of Flemish origin, passed nearly all his life
at Naples. His miniatures are of great rarity ; there is one
in the Wallace Collection, one was exhibited at Brussels in
1912, and there is one at Welbeck. (8)

JEAN NICOLAS LOUIS DURAND
1730-1834.
248 Louis XVI when Dauphin. Marie Antoinette when
Dauphine. Both are bust portraits in profile. The King
is looking to the left, in wig and pigtail, wearing his insignia ;
the Queen is looking to the right, decollete bodice edged
with pearls, the hair dressed high in curls.
Mother-of-pearl. Ovals, both measuring 2\ by 3 in.
An interesting account of Durand and of his mother-of-pearl
miniatures is given by Dr. Proper t in his " History of Miniature
Art," page 149. ' (254 and 255)

No. 249.

79 Second Day
SIR ANTHONY VAN DYCK
1599-1641.
249 Giuseppe Cesari, " il Cavaliere d'Arpino." Seated half-length,
viewed almost in profile to the left. He wears a loose cloak
and cape, wide faUing collar, curly hair to the ears, pointed
beard and moustache ; his right hand raised to his breast,
holds an edge of his cloak. 0
Plumbago. Rectangular, 6f by 8f in. On vellum.
Signed and dated 1627.
This highly important drawing was formerly in the Collections
of Flink, Horace Walpole, Lord St. Helens, and Dr. Wellesley.
[See Illustration.] (763)

SIR ANTHONY VAN DYCK
250 Prince Thomas of Savoy. Full length, on horseback, viewed
to the left. Doublet and hose with flowing sash, hair to
the shoulders. Pointed beard and moustache.
Pencil Rectangular, 2f by 3 J in. On paper?
Probably the original study for the famous picture.
From Sir Joshua Reynold's Collection. (373)
[See Illustration.]

Almost certainly by SIR ANTHONY VAN DYCK
251 Cornelius Van der Gheest. Three-quarter length, viewed
to the left, eyes looking to the left. He wears a tight-fitting
doublet secured at the waist with a belt, a cloak falls from
his shoulders, broad ruff, his hands, clasped in front of him,
hold his gloves. Scanty hair, short beard, full moustache.
Red chalk. Rectangular, 9\ by 7| in. On paper.
%* From. George Vertue's Collection;
[See inscription on the reverse]. (901)

Second Day 80
SCHOOL OF VAN DYCK
252 A Gentleman, name unknown. Bust, viewed to the right,
eyes looking to the left. Double pinked-out faUing ruff,
short hair parted on the side, small beard and moustache.
Pencil. Rectangular, 10J by 12 in. On paper. (458)
e
NICOLAS ETIENNE EDELINCK
1681-1767.
253 An Artist, name unknown. Half-length, viewed fuU, face to
the left. He wears a richly embroidered cloak. Curly haif
falling to his shoulders. He holds a canvas before him with
a pair of compasses in one hand, a charcoal- pencil in the
other.Pencil, heightened with colour, Oval, 9 by 7 in. On paper.
From the Collection of Samuel Rogers.
(See inscription on the reverse.) (705)

HENRY EDRIDGE, A.R.A.
1769-1821.
254 Sir George and Lady Amyand. A pair. He is represented
three-quarter length, legs crossed, seated on a sofa '; his
left hand in his pocket, the right holding a book ; face to the
right. He wears a high-coUared coat, cravat tied in a bow,
side whiskers, short hair brushed back from the forehead.
A curtain sketched in the background to the left.
Pencil. Rectangular, 6} by 4| in.
Lady Amyard is represented three-quarter length, viewed ^to
the left, seated in an armchair. A little dog at her side is
begging to jump on her lap. She wears a simple gown with
a sash and frilled fichu ; her hair is dressed in a mass of curls
about her head, a scarf hangs from the arm of the chair.
A column and curtain sketched in the background to the
right. Foliage in the distance to the left.
Pencil. Rectangular, 4f by 6J in. On paper.
Signed and dated 1794.
Framed according to Edridge's own design. ' (422 and 422a)

81 Second Day
HENRY EDRIDGE, A.R.A.
255 Samuel Daniell, Artist and TraveUer in the East. Seated
fuU length, viewed to the left, legs crossed. Buttoned coat,
tight breeches, top boots, short curly hair. His right arm
rests on the back of the chair, his hands are clasped before
him. Pencil. Rectangular, 8f by 11 \ in. On paper.
Framed according to Edridge's own design. (382)

HENRY EDRIDGE, A.R.A.
256 The Princess Elizabeth, second daughter of George III.
FuU-length, standing on the terrace at Windsor. . She is
dressed entirely in black, her left arm rests on a pillar and
she holds a shawl in both hands. She wears a black mantilla.
Eyes fuU, looking to the left.
Pencil and wash heightened with colour.
Rectangular, 15 by 10£ in. On paper.
Signed and dated 1808. (823)

HENRY EDRIDGE, A.R.A.
257 Henry Grattan, m.p. This remarkably interesting portrait
was drawn by Edridge in the Irish House of Parliament
in the fatal year 1798, and represents Grattan addressing
the House. He is viewed half-length, turned to the left.
His left hand is placed in a gesture of affirmation on a table
before him. He wears a long open coat, a closed pince-nez
hanging over his waistcoat. Portraits of two other Members
of the House are sketched in the background to the right.
Rectangular, 7\ by 10 \ in. On paper.
Signed and dated 1798.
Framed according to Edridge's own design.
• An important portrait. (626)

Second Day 82 [
HENRY EDRIDGE, A.R.A.
258 A Family Group, names unknown. Consisting of a father
and mother with their two children. The father in coat
and knee breeches, is viewed full length to the right and
seated on a bench to the left with a little boy in brown at
his side. His wife, fuU length and viewed fuU, stands on his
right, her arm embracing a little girl in white, who is seated
on the pedestal of a classic urn. She wears a white gown
with necklace of red beads, a blue turban over her brown hair.
A large tree trunk and sunflowers in the background ; a toy
barrow and a pot of poppies in the foreground to the left and
right. Water-colour. Rectangular, 20f by 25£ in. On paper.
Framed according to Edridge's own design.
A most important Edridge drawing. (470)

HENRY EDRIDGE, A.R.A.
259 Angelica Kauffmann, r.a. She is represented full-length,
viewed to the left, seated beside her easel, on which is an
unfinished canvas. Her right hand is in her lap and grasps
a palette and brushes, her left arm rests on the easel. She
wears a short-sleeved bodice and full skirt, flaring lace collar.
Short curly brown hair.
Pencil, heightened with colour.
Rectangular, 6f by lOf in. On paper.
Framed according to Edridge's own design. (456)

HENRY EDRIDGE, A.R.A.
260 The Honble. Henry Legge. Half-length, viewed full, face
to the right. High-collared coat, white stock and bow,
powdered hair to the ears.
Pencil. Oval, 2| by 3\in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (582)

83 Second Day
HENRY EDRIDGE, A.R.A.
261 Lady Malmesbury. She is represented three-quarter length,
viewed full, seated on a sofa at a drop-leaf work-table engaged
in sewing, a little dog beside her to the right. She wears a
simple gown with fichu and frilled collar, a turban over her
hair, which falls in curls to the shoulders.
Pencil. Rectangular, 4| by Q\ in. On paper.
Framed according to Edridge's own design.
It is the companion portrait to those of Sir George and Lady
Amyand (Lady Malmesbury's sister).
A charming Edridge drawing. (86)

HENRY EDRIDGE, A.R.A.
262 George Washington. Half-length, viewed in profile to the left.
Green coat edged with gold braid, gold epaulettes, frilled cravat.
His left arm is thrust in his coat, his right falls by his side.
Semi-poudre hair in pigtail and the familiar hat with a rosette.
Pencil, heightened with colour.
Rectangular, 5f by 7. in. On paper.
Framed according to Edridge's own design.
An important portrait. (483)

HENRY EDRIDGE, A.R.A.
263 Colonel Wellesley, afterwards the Duke of Wellington.
He is represented full length, viewed to the right, dressed
in fuU uniform, long boots, white trunks, long coat with braid
and epaulettes. His hands rest before him on the hilt of his
sword. Short hair. Landscape with a bay, mountains, and
a fortress in the background.
Pencil and wash. Rectangular, 10£ by 2 in. On paper.
Signed and dated 1797.
Exhibited at the Royal Academy in 1798.
Framed according to Edridge's own design. (346)

Second Day 84
HENRY EDRIDGE, A.R.A.
264 Miss Henrietta Jane Morrison (married George Arnold of
Ashby St. Legers). She was Maid of Honour to Queen Charlotte.
Half-length viewed to the left, looking to the left. She
wears a white open-necked gown secured at the waist with
a pale blue ribbon. Her hair, which faUs in curls to her
shoulders, is covered with a white turban, pearl drop ear-rings.
Landscape background. Oval, 3 by 2\ in. On ivory.
Signed and dated " H. Edridge Px., August 1793 " (on the
reverse).The finest miniature by Edridge we have seen. (883)

HENRY EDRIDGE, A.R.A.
265 William Wilberforce, m.p. Viewed to the right. The left
shoulder and the book held up before him are lightly sketched
in pencil. Stiff hair cut short to the ears.
Pencil, heightened with colour. Circular, diameter 16 in. On paper.
The first sketch for the engraving published in 1809. (371)

HENRY EDRIDGE, A.R.A.
266 William Wilberforce, m.p. The finished drawing of the
first sketch (vide Lot 265). He is represented viewed
to the right, seated in a high-backed armchair reading a
book. He wears a brown coat and white waistcoat, white
cravat. Grey hair cut short at the ears. An eyeglass hangs
from a ribbon round his neck.
Pencil and water-colour. Rectangular, 8f by lOf in. On paper.
This drawing was engraved in 1809.
Framed according to Edridge's own design. (765)

85 ( • Second Day
CHARLES DOMINIQUE JOSEPH EISEN
1720-78.
267 A Group. Representing nine cupids with festoons of flowers
gambolling in a wood about the base of a statue of a fawn.
Indian ink and wash. Rectangular, 4f by 5f in. On paper. (711)

CHARLES DOMINIQUE JOSEPH EISEN
268 A Group. Representing seven cupids in a wood puUing another
cupid in a rude rustic car
Indian ink and wash. Rectangular, 4f by 5f in. On paper. (712)
GEORGE" ENGLEHEART
1752-1829.
269 Sir Henry Bate-Dudley, the friend of Gainsborough. Full-
length, viewed to the left, standing in a landscape beneath
a tree. His left hand, rests on a cane, his right is crossed over
it and holds a high-crowned hat. Satin knee breeches and
silk stockings, buckle shoes, lace cravat. Powdered hair
in pigtail.
Pencil, just touched with colour.
Rectangular, 12 by 18| in. On paper.
Signed.
This remarkable drawing was exhibited at the Royal Academy
in 1790. (553)

GEORGE ENGLEHEART
270 Richard Barwell, member of the Supreme CouncU in India,
enemy of Warren Hastings. Bust, viewed to the right,
eyes looking to the right. He wears a dark blue coat with
gold buttons, white frilled cravat, gray hair tied with a black
ribbon. Oval, If by i\ in. On ivory.
Painted by Engleheart in 1787. (914)

Second Day. 86
GEORGE ENGLEHEART
271 J. C. D. Engleheart (1783-1862), nephew of George Engleheart.
Bust, viewed in full, face in profile to the right. DuU brown
coat, white neck-cloth, brown hair and short side whiskers.
Oval, 3f by 3 in. On paper.
Engleheart's nephew was also, a miniature painter.
From the Beavan CoUection. (243)

GEORGE ENGLEHEART
272 A Gentleman, . name unknown. Half-length, viewed to the
left, eyes looking to the right. High-coUared coat, loose neck
cloth, short curly hair, brushed forward.
Pencil. Oval, 2\ by 3 in. On paper.
(287)
GEORGE ENGLEHEART
273 1 Two Young Gentlemen, names unknown. The first with face
to the right, blue coat, white waistcoat, lace cravat, powdered
hair ; the second with face to the left, in blue coat faced
with yellow, white friUed cravat, powdered hair.
Ovals, 1| by If in. and 1\ by If in. On ivory.
These are very early examples of Engleheart's work.
(203 and 204)
GEORGE ENGLEHEART
274 Mrs. Law, of Densmore Carineans, Donegal. Bust, head
turned slightly to the right. White decoUete bodice with
ruffles and blue bow at breast, a blue bow hidden in the
powdered hair, which faUs in curls about her face and neck.
Oval, 1J by If in. On ivory.
Painted in 1787 and recorded in Williamson's " Life of
Engleheart," page 103.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue. , (92)

87 Second Day
GEORGE ENGLEHEART
275 Captain Lee. Bustt turned to the left, face to the left, eyes
looking fuU. He wears a scarlet coat with blue lapels and-
a coUar edged with silver braid, ruffled neck-cloth and powdered
wig. Oval, 2| by 3J in. On ivory.
Painted ¦ in 1785, and recorded in Williamson's " Life of
Engleheart," page 103.
A remarkable miniature. (424)
GEORGE ENGLEHEART
276 Miss Seton. Half-length, viewed to the right, eyes looking to
the left. She wears a white decollete bodice edged with lace,
a string of red coral beads about her neck ; short- brown hair.
Oval, 2| by 3 J in. On ivory.
Signed.
*#* This beautiful miniature was painted in 1798, and is recorded
in Williamson's " Life of Engleheart," page 114.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue. (1)

GEORGE ^ENGLEHEART and OZIAS HUMPHRY
277 Mrs. SmiTh. Half-length, viewed to the right, eyes looking fuU.
She wears a white decoUete bodice with a blue sash, her dark
hair, which is secured with a ribbon, falls in curls to her
shoulders. Oval, 3 by 2\ in. On ivory.
%* This beautiful miniature is set in an ivory shuttle-shaped box.
Inside the box is a miniature of a Gentleman wearing a blue
coat, brown waistcoat and powdered wig, also one of a Lady
wearing a black dress with white lace fichu and pink ribbon
in her hair. Both miniatures are attributed to Ozias Humphry. .
A paper inside is thus inscribed, " After my death to be
given to my beloved daughter Lydia and may the example
of her spotless mother be her guide throughout life. — J. W.
Smith, March 13, 1847." (907)

Second Day 88
SCHOOL OF ENGLEHEART
278 William Dodd, ll.d. Bust, viewed to the right. Black cassock
and stole, tabbed clerical collar, powdered wig.
Oval, 1 \ by 1 £ in. On ivory.
This Ecclesiastic was executed for forgery in 1777. (101)

279 The Rev. Wiilliam Romaine. Bust, viewed to the right, eyes
looking fuU. Black cassock, tabbed clerical coUar, powdered
hair. Oval, l\by 1\ in. On ivory.
The subject of this miniature was a very famous Calvinistic
divine.From the Bowyer CoUection. (34)

ENGLISH
Late XVIIth Century.
280 Shakespeare. Represented full length, viewed to the right.
He stands on a balcony with a green curtain with cord and
tassel in the background to the right, a group of trees in the
distance to the left. He wears a grey doublet and hose with
lace-edged collar and short cape concealing the left arm ; his
right rests on a staff. The familiar pointed beard and
moustache. Pencil. The face is drawn on vellum.
Rectangular, 9\ by 15\ in. On paper.
From the Wray CoUection. (284)

ENGLISH
Late XVIIth Century.
281 William III. Almost half-length, viewed to the right. He
wears the George across his breast fixed to the left shoulder
with a bow from which also hangs the medal of the Order of
the Garter ; lace cravat, long wig to the shoulders.
Pen and ink. Oval, 5 by 3| in. On vellum.
Unframed. (534)

89 Second Day
WILLIAM ESSEX
1783-1869.
282 Napoleon I. Bust, viewed fuU, face to the right. He wears a
dark uniform with crimson collar and gold epaulettes ; across
the breast he wears the magenta ribbon of his Order, also a
silver star and a medal on a crimson ribbon.
Oval, 1 \ by 1 \in. Enamel.
Signed. i
This is an enamel version of Augustin's famous portrait of the
Emperor now in the Pierpont Morgan CoUection. (See full
inscription by Essex on the reverse).
It was given by the Duke of WeUington to the Marquess
WeUesley. (253)

JOHN FABER, Senr.
1650-1721.
283 The Five Chief Admirals of Holland. A set of five portraits
of marvellous fineness pn one sheet. Consisting of four small
bust portraits in full armour and wearing the ribbons of their
Orders. They are arranged rpund a larger central portrait,
also in armour, viewed to the left. High falling collar with
tassels ; the ribbon of an Order with the pendant jewel of the
Elephant round his neck. Hair falling to the shoulders,
smaU beard and moustache.
Inscribed : " Ter Eeren En Gedachtnisse Van den Wel
Edelen Geboorne En Gestrengen Heer Jacob Van Wassenaer
Ridder Hr van Opdam L Admirael Gener1 : Van HoUant &c."
Plumbago. Square, 7-j/s- by 7-£? in. On vellum.
Signed and dated S'Gravenhagen, 1692.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
%* Faber was born in HoUand about the year 1650 and died at
Bristol in 1721.
The Rijks Museum only contains three of Faber's drawings and
the British Museum likewise has but three.
A VERY IMPORTANT DRAWING. (328)

Second Day. 90
JOHN FABER, Senr.
284 The Earl of Athlone. Half-length, viewed fuU, face to the
right, eyes looking to the left. In full armour. Lawn cravat,
curly wig to the shoulders.
Plumbago. Oval, 4$ by 3| in. On vellum.
Signed and dated 1703.
Exhibited at the Burlington Fine Arts Club 1889, at Brussels
in 1912, and at the Victoria and Albert Museum 1914-18.
Described in the Catalogues ; also in Foster's " Samuel Cooper
and the English Miniature Painters of the XVIIth Century."
Godert de Ginkel was one of WUliam Ill's most famous
Generals. The King created him Earl of Athlone. (67)

JOHN FABER, Senr.
285 Mr. John Bulteel. Half-length, viewed full, head to the right,
eyes looking to the left. Long white cravat, long curly wig.
Plumbago. ¦ Oval, 41 by 5 in. On vellum.
Signed and dated " J. Faber. Londini fecit 1699."
From the Collection of John Fisher, Bishop of Salisbury. (601)

JOHN FABER, Senr.
286 Charles I. Half-length, viewed fuU, face to the right, eyes
looking fuU. A cloak with the Star of the Order of the Garter
over his shoulders, the ribbon of fhe Garter and a medal
round his neck ; plain doublet, falling lace collar, high-crowned
hat, the faimliar beard and moustache.
, Indian ink. Oval, 5J£ by 4-^ in. On vellum.
Signed.Inscribed : " Carolus I. Mag : Brit : Fr : & Hib : Rex.
Done from ye Original Painting in the Possession of y*5 Honble*
George Clarke in Oxford, by J : Faber."
, The King is depicted " as he sat his trial in Westminster HaU,
January 23, 1648. -A Drawing with the Pen by J. Faber."
See inscription on the back. j

CO00N o"
z

0*J CO 6

91 Second Day
Lot 286 — continued.
Exhibited at the Stuart Exhibition 1889, at Glasgow 1911,
at Brussels 1912, and at the Victoria and Albert Museum
1914-17. Illustrated in the Brussels Exhibition Catalogue.
Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century."
This splendid plumbago is surely Faber's masterpiece. (16)
[See Illustration.]

JOHN FABER, Senr.
287 Charles II. Half-length, viewed to the left, wearing the Crown
and armour with an ermine cloak over it. The George around
his neck, lace cravat. Long wig to the shoulders. Contained
in a circle with " Carolus II " inscribed above, " D. G. Mag :
Brittannia Et. Francise Rex " below.
Plumbago. Oval, 4f by 4 J in. On vellum.
Signed : " J. Faber. Londini fecit."
From the CoUection of John Fisher, Bishop of Salisbury. (600)

JOHN FABER, Senr.
288 Charles II. Full-length, in the robes of the Order of the Garter.
The King is seated beside a table to the left, on which are
placed the Crown and Sceptre. In the background, to the
left, an open window, showing Windsor Castle in the distance ;
a curtain to the right.
Indian ink wash. Rectangular, 11 by 8| in. On vellum.
This important drawing was afterwards engraved in mezzo
tint by the younger Faber, and is regarded as his chef-d'ceuvre.
When in the Hodgkins CoUection it was ascribed to Samuel
Cooper, but it was certainly drawn by Faber and inspired by
Lely's famous portrait of the King. (520)

Second Day 92
JOHN FABER, Senr.
289 P. V. Dorp, L'- Admirael van Holland en West Frieslant. Half-
length, viewed to the left. Cross-slashed doublet, a ribbon
with an Order round his neck, a leathern strap across his
breast ; steel collar, with lace fatting over it ; broad-brimmed
hat, hair to the ears, pointed beard and moustache.
Pen and ink. Circular, diameter 3f f in. On vellum.
Signed and dated 1693.
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue. (511)

JOHN FABER, Senr.
290 I. V. Galen, Commandeur, 1653. Half-length, viewed to the
right, eyes looking full. He wears a breastplate with the
ribbon of an Order across it, a ribbon with pendant round his
neck ; fritted cravat ; hair parted in the centre and falling in
curls to the shoulders ; beard and moustache.
Plumbago. Circular, diameter 3f f in. On vellum.
Signed and dated 1653. '
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue. (318)

JOHN FABER, Senr.
291 P. P. Hein, L** Admirael van Holland. Half-length, viewed to
the right, eyes looking full. Doublet with slashed sleeves ;
steel collar, a ribbon with a suspended Order over his breast,
lace ruff. Short hair, pointed beard and moustache.
Plumbago. Circular, diameter 3 in. On vellum.
Signed and dated Amsterdam, 1696.
Exhibited at the Victoria and Albert Museum, 1916-18. (579)

93 Second Day
\
JOHN FABER, Senr.
292 Major-General Hill. Half-length, viewed to the right. Face
to the left ; eyes looking to the right. Loose cloak, long
cravat, long curly wig.
Plumbago. Oval, 5-^- by 4 in. On vellum.
Signed and dated 1709.
%* He was the brother of Abigail Hill, Queen Anne's favourite,
and Page of Honour to the Queen.
Exhibited at the Victoria and Albert Museum, 1914-18. (285)

JOHN FABER, Senr.
293 Joan George III of Saxony. Half-length, viewed full, face to
the right, eyes looking to the left. A richly ornamented
ermine-lined cloak about his shoulders, under which he wears
a breastplate ; lace cravat secured with a bow, powdered hair
to the ears.
Pen and ink. Circular, diameter 2\ by 2$ in. On vellum.
Signed and dated 1688.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. ,
The earliest dated portrait by Faber that is recorded. (508)

JOHN FABER, Senr.
294 Mary II. Half-length, viewed full, face to the left, eyes -looking
full. Decollete bodice decorated with bands of- ermine and
/ jewels. A looped string of pearls across the bosom, a necklace
of large pearls, and pearl drops in the ears. Hair dressed high
in curls and falling over the shoulders, a cluster of curls by the
right ear.
Plumbago. Oval, 34S by 3 in. On vellum.
Inscribed : " Maria . D : G : Anglise . Scotia? . Francis &
Hiberniae Regina."

Second Day 94
Lot 294 — continued.
Exhibited at the BurUngton Fine Arts Club, 1889, at Brussels
in 1912, and at the Victoria and Albert Museum', 1914-18.
Illustrated in the Brussels Catalogue.
Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century.'.'

JOHN FABER, Senr.
295 Admiral Sir George Rooke. Bust, viewed to the right, eyes
looking to the left. A loose cloak about his shoulders, long
lawn cravat, short curly wig.
Plumbago. . Oval, 4-& by 3-g% in. On vellum.
Signed and dated, Chatham, August 18th, 1705.
Exhibited at the Burlington Fine Arts Club in 1889, at Brussels
in 1912, and at the Victoria and Albert Museum, 1914-18.
Described in the Catalogues ; also in Foster's " Samuel Cooper
and the English Miniature Painters of the XVIIth Century."
Illustrated in the Victoria and Albert Museum Catalogue.
A VERY INTERESTING PORTRAIT. (188)

JOHN FABER, Senr.
296 T. H. de Vries, Admirael van Friesland. Half-length, viewed
full, face to the left. In full armour. A ribbon across his
breast, tab cravat. Hair in curls to the ears, pointed beard
and moustache.
Plumbago. Circular, diameter, 3ff in. On vellum.
Signed and dated Amsterdam, 1693.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special 'Catalogue. (319)

95 Second Day
JOHN FABER, Senr.
297 Admiral van Wassenaer-opdam. Bust, viewed to the left.
Wide faUing coUar ; hair to the shoulders ; the ribbon of an
Order about his neck.
Indian ink. Rectangular, 2\ by 2 in. On paper. (415)
JOHN FABER, Senr.
298 William of Orange (afterwards WUliam III). Bust, in armour,
viewed to fhe right. Cravat secured with a jeweUed pin.
Hair in curls to the shoulders.
Indian ink. Circular, diameter If in.
On a piece of ivory resembling a counter.
V
This depicts the King at an early age. The inscription reads :
" WUhlm's III, D.G. Prins V O. R." (84)

JOHN FABER, Senr.
299 Admiral Sir James Wishart. Half-length, viewed to the left,
eyes looking to the right. Full cloak, long cravat ; full curly
wig to the shoulders.
Plumbago. Oval, 3ff by 3^ in. On vellum.
Signed and dated May 4th, 1704.
Exhibited at the Burlington Fine Arts Flub in 1889, at Brussels
in 1912, and at the Victoria and Albert Museum, 1914-18.
Described in the Catalogues ; also in Foster's " Samuel
Cooper and the English Miniature Painters of the XVIIth
Century." (187)

JOHN FABER, Senr.
almost certainly the work of.
300 An elderly Man, name unknown. Half-length, viewed to the
right. Brown coat buttoned almost to the chin, white neck
cloth ; broad-brimmed brown hat, short brown hair-.
Crayons. Oval, 8 by 10 in. On paper.
Said to be signed and dated 1711, probably on 'the reverse. (457)

Second Day 96
JOHN FABER, Junr.
1684-1756.
301 Joseph Addison. Half-length, viewed full, face to the right.
Open coat, long neck-cloth, curly wig to the shoulders.
Plumbago. Oval, 2% \ by 2\\ in. On paper.
Exhibited at Brussels in 1912 and at the Victoria and Albert
Museum, 1914-18. Described in the Catalogues of the
Exhibitions. From George IV's and the Bridge Collftctions.
An important portrait. (173)

JOHN FABER, Junr.
302 Frederick the Great. Half-length, viewed to the left, eyes
looking full. He wears a richly embroidered coat with the
ribbon and star of an Order on his breast. An ermine cloak
across the left arm. Black stock, square curly wig in pigtatt.
Contained in a circle design with titular inscription below.
Pen and ink. Rectangular, 10J by 14\ in. On paper. (454)

JOHN FABER, Junr.
¦303 George I. Bust, viewed full, face to the right. In Coronation
robes. Lace cravat, long wig to the shoulders.
Plumbago, and pen and ink. Oval, 4f by 3f in. On vellum. (309)

JOHN FABER, Junr.
304 George I. Almost half-length, viewed to the left. Cap with
ermine mantle and long lace cravat. He wears the collar of
the Order of the Garter. Long wig to the shoulders.
Pen and ink. Oval, 4 J by 5£ in. On vellum.
Unframed. (537)

97 Second Day
JOHN FABER, Junr.
305 George I. Same as (537), except that it is executed in darker
and richer tones.
Pen and ink. Oval, 5% by 4| in. On vellum.
Unframed. (536)
JOHN FABER, Junr.
306 George II. Half-length, viewed full, face to the right ; eyes
looking full. He is wearing Coronation robes with the George
about his neck. Long lace cravat, curly wig to the shoulders.
Pen and ink. Oval, 3f by 4\ in. On vellum.
(332)

JOHN FABER, Junr.
307 Charles II. Half-length, viewed to the right, eyes looking to the
left. He wears a wide ermine cape. The George of the
Order of the Garter about his neck. Stiff lace cravat with
tassels, long wavy hair to the shoulders, small moustache.
Pen and ink. Oval, 3f by 5 in. On vellum.
*%* This is a somewhat puzzling drawing. It has been given
to Faber and is probably his work, but it somewhat closely
resembles the work of Paton in certain respects, although in
fineness of execution it is like the work of Faber. (507)

WILLIAM FAITHORNE.
1616-91.V
308 Richard le BelomAn, caUed Zebolina, teacher of shorthand
< writing. Bust, viewed to the right, eyes looking full. He
wears a loose cape thrown backwards over his shoulders and

Second Day 98
Lot 308 — continued.
wide fatting collar with tassels. His hair, faUing in curls to the
shoulders, is confined in a tight skull-cap. SmaU pointed
beard and moustache.
Red chalk. Rectangular, 6f by 91 in. On paper.
This fine drawing was also engraved by Faithorne ; the
engraving is very rare.
From the Collections of Sir Mark Masterman Sykes and
William Esdaile. (725)

- WILLIAM FAITHORNE.
309 James Boddington (1630-1708). Half-length, viewed to the
right. Open cloak, fan shaped lace cravat, hair faUing to the
shoulders.A very powerful plumbago portrait drawn on the reverse of
a playing-card .(the nine of hearts).
Oval, 3^by2\ in. On a card.
Exhibited at the Victoria and Albert Museum, 1914-18. (354)

WILLIAM FAITHORNE.
310 Charles II. The King is represented viewed to the right. He
wears a doublet and cloak with long wig to the shoulders.
Small moustache. *
Plumbago. Rectangular, 11 by 8\ in. On vellum.
Described in Foster's " Samuel Cooper and the English
Miniature Painter's of the XVIIth Century."
An important example of Faithorne's work, and probably
his finished study for the engraved portrait of the king. (439)
[See Illustration.]

No. 310.

No. 312.

No. 313.

' 99 Second Day
WILLIAM FAITHORNE
311 CharleS II. Bust, viewed to the right, wearing the Crown.
Ermine cape with the collar of the Order of the Garter, falling
collar, hair to the shoulders. Large, initials : " C " containing
the numeral " II " and " R "to the left and right of the head.
Pen and ink.

Oval, 3| by 3 in.

On \

lellum. (429)

WILLIAM FAITHORNE.

311a John Milton. Half-length, viewed to the right, eyes looking
full. A cloak drawn across his breast, faUing folded collar.
Plumbago. Oval, 2$ by 2^ in. On vellum.
Exhibited at Brussels in 1912 and at the Victoria and Albert
Museum in 1914-18. Described in both Exhibition Catalogues.
This differs from the portrait of the Poet, which Faithorne
engraved in 1670. (177)

WILLIAM FAITHORNE
312 A Gentleman, name unknown. Half-length, viewed to the
left, eyes looking full. He wears a brown velvet doublet with
lawn sleeves, a jewelled ornament on his right shoulder, long
lace cravat, and long brown wig to the shoulders.
Crayons. Rectangular, 9 by 10J in. On paper. (754)
[See Illustration.]

WILLIAM FAITHORNE
313 Nathaniel Lee. Half-length, viewed full, face to the left. He
wears a plain white cloak. With his left hand he holds a dark
cloak to his right shoulder. Hair parted in the centre and
falling in long curls over his shoulders.
Plumbago. Rectangular, 7\by 10 in. On paper.
Signed with Faithorne's initials (Latinized).

Second Day 100
Lot 313 — continued.
Exhibited at Brussels in 1912 and described in the Catalogue
of the Exhibition.
Described in Foster's " Samuel Cooper and the English Minia
ture Painters of the XVIIth Century."
Lee, known as" The Mad Poet," obtained fame for his versions
of Shakespeare's play. (79)
¦[See Illustration.]
WILLIAM FAITHORNE
314 Sir John Reresby. Bust, viewed to the left, eyes looking full.
A cloak draped across his breast and disclosing his right sleeve,
decorated with a jewelled buckle and long tasselled epaulette.
Round falling collar. Hair to the shoulder's.
Plumbago. Oval, 2\ by 3% in. On a card.
In its original sUver-gilt, frame, with the initials " J. R. Bart."
on the reverse.
Exhibited at the Victoria and Albert Museum, 1914-18,
and illustrated in the special Catalogue.
Sir John Reresby, a devoted foUower of the extted Stuarts,
was born in 1634 and died in 1689 ; both his " Travels " and
" Memoirs " are of value.
As fine a plumbago portrait as can possibly be desired. (299)
[See Illustration.]

JAMES FERGUSON.
1710-76.
315 A Boy and Girl, names unknown. The boy half-length, viewed
to the right, eyes looking fuU. Open coat, light waistcoat,
frilled coUar bound with a black ribbon, short hair.
Plumbago. Oval, 2-fe by l-£f in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18.
The two miniatures are set dos-a-dos in one frame.
Ferguson attained great eminence as an Astronomer. In
early life he traveUed all over England and advertised these
charming little portraits in the local papers " with frame and
glass " for 15s. (526)

rHCO

COCO d
z

101 Second Day
JAMES FERGUSON
316 A Clergyman, name unknown. Viewed to the right. Clerical
habit and square collar.
Plumbago. Oval, 2 by 2\ in. On vellum. (107)

JAMES FERGUSON x
317 Miss E. Hervey. Half-length, viewed to the left, eyes looking
full. Black decollete bodice with broad white fichu secured
at the bosom with a black bow. She wears a pearl necklace
tied with a black bow. Hair simply arranged and confined in
a lace cap.
Plumbago.. Oval, 2 by 2\ in. On vellum. (584)

JAMES FERGUSON
318 Miss Hoare of Wiltshire. Half-length, viewed to the left,
eyes looking full. She wears a black bodice with lace at the
, sleeves, and a broad lace stole. Her dark hair falls in ringlets
to her shoulders over which is a white lace cap, pearl drop
ear-rings.
Plumbago. Oval, 2 by 2\ in. On vellum.
(880)

JAMES FERGUSON
319 Mr. John Hervey. Half-length, viewed to the right, eyes
looking full. Light open coat, black waistcoat, white cravat,
round curly wig.
Plumbago. Oval, 2 by 2\ in. On vellum. (586)

Second Day 102
JAMES FERGUSON
320 Miss Mary Hervey. Half-length, viewed to the left, eyes
looking full. She wears a dark decollete bodice edged with
lace and held together at the bosom with bands of silk, a string
of pearls at her neck secured with a black bow. Her dark
hair is simply arranged and confined in a small lace cap.
Plumbago. Oval, 2 by 2\ in. On vellum.
(585)

JAMES FERGUSON
321 A Lady, name unknown. Viewed to the left. Decollete bodice
trimmed with lace, pearl necklace and ear-rings.
Plumbago. Oval, 2 by 2\ in. On vellum. (10a)

JAMES FERGUSON
322 A Lady, name unknown. Half-length, viewed to the left, eyes
looking full. She wears a lace fichu over a dark decollete
bodice, laced up at the bosom ; lace mob-cap tied under her
chin in a bow. Oval, 2 by 2\ in. On vellum. (10)

JAMES FERGUSON i
323 A Lady and Gentleman, names unknown. He is viewed to the
right, eyes looking full. He wears an open coat and dark
waistcoat, long scarf cravat, round curly wig. The lady is
viewed to the left, eyes looking full. She wears a V-shaped
bodice and lace fichu secured at the bosom with a bow, lace
mob-cap decorated with bows and tied under the chin.
Plumbagos. Ovals, both measuring 2\ by 2f in. On vellum.
Dated 1750. (75 and 76)

•

103 Second Day
JAMES FERGUSON
324 A Lady and Gentleman, names unknown. The lady half-
length, viewed to the left, eyes looking to the right. Decollete*
bodice edged with lace, the sleeves caught up with pearl clasps,
a string of pearls across the bosom (right), pearl drops in the
ears, a sprig of flowers in her hair which is simply arranged
with one curl falUng over the right shoulder.
Plumbagos. Ovals, 2\i by If \ and 2\ by If J in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue.
Signed. -. (336 and 337)

JAMES FERGUSON
325 Mr. E. Norman. Miss Norman. Half-length, viewed to the-
right, eyes looking to the left. The gentleman wears an open
coat over a richly embroidered waistcoat, lawn stock with
pendant black ribbons. Hair falling to the ears. The lady
is viewed half-length to the left, eyes looking to the right.
V-shaped bodice, cut square at the bosom, and pannier skirt ;
short sleeves edged with lace, Her hair, confined in a small
lace cap, falls in curls to her right shoulder.
Plumbagos. Ovals, measuring 1\ by 2| in. On vellum.
(130 and 131)

JAMES FERGUSON
326 A Set of three Portraits, two Gentlemen and a Lady,
names unknown.
Plumbagos. Ovals, measuring 2 by 2\ in. On vellum.
These oval portraits by Ferguson, of the same type and
treatment, are viewed almost half-length turned to the left or
the* right, the eyes looking in the opposite direction. The
gentlemen wear the coats, waistcoats, and powdered wigs
of the period, the ladies broad fichus trimmed with lace
and bows and frilled mob-caps.
Dated 1749. (70 to 72)

Second Day 104
JAMES FERGUSON
327 " Peg " Woffington. Half-length, viewed to the right, eyes
looking full. She wears a decollete bodice with lace fichu
secured at the bosom with a bow, lace mob-cap tied under
the chin. A lock of her hair falls on the left shoulder.
Plumbago. Oval, If by 2| in. On vellum.
From Lord Henniker's Collection. (23)

FRANgOIS FERRlERfi
1753-1839.
328 Captain Thomas Masterman Hardy, r.n., the devoted friend of
Nelson. Half-length, viewed to the right, eyes looking
slightly to the left. Blue uniform with brass buttons, white
cuff and lapels, black stock, short powdered hair.
. Oval, 2 J by 2| in. On ivory.
(51)
FRANCOIS FERRlERE
329 Horatio, Lord Nelson (as a young man). Bust ; face looking
to the left. He wears an indigo coat with crimson lapels
edged with gold braid and gold epaulettes, white frilled cravat,
powdered hair. Oval, 2f by 2| in. On ivory.
This miniature belonged to the Admiral's sister, Susannah,
who married Thomas Bolton. It is one of the earliest known
portraits of Nelson.
Ferriere worked in Switzerland, Russia, and England. (247)

JOHN FINLAYSON
1730-73.
330 David Garrick, as Kitely in " Every Man in His Humour."
Almost half-length, viewed slightly to the right, face to the
left. He wears an olive and brown doublet, slashed with
white near the left sleeve, a brown cloak across his shoulders,

105 Second Day
Lot 330 — continued.
white falling collar edged with point lace ; brown hair parted
in the centre and falling in curls to the ears.
/ Water colour. Oval, 4 J by 5| in. On vellum.
This drawing was engraved in 1769.
Exhibited at the Burlington Fine Arts Club in 1889.
From George Daniel's Collection.
Inscribed on the reverse, " David Garrick as Kitely in Every
Man in His Humour. Fine original drawing (1769) this is
engraved in mezz. Geo Daniel Canonbury," and in another
hand " Bought at Sale of George Daniels at Sotheby &
WUkinsons." (683)

SCHOOL OF THOMAS FLATMAN
1637-88.
331 The Earl and Countess of Castlemaine. The Earl is repre
sented head and shoulders, viewed to the right, eyes looking
to the left. FaUing lace coUar with tassels, long brown wig to
his shoulders. The Countess is viewed to the left, eyes looking
to the right. Light blue decollete bodice edged With white,
pearl necklace and ear-rings ; brown hair divided in a circle
over the forehead, forming a fringe in front and disposed in
curls over the head in back, one lock faUing over the left
shoulder. Painted in oil on silver plates. Ovals, 2\ by 2f and 2f by 3 in.
Barbara Villiers, Countess of Castlemaine, was created Duchess
of Cleveland by Charles II.
These may have been painted in Holland, but in certain
characteristics resemble the work of Flatman. (46 and 47)

SCHOOL OF THOMAS FLATMAN
332 Henry Cromwell. Fourth son of the Protector and Lord-
Deputy of Ireland. Bust viewed to the right ; eyes to the
left. Black coat, long white cravat, browh hair parted in the
centre and falling to the shoulders.
In oil. Oval, 1\ by 1\ in. On a card.
A remarkable portrait. (355)

Second Day. 106
JOHN FLAXMAN, R.A.
1755-1826.
333 The Artist's own Portrait. He is viewed to the right, hair
falling to the shoulders. The delineation of the shoulders and
arms is omitted, but a beautifuUy drawn hand is placed before
him as though clasping a book.
Crayons. Rectangular, 7 by 12 J in. On paper.
Exhibited at South Kensington Museum in 1865. (370)
[See Illustration.]

JOHN FLAXMAN, R.A.
S34 The Artist's own Portrait.- Head and shoulders, viewed to
the left, hair faUing to the shoulders. He wears an open coat
with a broad collar, white waistcoat with frill.
Pencil and black chalk. Rectangular, 15 by 10£ in. On paper.
Windus CoUection, Christie's, 1868. - J "*v
Collection of Thomas Woolner, R.A.
Exhibited at the Exhibition of Old Masters, Royal Academy
1879 (number 342 in the Catalogue).
Exhibited at the Bath GaUery, 1919."
This is a much later portrait than the Self-portrait. (Lot 333). (903)

GOVERT FLINCK
1615-60.
335 A Youth, name unknown. Half-length, viewed to the right-,
face to the left, eyes looking to the right. Doublet with puff
sleeves, round white collar, velvet cap with large white plume,
hair falling to the ears ; gold chain and seal.
Black and white chalks. Rectangular, 8\ by 10| in. On paper. (670)

No. 333.

107 Second Day
JAKOB FOLKEMA
1692-1767.
336 Humphry Prideaux, Dean of Norwich. Half-length, viewed
to the left, wearing his Dean's gown, tab coUar and long wig.
His right hand rests on a book (his " Old and New Testaments
Connected ") ." the base of a column in the background to the
left. The whole contained in a frame with crest on a cornice
below and a crown of acanthus leaves above.
Plumbago and Indian ink. Rectangular, 6J by 8f in. On vellum.
This drawing, which dates from about 1715, was engraved. (380)

SAMUEL FOLWELL
worked in Philadelphia at the end of the XVIIIth Century.
337 George Washington. A bust, viewed in profile to the left. He
wears a high-collared coat with light facings, lawn cravat ;
powdered hair in pigtail with a rosette on the queue.
Indian ink and wash. Rectangular, 4 by 3 in. On a card.
Signed and dated 1791.
Exhibited at the Victoria and Albert Museum, 1913. (728)

CHARLES FORREST
Exhibited 1768-1776.
338 Admiral Sir Charles Saunders. Viewed three-quarter length.
In the typical full dress costume of the reign of George II.
Pencil and wash. Rectangular, 12 \ by 9f in. On paper.
Saunders shared with Wolfe the full glory of the siege and
capture of Quebec.
%* The present portrait dates from about 1750 in which year he
was elected member for Plymouth. (820)

Second Day. 108
THOMAS FORSTER
flourished end of the XVIIth Century.
339 Joseph Addison (called a portrait of). Half-length, viewed to
the right, eyes looking full. Full cloak edged with fur, lawn
cravat, fluffy wig to the shoulders.
Plumbago. Oval, 3| by 2*ri in. On vellum.
Signed and dated 1698.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (523)

THOMAS FORSTER
340 Mr. G. Bulteel. Half-length, viewed to the left, eyes looking
full. Satin cloak across the right shoulder, long cravat with
fringe ends. Full wig parted in the centre ; one mass of curls
falling in front over the left shoulder, another in back over the
right. Plumbago. Oval, 3| by 4J in. On vellum.
Signed and dated 1703.
Exhibited at the Victoria and Albert Museum, 1916-18.
From the Collection of John Fisher, Bishop of Salisbury. (612)

THOMAS FORSTER
341 Mr. J. Bulteel. Half-length, viewed to the right, eyes looking
to the left. Dark cloak, full cravat, long curly wig falling
over •the shoulders to the waist.
Plumbago. Oval, 3| by 4| in. On vellum.
Signed and dated 1699.
Exhibited at the Victoria and Albert Museum, 1916-18.
From the Collection of John Fisher, Bishop of Salisbury. (598)

109 Second Day
THOMAS FORSTER
342 Miss L. Bulteel: Half-length, viewed fuU, face to the left, eyes
looking slightly to the right. Open-necked bodice edgjed with
lace, a girdle with pearls about the waist, the sleeves caught up
below the shoulder with strings of pearls. A satin cloak over
the right arm brought round and falling over the left forearm.
Hair simply arranged in curls, a curl falling over the left
shoulder.

jo. Oval, 3J by 4J in. On vellum.
Signed and dated 1700.
Exhibited at the Victoria and Albert Museum, 1916-18.
From the Collection of John Fisher, Bishop of Salisbury. (599)
[See Illustration.]

THOMAS FORSTER
343 Miss Mary Bulteel. Half-length, viewed full, face to the
left, eyes looking to the right. Open-necked bodice edged
with lace, a satin mantle over her left shoulder ; hair simply
arranged in curls, a lock faUing to each shoulder.
Plumbago. Oval, 3\ by 4£ in. On vellum.
Signed and dated 1700.
Exhibited at the Victoria and Albert Museum, 1916-18.
From the CoUection of John Fisher, Bishop of Salisbury. (613)

THOMAS FORSTER
344 General Crofts. Half-length, viewed fuU, face shghtly to the
right, eyes looking fuU. In full armour. White tie, long
curly wig.
Plumbago. Oval, 4J by 3-g? in. On vellum.
Signed and dated 1707.
General Crofts was the natural son of James, Duke of Mon
mouth, and Eleanor Needham.

...

Second Day 110
Lot 344 — continued.
(See inscription on the reverse).
Exhibited at Brussels in 1912 and described in the Catalogue
of the Exhibition ; also at the Victoria and Albert Museum,
1914-17, and illustrated in the special Catalogue. Described
in Foster's " Samuel Cooper and the English Miniature Painters
of the XVIIth Century."
From the Paulton Collection. (185)

THOMAS FORSTER
345 A Divine, name unknown. Half-length, viewed to the right, eyes
looking fuU. Black cloak, white tab collar. Curly wig to the
shoulders. Plumbago. Oval, 4-g? by 3^-V in. On vellum.
Signed and dated 1711.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (525)

THOMAS FORSTER
346 A Divine, name unknown. Half-length, viewed to the right,
eyes looking full. He wears a dark satin cape and hood
about his shoulders, white tab collar, long curly wig.
Plumbago. Oval, 3f by 4| in. On vellum.
Signed and dated 1709. (755)

THOMAS FORSTER
347 James Drake. Political writer, temp. Queen Anne. Nearly
full face, turning slightly to the left and looking towards the
spectator. He wears a heavy wig, which falls over his

Ill Second Day
Lot 347 — continued.
shoulders, a silk gown, and round his neck a cambric scarf.
Plumbago Oval, 3\'by 4| in. On vellum.
In the original silver-gttt repousse frame.
Signed and dated 1700.
This drawing, which was engraved in 1707, is iUustrated in
Foster's " Samuel Cooper and the English Miniature Painters
of the XVIIth Century. ' '
Exhibited at the Victoria and Albert Museum, 1914-17, and
iUustrated in the special Catalogue.
From the Pfungst Collection. (717)

THOMAS FORSTER
348 A Gentleman, name unknown. Half-length, viewed to the
right, eyes looking left. He wears a satin cloak over his left
shoulder. Lawn cravat. Long curly wig.
Signed and dated 1703.
Plumbago. Rectangular, 3| by 4f in. On vellum.
Exhibited at the Bath Gallery, 1918. (781)

THOMAS FORSTER
349 The Duke of Gloucester, son of Queen Anne and Prince George
of Denmark. Half-length, turned to the left, holding a bow
and arrow, face to the left. He wears a coat with wide cuffs
and a cloak thrown back from the shoulders ; short hair.
Plumbago. Oval, 3 by 3 J in.. On vellum.
Signed by an initial only.
The Duke was born in 1689 and died in 1700. * (556)

THOMAS FORSTER
350 John, First Duke of Marlborough. A head, viewed to the
right, eyes looking full. Curled wig to the shoulders.
Plumbago. dval, 4\ by 3| in. On vellum.
Exhibited at the Bath Gallery 1918. (780)

Second Day 112
THOMAS FORSTER
351 Charles Montagu, Earl of Halifax, First Lord of the Treasury.
Half-length, viewed full, face to the right, eyes looking to the
left. Full cravat, one end of which is drawn through a button
hole of his coat ; long curly wig to the shoulders.
Plumbago. Oval, 4-fa by3\ in. On vellum.
Signed and dated 1696.
Exhibited at the Victoria and Albert Museum, 1914-18. (524)

THOMAS FORSTER
352 Lord Henry Scott, aged 28. Bust, viewed to the left, eyes
full. Long cravat, hair to the shoulders.
Plumbago. Oval, 1 \ by 1\ in. On vellum.
Drawn in 1704.
Signed.
A tiny but most exquisite drawing.
Lord Henry was the son of the Duke of Monmouth and Anne
Scott, Countess of Buccleuch in her own right. In 1706 he
was created Earl of Deloraine. (652)

THOMAS FORSTER
353 Samuel Pepys (called a portrait of). Half-length, seated half-
right, with right arm bent, three-quarter face over right
shoulder, eyes looking full. Dressed in silk robes, long fringed
¦ cravat, and fuU-bottomed curly wig.
Plumbago. Oval, 4^ by 3^ in. On vellum.
Signed and dated 1696.
Exhibited at South Kensington 1862.
From the Blaauw (1862) and Cosens CoUections.
Sold at Christie's, 19 May 1890. (852)

/

113 Second Day
Attributed to THOMAS FORSTER
354 Dr. Thomas Hay, Professor of Medicine at Oxford. Half-length,
viewed to the right, eyes looking fuU. Full cloak, long cravat,
long curly wig to the shoulders.
Plumbago. Oval, 3ff by 3^ in. On vellum.
Drawn in 1696.
Signed Foster.
Exhibited at the South Kensington Museum in 1865 and at
the Victoria and Albert Museum, 1914-18. Described in
Foster's " Samuel Cooper and the English Miniature Painters
of the XVIIth Century."
From the Meyrick Collection. (225)

Attributed to THOMAS FORSTER
355 Mrs. Hay. Half-length, viewed full, face to the right. She
wears a satin clpak over a simple decollete bodice. Hair
¦ parted in the centre and falling to the shoulders.
Plumbago. Oval, 3-Jf by 31 in. On vellum.
Drawn in 1696.
Signed. Exhibited at South Kensington Museum in 1865, also at the
Victoria and Albert Museum, 1914-18, and described in the
special Catalogue.
From the Meyrick Collection.- (226)

THIRD DAY'S SALE.

JEAN HONORE FRAGONARD
1732-1806.
356 Two highly finished designs for Snuff-boxes. The first
represents a semi-nude female figure, holding wreaths in both
hands, one of which she is about to place, on the head of a
sleeping Cupid.
The second represents a draped female figure, holding a
garland. To the right a statue of a boy and a dog on a pedestal
at the foot of which is a basin and ewer. Background of
foliage.
Pencil. Circular, diameter 2-f in. and 2\ in. On vellum.
(305 and 305a)
WILLIAM FRAZER
Exhibited at the Royal Academy, 1806-11.
357 A Gentleman and his Daughter, names unknown. The girl
is represented almost full length, viewed in profile to the
right, standing beside her Father, who is seated at a table, on
which lies a map of India and two books. She is dressed in a
simple, white gown with short sleeves, a scarf draped across
her breast ; light brown hair. The Gentleman wears a black
high-collared coat, short powdered hair. Curtain in the
background.
Black and red chalk. Rectangular, 9\ by 11 in. On paper.
Signed and dated 1810. (432)

FRENCH
XVIIth Century.
358 A Monk, name unknown. Three-quarter length, seated, viewed
to the left. He is represented writing, wearing the cowl-cape
and skull-cap of his Order, a medal on his breast.
Pencil. Rectangular, 5| by 6f in. On paper.
' (543)

115 Third Day
FRENCH
XVIIth Century.
359 J. F.. Mesenguye, Jansenist. Three-quarter length, viewed to
the left. He wears a soutane with cincture and tab collar
and cape, wig and skull-cap. His left hand rests on a staff,
his right hand holds a book.
Pencil. Rectangular, 5\ by 6f in. On paper. (544)

FRENCH
Early part of the XVIIIth Century.
360 James Edward Stuart, James III of England and VIII of
Scotland, called by some " The Old Pretender " Almost
full length, in armour ; viewed to the left, looking full face.
He wears the blue ribbon of the Order of the Garter and the
red coUar of the Order of the Golden Fleece. Powdered hair
in pigtaU. Oval, 1£ by If in. On ivory.
From the Lindsay Collection. (322)

FRENCH
Late XVIIIth Century.
361 A Lady and Gentleman, names unknown. Full lengths, repre
senting a man in brown coat and knee-breeches leading a lady
in a white dress through a garden. An altar with a fire burn
ing up from two golden hearts (left), a tree and a temple in the
background (right and left).
In sepia. Oval, If by 2 in. On ivory.
(153)
THOMAS FRYE
, 1710-62.
362 Queen Charlotte. Half-length, viewed full, face to the right
inclined to the right. Decollete bodice covered with an
ermine-edged robe, black frilled collarette and pearl necklace

Third Day 116
Lot, 362 — continued.
in three loops. Brilliants encircled with pearls and three pearl
* drops in her ears. Hair brushed back from the forehead and
confined in a'loose mob-cap decorated with pearls. Her arms
folded before her.
Pencil and black chalk. Rectangular, 13| by2Q\ in. On paper.
This portrait was drawn in 1761 and engraved. * (669)

THOMAS FRYE
363 Charles Cholmondeley, m.p. Half-length, viewed to the
right, eyes looking to the left. High-cut coat,, wig to the
shoulders. Titular inscription below reading " Charles
Cholmondeley Esq. of Vale Royal Cheshire who died Repre
sentative in Parliament of the County of Chester after 42
years service " ; with a short verse commemorating his
Parliamentary career.
Plumbago. Rectangular, 9 by 12| in. On vellum.
(375)
[See Illustration.]

WILLIAM THOMAS FRY
1789-1843.
364 The Duke of Wellington. Half-length, viewed fuU, face to
the right. In uniform, wearing the insignia of the Garter, of
the Golden Fleece, and four other Orders. Embroidered
collar and black stock, short hair.
Sepia. Rectangular, 8f by 11 in. On vellum.
Signed.Drawn in 1815 and engraved.
It is framed with a proof of the engraving. (666)

>fc •

No. 363.

117 Third Day
HEINRICH FRIEDRICH FUGER
1751-1818.
365 Madame Elisabeth de France. Bust, viewed full face, pow
dered hair in curls. She wears a white cloak edged with lace
and blue ribbon; secured over the breast with a blue bow,
decoUete violet bodice and lace fichu. Oval, 1^ by 2-f in. On ivory.
This beautiful miniature of the heroic sister of Louis XVI is
preserved in its original diamond frame.
Fiiger was known as " the Cosway of Vienna."

HEINRICH FRIEDRICH FUGER
366 Maria Elizabeth, Princess of Baden and Duchess of Brunswick.
Died 1805. Half-length, turned slightly to the left, face to
the left, eyes full. She is dressed in a white Empire gown
with blue girdle, blue scarf about the shoulders, brown hair.
Oval,. 2| by 2\ in. On ivory. (689)
FULLER
367 Frances Lewis, aged 50. Half-length, viewed to the right, eyes
looking full. Loose bodice edged with broad ribbon, lace
fichu folded well up under her chin, lace mob-cap tied under
her chin in a bow, dark hair parted in the centre.
Plumbago. Oval, 2\ by 2f in. On vellum.
Signed and dated 1759.
Exhibited at the Victoria and Albert Museum, 1916-18. (569)

THOMAS GAINSBOROUGH, R.A.
1727-88.
368 Miss Bedingfeld of Oxburgh, Norfolk. Half-length. Eyes
full, looking to the left. She wears a pink dress trimmed
with heavy black lace, a pink ribbon, tied in a bow, is round

Third Day 118
Lot 368 — continued.
her neck. Her powdered hair is dressed high, and surmounted
by an elaborate lace cap tied with pink ribbons.
A sketch. Oval, 4f by 3{ in. On paper.
From the Bedingfeld family collection. (838)

THOMAS GAINSBOROUGH, R.A.
369 Gainsborough Dupont and two other Youths. A group
representing three boys in a studio discussing a drawing which
the youngest, seated in the centre, holds in his lap. The oldest
boy, Gainsborough Dupont, the artist's nephew and pupil,
stands to the right. The third boy stands between them
farther back. On a table to the left stand a plaster cast of
Homer and another bust.
Black chalk. Rectangular, 17\ by 18 in. On paper.
*** This important drawing contains the earliest known
portrait of gainsborough dupont. (404)

THOMAS GAINSBOROUGH, R.A.
370 David Garrick. Bust, viewed to the right. Coat and waistcoat
with lace cravat, hair in pigtail.
Sepia Oval, 1| by l.| in. On ivory.
%* The technique of this Uttle miniature is remarkable.
Gainsborough certainly drew, for amusement or as studies
for pictures, 2 portraits in sepia ahd signed a pencil sketch for
one of them. This closely resembles one of these portraits. (236)

THOMAS GAINSBOROUGH
371 A Lady, name unknown. Full-length, viewed to the left, head
to the right and inclined to the right. Decollete bodice with
open fichu, secured at the bosom with a bow ; long overskirt

119 Third Day

Lot 371 — continued.

trimmed with lace. Hair brushed up from the forehead and
falling in curls about the neck ; a small cap at the back of the
head. The left hand is raised in gesture, the right hand is
extended downward.
Pencil. Rectangular, 7 by 10£ in. On paper.
Exhibited at the Bath Gallery, 1918. (165)

THOMAS GAINSBOROUGH
372 A Lady, name unknown. Full-length, viewed in profile to the
right. Frilled bodice with long sleeves, pannier skirt ; pearl
drops in her ears. High-crowned hat decorated with flowers,
her hair simply arranged. She holds a handkerchief in her
hand ; a little dog runs beside, her. Foliage in the back
ground.
Pencil. Rectangular, 9 J by 14 in. On paper. (421)

THOMAS GAINSBOROUGH, R.A.
373 The Princess Royal, eldest daughter of George III. Half-
length, seated at a table writing. Eyes full, looking to the
left. She wears a pink dress with a white muslin cape and a
black shawl. Her powdered hair is dressed high, and covered
with a white mob cap trimmed with black ribbon.
A brilliant sketch. Oval, 5\ by 4\ in. On paper. (837)

374 Mr. Thorpe. Three-quarters length, viewed to the left. His
left hand is thrust in his waistcoat, a hat under his right arm,
lace cravat, hair in pigtail.
Pencil. • Oval, 6| by 5 in. On vellum.,
This is probably the study for a picture. (542)

Third Day 120
DANIEL GARDNER
1750-1805.
375 Lady Darlington. She is represented reclining on the grass in a
wood, a dog beside her. Decollete bodice and full skirt.
Hair in curls to the shoulders.
Plumbago. Oval, 10£ by 8| in. On vellum.
*** The original drawing for the engraving which was published
under the title of " Fidelity." See copy of it in colours on
. the back.
Lady Darlington was the daughter of the sixth Duke of
Bolton. (120)

DANIEL GARDNER
1750-1805.
376 Mrs. Gwyn, " the Jessamy Bride." Half-length, viewed slightly
to the right. Green decollete bodice with thin white scarf
about the shoulders. Hair high en pompadour, small lace
cap with black strings tied over the neck.
Oval, 3| by 2\ in. On ivory.
Probably painted whUst Gardner was working in Sir Joshua
Reynolds's studio.
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
%* This remarkably beautiful miniature is believed to be the only
example by Gardner in a private collection, apart from the
six or seven miniatures stUl in the possession of Gardner's
descendants. Goldsmith's " Jessamy Bride " died at Wey-
bridge in 1840, aged 86. (24)
[See Illustration.]

HENRI GASCAR
1635-1701.
377 The Lord James Beauclerk, son of Charles II and " NeU "
Gwyn. Bust viewed to the' right. Jacket and falling collar.

121 Third Day

Lot 377 — continued.

His short curly|hair is bound with a wide ribbon and topped
with a plumed|velvet cap tilted to the right.
Plumbago. Oval, 8\ by 7 in. On vellum.
Drawn in 1671.
Drawing somewhat damaged. (504)

M. GAUCI
died 1820.
378 The Princess Charlotte, daughter of George IV. Full-length,
viewed in a garden with Windsor Castle in the background.
Eyes full, looking to the left. She wears a white muslin
'rock with her bosom and arms bare. A pool of water is in
the foreground beside which the Princess kneels pointing to
a nest of young birds in a shrub.
Rectangular, 4| by 3f in. On ivory.
Signed and dated 1810. (839)

M. GAUCI
379 John Philip Kemble as Coriolanus. Half-length, viewed full,
face to the left. He wears a black and white slashed doublet
with lace collar and cuffs, an olive-green cloak lined in violet
over his left shoulder. The left hand grasps the hilt of a
sword, while the right holds a pair of white gloves. Short
brown hair and side whiskers. In background, to the right,
a crimson curtain, a column to the left.
Rectangular, 3| by 4f in. On ivory.
Signed and dated 1817.
%* Painted in June 1817, when Kemble made his final appearance
on the stage in " Coriolanus."
Gauci was guttlotined in 1820. (9)

Third Day 122
SIR BALTHASAR GERBIER
1591-1667.
380 A Gentleman, name unknown. He is viewed to the right, eyes
looking full. He wears a rich early Stuart costume, with a
cloak brought round his waist and shoulder and fatting over
the right arm. The left hand rests on his hip, while the right
holds a jewelled ornament suspended on a chain from his neck.
Broad ruff collar and cuffs, hair brushed up from the forehead
and falling to the ears. " Aetatis " inscribed to the left of
his head in the background ; the numerals " XXII " to the
right. The whole contained in an ornamented circle (arms
above) with circumscription, " Au ciel je fends les aisles
cheminant sur la croix " ; " B. Gerbier fecit 1616 " below.
Pen and ink. Oval, 4 by 3 in. On vellum.
Signed and dated 1616.
The arms on the miniature are Azure — a soltaire or in chief,
an eagle displayed, arg.
*„* Gerbier came to England in this same year (1616) and drew
the miniature of Charles I, now in the Jones Collection at
South Kensington Museum.
The present miniature is probably a portrait of one of the
young nobles of the Court of James I.
Gerbier's miniatures are of great rarity. Only six are at
present recorded : —
1. Prince Charles (afterwards Charles I), drawn in 1616, now
at South Kensington Museum.
2. Maurice of Orange, also drawn in 1616.
3. Another portrait of the same Prince, in the Queen of
Holland's Collection.
4. Frederick V of Bohemia.
(Numbers 2 and 4 are at the British Museum).
5. Henry, Duke of Gloucester (Pierpont Morgan Collection).
6. The present miniature. (595)

No. 382.

123 Third Day
GERMAN
""Early XlXth Century, about 1810.
381 A Lady, name unknown. Half-length, viewed in profile to the
left. Blue bodice with white fichu, lace collar and mob-cap
tied under the chin. , . ,
Crayons. Oval, 5 by 4 in, . On paper.
(See label on the back). (528)

EDWARD GIBSON
1668-1701.
382 The Artist's own Portrait. Head and shoulders, almost in
profile to the right, face turned to the right, eyes looking full.
He wears a rose-coloured cloak, narrow white collar, blue cap.
Short black hair.
Crayons. Rectangular, 7| by 10J in. On paper.
Signed and dated 1690.
%* This beautiful drawing, which is recorded by Horace Walpole
in his " Anecdotes " as having been in the Tart HaU Collection,
was afterwards in the Collections of Thane and Sir Thomas
Lawrence. Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century," page 120.
No other drawing by Gibson is recorded. (250)
[See Illustration.]

JAMES GILLRAY
1757-1815..
383 The Artist's own Portrait. Half-length, viewed to the right,
eyes looking full. Long coat, loose neck-cloth, curly wig in
pigtaU. Pencil. Rectangular, 4| by 6 in. On paper.
This is the original study for the miniature now in the
National Portrait Gallery. (622)

Third Day 124
JAMES GILLRAY
384 The Lawyer and Matrimony. One represents a jovial face in
profile to the left. When inverted it becomes .a character
of woe. The other, a man and a woman smiling at each other.
When inverted they glare in anger.
Pencil. Ovals- measuring 6 \ by 7f in. On vellum.
(641 and 642)

CHARLES SAMUEL GIRARDET
1780-1863.
385 Blanche de Castile. Half-length, viewed to the right.
DecoUete bodice with full sleeves and white wristlets secured
with jewels, a jewel at her bosom. Her hair, parted in the
centre, falls down her back and is covered with white drapery,
a fold of which she holds in her left hand. Her right hand
rests on a pedestal.
Pencil. Rectangular, 4f by 5£ in. On paper.
Unframed. (548)

JEAN GIRARDET
1707-78.
386 A Woman, name unknown, aged 84. Half-length, viewed fuU,
face to the right, eyes looking full. Wide red shawl about her
shoulders, blue sleeves, black cap with friUed lace lappets
falling to the shoulders.. She holds a brown book in her hands.
Circular, diameter 2\ in. On ivory.
Signed. From the Cooper CoUection.
%* Girardet worked almost entirely for Stanislaus, King of
Poland. His miniatures are of great rarity. (58)

125 Third Day
JOHANN WOLFGANG VON GOETHE
1749-1832.
387 Charlotte von Stein, " the beloved of Goethe." Bust, viewed
in profile to 'the left. Bodice edged with falling ruffles, broad
fichu. Fluffy hair to the ears, with a long curly lock falling
over her shoulder.
Pencil. Circular, diameter 2$ in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
%* This remarkable miniature by the Poet-Artist (as well as that
of the " Youth ") was purchased from a member of the
Von Stein family. (246)

JOHANN WOLFGANG VON GOETHE
388 A Youth of the von Stein Family. Half-length, viewed in
profile to the left. Coat with double cape, lawn cravat,
short hair.
Plumbago. Circular,, diameter 2$ in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (516)

HENDRICK GOLTZIUS
1558-1616.
389 Egidius van Breen, the Engraver. Drawn in his thirty-second
year. (See long inscription on the reverse). Half-length,
viewed fuU, face to the right. He wears a doublet with wide
ruff, a high-crowned, wide-brimmed hat with a rosette at the
side. Short wavy hair, pointed beard and moustache.
Plumbago. Rectangular, 2| by 4 in. On vellum.
Dated 1592.
Exhibited at the Victoria and Albert Museum, 1917-18.
From the Collections of Van der Marck, D. Franken Dz,
Van Gogh, and Sir Charles Eastlake. (502)

Third Day 126
HENDRICK GOLTZIUS
390 Dirk Frisius, the Younger. He is represented with a falcon on
his right wrist, and about to mount the back of a big
St. Bernard dog. He is dressed in brown doublet and hose,
brown hat, white ruff. Tree and landscape in the background!
Rectangular, 7\ by 5\ in. On copper.
Painted in oils about 1596. This was engraved by Goltzius,
and the various prints of it are well known, but all of them
present certain differences from the present portrait. (113)

HENDRICK GOLTZIUS
391 Robert, Earl of Leicester. Half-length, viewed to the right,
eyes looking full. He wears a doublet with broad fur stole,
soft ruff. Short wavy hair. Pointed beard and falling
moustache. Plumbago. Rectangular, 3$ by 2f in. On vellum.
Signed and dated 1593.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
From the Collections of Van der Marck, D. Franken Dz,
Van Gogh, and Sir Charles Eastlake.
There is an interesting drawing on the reverse representing a
child asleep. - (428)

Attributed to FRANCISCO GOYA Y LUCIENTES
1746-1828.
392 A Cardinal Infant of Spain. Half-length, viewed full. He
wears a coat of cardinal red with lace frontals and wide lace
collar to the shoulders, gold 'cross and chain round his neck,
low-crowned sombrero with a crimson feather and crimson
lining ; the broad brim is turned up on the left side. Short
blond hair. A
m
Water-colour. Rectangular, 3| by 4J in. On a card.
This drawing was inspired by the portrait by Cuyp in the
Stadel Institute, Frankfurt. (88)

127 Third Day
JAN VAN GOYEN
1596-1656.
393 A Vjew of Rijnsburgh. A Church surrounded with trees,
seen across open country with a group of houses on the right.
Pencil and 'Indian ink. Rectangular, 4 \ by 3 in. On paper.
See inscription on the reverse, (-381)

JAN VAN GOYEN
394 ' Another view of Rijnsburgh. A Church spire in the centre,
surrounded by trees and open country. A house is on the
right.Pencil and Indian ink. , Rectangular, 4\ by 3 in. On paper.
These two tiny views are of extraordinary beauty and fineness.
They recall the much later and better known miniatures of
Van Blarenberghe.
See inscription on the reverse. (682)

* JAN VAN GOYEN
395 A View of Rotterdam. A palace to the left with buildings to the
left. The river is seen below with a landing stage and a boat
pushing off.
Pencil and Indian ink. Rectangular, 4J by 3 in. On paper.
Unframed. (840)
ANDREA GRAGLIA
Exhibited at the Royal Academy, 1777-91.
396 Lady Seton. Seated, half-length, viewed to the left. Simple
white gown ; her powdered hair, bound with a white scarf,
falls in curls about her shoulders. Oval, 2\ by 3 in. On ivory.
Signed and dated 1796.
Exhibited at Glasgow in 1911, and at Brussels in 1912.
Graglia's signed miniatures are of great rarity. (93)

Third Day 128
HUBERT FRANCOIS GRAVELOT
1699-1773.
397 Catherine II (" the Great ") of Russia. Half-length, viewed
to the left, eyes looking full. She wears a "tight-fitting
decollete bodice and full satin cloak. Her hair is dressed
high in curls. Contained in an ornamented circle, the Imperial
crown and arms above, below a titular inscription in Latin
flanked by two urns.
Indian ink. Rectangular, 4 by 5\ in. On vellum. (445)

HUBERT FRANCOIS GRAVELOT
398 Charles Garneys. Half-length of a boy, aged about 16, full
face, in close curled wig, right arm advanced, left hand resting
inside his waistcoat.
Plumbago. Oval, 5 by 4 in. . On vellum.
Inscribed on the reverse : — " Charles Garneys, Esq., bought
at his sale July 20th 1808. Drawn December 15, 1738.
Died aged 86." (849)

HUBERT FRANCOIS GRAVELOT
399 Clare Garneys. Half-length of a boy, aged about 15, eyes
looking full, in close curled wig, body turned slightly to the
left with right arm advanced.
Plumbago. Oval, 5 by 4 in. On vellum.
Inscribed on the reverse : — " Clare Garneys, Esq. Bought
at the sale of the late C. Garneys. July 20th, 1808. Drawn
December 15th, 1738." (851)

HUBERT FRANCOIS GRAVELOT
400 Miss Garneys. Half-length of a girl, aged about 14, viewed
full face, in close frttled cap, her body turned slightly to

129 Third Day

Lot 400 — continued.

right in close-fitting bodice, the right hand holding a
closed fan rests on her left wrist.
Plumbago. Oval, 5 by 4 in. On vellum.
Inscribed on the reverse : — " Miss Garneys. Bought at the
Sale July 20th (1808). Drawn December 15, 1738. Died
aged 76." (850)

JOHN GREENHILL
1649-76.
401 A Gentleman and his Wife, names unknown. The Gentleman
is viewed to the right, eyes looking to the left. Dark coat,
square faUing collar with tassels ; hair parted in the centre
and falling to the shoulders.
The Lady is viewed to the left, eyes looking to the right-
Decollete bodice, hair parted in the centre, brought over the
ears and gathered into a knot of curls behind ; a row of tight
curls over the forehead, a long curl falling upon each shoulder,
pearl necklace ; jewelled ear-rings, a gauze bow fixed to the
right side of the head.
Indian ink. Ovals, 4 by 4| in. On paper.
(413 and 413a)

JEAN BAPTISTE GREUZE
1725-1805.
402 La Marquise de Pompadour. (See inscription on reverse).
Same in composition as Lot 403, except that the rose is
placed over the left breast.
Pencil. Rectangular, 2tfe by 2A in. On paper.
This exquisite miniature is probably the finished study for
the crayon portrait of the Pompadour (see next lot).
Exhibited at the Victoria and Albert Museum, 1914-18,
and iUustrated in the special Catalogue.
From George IV's and the Bridge Collections. (172)

Third Day 130
JEAN BAPTISTE GREUZE
403 La Marquise de Pompadour. Head and shoulders, viewed
full. She is represented with head leaning slightly backward
against buff cushions. She wears a blue bodice en decollete,
but covering the shoulders ; two pink roses at her bosom,
black lace necklet. Pendants of sapphires and pear-shaped
pearls in her ears. Light brown hair, simply arranged ;
deep blue eyes.
Crayons. Rectangular, 12J by 15\ in. On vellum.
For the original miniature study for this portrait, see
preceding lot. (199)

WILLIAM GRIMALDI
1751-1830.
404 Master John Joshua Bunbury. Bust viewed fuU, face to the
left. He wears a brown coat, white waistcoat and friUed
collar, brown hair, cut short. Oval, 2\ by 2f in. On ivory.
A miniature version of Sir Joshua Reynolds's well-known
portrait of the boy. (183)

WILLIAM GRIMALDI
405 The Countess of Harrington with Lord Petersham and the
Honble. Lincoln Stanhope. She is seated, viewed to the right,
on a green sofa with Lincoln Stanhope in her lap, dressed in
a white frock and pink sash, a frilled cap with pink bow on
his head. Lord Petersham peeps from behind the sofa on
her right. She wears a white gown trinlmed with lace and
a lace fichu ; a lace scarf about her powdered hair is secured
under her chin in a bow ; blue sash about her waist ; a
velvet band on her wrist. A black and white spaniel
completes the group. A red curtain and a column in the
background left and right* Rectangular, 4 by 4f in. On ivory. (654)

131 Third Day
WILLIAM GRIMALDI
406 The Duke - of Wellington. Half-length, viewed full, face
to the right. In full uniform : scarlet coat, with high em
broidered collar, gold braid and epaulettes; The ribbon
( of the Order of the Garter and the ribbon of another Order
across his breast, the " Golden Fleece " with other Orders
round his neck, on his breast the stars of six Orders ; a gold-
httted sword at his hip. Short brown hair. The left arm
is raised in gesture. Rectangular, 3\ by 4\ in. Enamel.
For this enamel the Artist had four sittings from the Duke at
Apsley House.
Exhibited at the Royal Academy in 1815.
This is one of the most remarkable portraits of the Duke. (189)
PIERRE ADOLPHE HALL
1739-94.
407 The, Due de Brissac. Half-length in hunting costume, viewed
full face. He wears a green velvet coat with red collar and
red cuffs, and white lace ruffles. Red waistcoat trimmed
with white lace and white lace scarf. Powdered hair, tied
with a black ribbon.
In his left hand he holds the barrel of a gun. Landscape
in background. Rectangular, 2\by If in. On card.
This fine miniature is panited on the reverse of a Playing
card (the seven of hearts). (860)

PIERRE ADOLPHE HALL
408 A Lady, name unknown. Half-length, viewed to the right,
head to the left and slightly inclined to the left. Her right
arms rests on a pedestal and in her left hand she holds a white
dove. She is dressed in a white decollete bodice, with short
sleeves edged with gold and pearls, gold silk girdle, ornamented
with sapphires. A wreath of roses about her powdered hair.
Oval, If by 2\ in. On ivory. (587)

Third Day 132
PIERRE ADOLPHE HALL
409 A Young Lady, name unknown. She is viewed to the right,
head inclined slightly to the left. She wears a dark habit
with broad peaked collar and lapels, to one of which is pinned
a bouquet of flowers. White fichu. Light hair falling in
heavy curls to shoulders.
Indian ink, crayon and colour. Circular, diameter 3\ in. On paper.
Evidently the study for an important miniature. (304)

Attributed to HALL
i
OR THE WORK OF SOME EXCELLENT RUSSIAN PAINTER.
410 Paul I, Emperor of Russia. Bust, looking to the left, eyes
looking full. He wears a dark blue coat with gold buttons
and a red collar. White silk cravat and frill. Grey hair
tied in a pigtail. On ivory.
The Russian Orders of St. Andrew and St. Anne as well as
the Order of St. John of Jerusalem are worn. (884)

FRANS HALS
1580-1666.
411 A Gentleman, name unknown. He is viewed to the left, eyes
looking to the right. Broad falling collar, hair to the ears,
small pointed beard and moustache.
Pencil. Rectangular, 5f by 6| in. On paper.
A powerful study for a portrait. Identified by Dr. Hofstede
de Groot. (671)
[See Illustration.]

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133 Third Day
GEORGE PERFECT HARDING
1778-1853.
412 John Overton. Almost half-length, viewed .to the right. Stiff
tab collar, curly wig to the shoulders, a cloak across the left
arm. Indian ink. Oval, 3by 4. in. On paper.
Signed and dated 1800. (535)

H. J. HARDING
Exhibited at the Royal Academy, 1823-25.
413 Helena Fourment, Rubens's Wife. Bust, viewed to the left,
eyes looking to the right. Decollete bodice with scarf about
the shoulders, pearl drops in the ears, short curly hair, wide-
brimmed hat with plumes.
Pencil. Oval, 5 by 5% in. On paper.
Signed and dated 1824. (178)

GEORGE HENRY HARLOW
1787-1819. ,
414 Lord ByrOn. Almost half-length,, viewed to the left, head in
profile to the left. Drab high-collared- coat and waistcoat.
He wears the pointed collar that was named after him. Short
brown curly hair.
Water-colour. Oval, 3f by 5 in. On paper.
*** This, the most famous of the portraits of the Poet, was painted
in 1815 and engraved the same year.
It is framed in Newstead Abbey oak, and was given by Byron
to his close friend, R. B. Hoppner (the English Consul at
Venice), in 1821. See inscription on the bdck of the frame.
R. B. Hoppner was the son of John Hoppner, R.A., and the
subject of one of Byron's poems.
Exhibited at the Burlington Fine Arts Club in 1889. * (220)
[See Illustration.]'

Third Day 134
GEORGE HENRY HARLOW
415 The Honble. Lydia Byron. Half-length, viewed in profile
to the left. Decollete bodice with wide ruff collar, a string
of pearls about the neck. Her hair is dressed high en pompa
dour and adorned with a small tiara.
Pencil, heightened with colour. Oval, 2\ by 3f in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (590)

GEORGE HENRY HARLOW
416 The Earl of Charleville. Bust, viewed to the left. High-
collared coat, thick wavy hair brushed up on the head.
Pencil, heightened with colour. Oval, 3\ by 4\ in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (591 )

GEORGE HENRY HARLOW
417 Margarita Cogni, the friend of Byron. Viewed to the right,
wearing a white " Liberty " cap.
Pencil. Rectangular, 7\ by 10 in. On paper. (695)

GEORGE HENRY HARLOW
418 The Lady Anne Lindsay. She is represented fuU length, seated
on the floor, face to the left ; her arms are folded in her lap.
A little dog " begging " is sketched in to the left. She wears
a simple low-necked frock. Short hair.
Pencil. Rectangular, 8| by lOf in. On paper.
Eiidy Anne was a daughter of the 24th Earl of Crawford
and Balcarres.
A delightful portrait. (265)

135 Third Day
CHARLES HAYTER
1761-1835.
419 Matthew Consett. Seated, half-length, viewed in profile to
to left. High-collared coat, stiff cravat and stock, hair in
pigtatt. Pencil. Oval, 3£ by 4£ in. On vellum.
Signed and dated 1802 (283)

CHARLES HAYTER
420 GEORGE HAYTER (afterwards Sir George), in his seventh
year. (See inscription). Half-length, viewed full. Loose
white jacket, high-crowned hat, short blond hair..
Pencil, heightened with colour. Oval, 2f by 3\ in. On paper.
Drawn in 1799.
Exhibited at the Victoria and Albert Museum, 1916-18.
Sir George succeeded Sir David Wilkie as Painter-in-Ordinary
to Queen Victoria. (605)

CHARLES HAYTER
421 A Lady and Gentleman, names unknown. The lady is viewed
in profile to the right, wearing a black decollete bodice. Dark
brown hair arranged in curls over the forehead, a lock fatting
to the shoulder ; red hoop ear-rings. The gentleman in profile
to the left with black coat, white poke coUar and cravat,
brown side whiskers and hair brushed forward.
Crayons. Oval, 3| by 5 in. On paper.
(313 and 314)

CHARLES HAYTER
422 His Sketch Book, containing about 440 drawings (principatty
in pencil) for his miniatures. Amongst the portraits are
those of his son George (afterwards Sir George), his wife and
children, Charles Lamb, Lord Nelson, Charles Macklin and
Joseph Munden (the actors), Dr. Johnson, etc. (596)

Third Day 136
CHARLES HAYTER '
423 A Series of Nine Portraits in XVIIIth Century costume.
Busts, viewed to the left, of Mrs. H. Bouchier, Kitty Comber
(Mrs. Stapleton), Miss Strange (daughter of Sir R. Strange),
Mrs. Stevenson, George Hayter, and three other gentlemen
and a lady, names unknown.
Pencil. Ovals, measuring about 3 by 4 in. On paper and vellum. (606)

JOHN HAZLITT
1767-1837.
r
424 Samuel Taylor Coleridge. Almost half-length, viewed to the
left. He wears a green coat and white waistcoat spotted
with blue, white neck-cloth, brown hair falling to the
shoulders. W ater -colour . Oval, 4\ by 5 in. On paper.
This portrait probably dates from about 1794. It does not
appear to have been engraved. Hazlitt's brother William,
the Essayist, and Coleridge were very intimate friends.
An important portrait. (11)

JOHN HAZLITT
425 Miss Margaret Hazlitt. The sister of the Essayist. Half-
length, turned slightly to the right, face to the right. She
wears a simple bodice of white, with wide white fichu. Brown
curly hair. Oval, 3 by 3| in. On ivory.
Signed on the reverse.
Exhibited at South Kensington Museum in 1865, and at
Brussels in 1912. Described in the Brussels Exhibition
Catalogue. This and the miniature in the Pierpont Morgan Collection
prove Hazlitt to be a miniaturist of the highest rank. (151)

137 Third Day
JOHN HAZLITT
426 William Wordsworth. Bust in profile to the left. Brown
coat, white cravat, short brown hair.
Water-colour. Oval, 4\ by 5f in. On paper.
This, like the Coleridge portrait, dates from about 1794,
or perhaps a little earlier.
It is believed to be the earliest extant portrait of the Poet.
An important portrait. (649)

BARTHOLOMEUS VAN DER HELST
1612-1670.
427 A Study for a Man's Portrait. Half-length, viewed full,
inclining to the right, eyes looking down. He wears a closely-
buttoned coat with open sleeves, open cape, broad laced-
collar. Hair falling to the ears, moustache and beard.
Plumbago. . Rectangular, 5£ by 5J in. On paper.
Dated 1640. (878)

NICHOLAS HILLIARD
1537-1619.
428 Queen Elizabeth. Full length, viewed full. She wears a
gorgeous costume of the period, consisting of a voluminous
bell-shaped skirt and over-skirt, pointed bodice and puff
sleeves ; point lace ruff and jewelled cap. The left hand
is held to the breast, while the other holds a fan.
Silver-point, pencil and wash. Rectangular, 5\ by 4\ in.
On paper.
*** This highly important drawing so closely resembles the
original design for the Great Seal of Elizabeth which was
engraved in 1586, that it may well have been the work of
Hilliard. It has also close affinities with his miniature
paintings. (358)

Third Day 138
WILLIAM HOARE, R.A.
1707-1792.
429 Dr. Rice Charlton of Bath. Half-length, viewed in profile
to the left. He wears a long wig reaching to his shoulders
and the usual costume of his profession at that period.
Pencil, slightly heightened with colour.
Rectangular, 7| by 6£ in. On paper.
Signed and dated 1755.
Dr. Charlton was the friend and physician of Gainsborough
during his residence at Bath. His portrait was painted
by Gainsborough and exhibited at the Royal Academy
in 1766. (847)

WILLIAM HOARE, R.A.
430 Mrs. Charlton (companion portrait). Half-length. Viewed
in profile to the left. She wears a large " mushroom " hat
tied under her chin and a simple bodice with a scarf.
Pencil slightly heightened with colour.
Rectangular, 7| by Q\ in. On paper.
The wife of Dr. Charlton. (848)

WILLIAM HOARE, R.A.
1707-1792.
431 General, the Earl Ligonier. In uniform with red waistcoat
trimmed with gold lace. Hair in pigtail, he wears a three-
cornered hat with cockade.
Crayons and pencil. Oval, 4\ by 3| in. On paper.
This is probably the study for a picture. Unframed. (846)

No. 433.

139 Third Day
JOHANN JAKOB HOCH
1750-1829.
432 A Young Man, name unknown. Half-length, viewed almost
in profile to the right, High-collared coat, full cravat,
powdered hair in pigtatt.
Pencil. Oval, 9\ by 12| in. On paper.
Signed and dated 1787. (367)

JOHN HOET
433 A Gentleman, name unknown. He is standing, three-quarter
length, viewed slightly to the left, eyes lpoking fuU. His
right hand rests on a table, on which are an inkstand, writing
materials, etc., his left hand is on his hip. He wears a long
coat with turned-back cuffs ornamented with loops,
disclosing white puff-sleeves, fan-shaped lace collar and
black bow at the neck ; hair parted in the centre and falling
in curls to the shoulders.
Plumbago. Rectangular, 9 by 11 J in. On vellum.
Signed and dated 1673.
From the Hodges and Carrington CoUections.
Little appears to be known of the Dutchman who drew
this admirable portrait.. (693)
[See Illustration.]

WILLIAM HOGARTH
1697-1764.
434 Mrs. Banks. FuU length, viewed to the left, eyes looking full.
She is seated in a " Chippendale " arm-chair, dressed in a
tight-fitting bodice, wide " hooped " skirt with lace at the
neck and sleeves. Ringlets to her shoulders and a lace
mob-cap.Pencil. Rectangular, 10| by 7 in.
This appears to be a study for a portrait. A head in red

Third Day 140
Lot 434 — continued.
chalky is sketched on the margin and there are five studies
for portraits, in red and black chalk, on the reverse.
From the CoUection of Thomas Banks, R.A., and Sir Edward
Poynter, P.R.A. (894)

WILLIAM HOGARTH
1697-1764.
435 A Young Lady, name unknown. She is represented half-length.
seated before an oval mirror with her back to the spectator.
so that a portrait of her face is reflected in it. She is dressed
in a bright blue dress with lace collar. Over her brown
hair, arranged in neat curls falling to- the neck, she wears a
lace cap, tied at the back with a small pink bow. A piece
of lace hangs from the back of the chair in which she sits.
In the background a yellow curtain. Oval, 2 by 2%in. On ivory.
A very remarkable miniature.
*** There seems to be no other name that can be suggested for
this miniature but that of Hogarth. (527)

HANS HOLBEIN
1493-1543.
436 James the Fifth of Scotland. Head and shoulders to the
left, wearing a breastplate. High-collared coat and ruff,
hair falling to the ears, small beard ; unornamented round
cap. He wears the collar of the Order of the Golden Fleece,
which was conferred on him by the Emperor Charles V in 1535.
See contemporary inscription on the reverse.
Indian ink and wash. Rectangular, 3\ by 4\ in. On paper.
From the Collection of the Earl of Arundel and Norfolk (1586-
1646).
There appears to be good reason for accepting this- as an
original drawing by the master. Its provenance is undoubted. (441)
[See Illustration.]

Ck

A \.A

No. 437.

141 Third Day
WENCESLAUS HOLLAR
1607-77.
437 Edward VI, after Holbein. Half-length, viewed full. He
wears a doublet and sash, long sleeves with fritted cuffs.
A cape is fastened with a jewelled clasp to his left shoulder.
Tight-fitting cap, over which he wears a hat with an ostrich
plume. The left hand holds a rattle, the right is raised
iri gesture.
Plumbago. Rectangular, 10 by 8 in. On paper.
The original drawing for the famous engraved portrait
published in 1650. (See a print on the reverse.)
Exhibited at Brussels in 1912 and fully described in the
Catalogue of the Exhibition.
From the Butler Collection.
Surely one of the finest of Hollar's drawings. (136)
[See Illustration.]

* WENCESLAUS HOLLAR
438 The Panoramic View of Passau.
Pen and ink. Rectangular, 5 by 21 in. On paper.
Signed in full and dated 1636.
From Dr. Wellesley's Collection.
A VERY NOTABLE DRAWING. (570)

WENCESLAUS HOLLAR
439 Amalia of Solms, Princess of Orange, grandmother of William HI
of England. Bust, viewed to the left, eyes looking full.
She wears an elaborate bodice trimmed with lace and having
puff sleeves, very broad- lace Medici collar. Necklace of
large pearls and two ropes of equally large pearls fall from
• her shoulders and over her corsage, diaihond brooch with
a drop-pearl.

Third Day 142
Lot 439 — continued.
Her hair, worn en masse, is decorated with a white feather.
Pen and ink. Oval, 5 by 41 in. On vellum.
Inscribed by Hollar, on a tablet at the base, " Aetatis XXXV,
anno 1634."
An important drawing. (872)
[See Illustration.]

i
Attributed to WENCESLAUS HOLLAR
1607-77.
440 Stefano della Bella, the famous engraver, Half-length
viewed in profile to the right, face to the right, eyes looking,
full. He wears a loose cloak. The left hand raised in gesture.
Hair in curls to the shoulders, small pointed beard and
moustache. Plumbago. Rectangular, 5| by 4A in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18.
We know of no other Artist, of the period, to whom we can
attribute this drawing. (480)

ROBERT HOME
1751-1834.
441 Major-General Sir Arthur Wellesley, k.b., afterwards the
Duke of Wellington. Almost half-length, viewed to the
right. In uniform with the ribbon and star of the Order
of the Bath. Black stock, short hair.
Pencil and sepia. Rectangular, 5f by 7\ in. On paper.
*%* Drawn in India in 1804 or 1805. This is the original study
for the well-known picture, which was the first engraved
portrait of Wellington. Home also painted a portrait of
the Marquess Wellesley whUst in India. (467)

143 Third Day
HORACE HONE
1756-1825.
442 Mrs. Butler. Bust, viewed almost full face. She wears a
violet bodice covered by a white fichu edged with lace. Gold
chain about her neck, white turban with a circlet of pearls,
powdered hair. Oval, 2£ by 2f in. On ivory.
Signed and dated 1796.
Exhibited at Brussels in 1912.
Hone's finest miniatures (of which this is certainly one)
were painted before he left Dublin for London in 1800.
From the Dunn-Gardner CoUection. Noted in Strickland's
" Dictionary of Irish Artists " vol. i, page 510. . (109)

HORACE HONE
443 George Savile, Junr. Bust, viewed to the right, looking full.
He wears a purple coat, white waistcoat and cravat secured
with a brooch. Powdered wig. Oval, 1% by 2f in. On ivory.
Signed and dated 1782. (310)

NATHANIEL HONE, R.A.
1718-84.
444 Sir Joseph Banks, bart., f.r.s. Half-length, viewed to the
right, eyes looking slightly to -the left. He wears a dark
green velvet coat with a high cottar, white lace frill and*
white cravat. Powdered hair, tied with a black ribbon.
Oval, If by 1\ in, On ivory.
Painted when Sir Joseph was 25 years old.
Signed and dated 1768, and inscribed on the reverse, " Jos.
Banks, Esq., aged 25."
See Lot 709 for companion miniature. (910)

Third Day 144
NATHANIEL HONE, R.A.
1718-84.
445 Miss Sarah Sophia Banks, sister of Sir Joseph Banks, Bart.,
G.C.B., F.R.S. Bust, viewed to the right, eyes looking to
the right. She wears a decollete pink bodice trimmed with
white lace, her dark hair is ornamented with pink rose-buds
and secured with a pink ribbon. Pearl necklace and pearl
ear-drops. Oval, If by 1J in. On ivory.
Signed and dated 1768, and inscribed on the reverse : —
" A love here fixd can very seldom err,"
" Who loves her best, is best Philosopher."
From the Family Collection, with 444 and 709. (909)

NATHANIEL HONE, R.A.
446 A Clergyman, name unknown. Bust, viewed to the right,
looking full. Black cassock, stole, white tabbed clerical
collar, powdered wig. Oval, 1 by 1\ in. Enamel.
Signed and dated 1760. (38)

NATHANIEL HONE, R.A.
447 A Lady, name unknown. Bust, viewed to the left. She
wears a light grey decollete bodice edged with lace and
pearls with a larger pearl pendant in centre. In her
hair — powdered in front, with brown curls falling ta the
neck at back — she wears a multi-coloured jewelled
ornament. Oval, l\by 1\ in. Enamel.
Signed and dated 1762. (17)

145 Third Day
NATHANIEL HONE, R.A.
448 Mr. Pitt. A member of the Chatham family, but the exact
name is unknown. Almost half-length, viewed to the right,
He wears a light yellow double-breasted coat with blue lapels
embroidered in silver. White cravat, powdered wig.
Oval, 1| by If in. Enamel.
Signed and dated 1750.
From the Schloss Collection. . (418)

GERARD VAN HONTHORST
1590-1656.
449 A Youth, name unknown. Half-length, viewed full, face to
the left, eyes looking to the right. He wears a coat clasped
in front with jewels. A cloak draped over the right shoulder
and arm, the left rests on his hip ; lace cravat, hair to the
ears. A curtain and foliage in the background.
Pencil and Indian ink. Oval, 7\ by Q\ in. On vellum.
i (540)

JACOBUS HOUBRAKEN
1698-1780.
450 " The Protector " Somerset. Half-length, viewed to the
right, enveloped in a cloak, from which protrudes his right hand,
holding the George of the Order of the Garter by its ribbon.
Narrow white collar, dark cap ornamented with a plume and
jewel on the right side, long beard and moustache.
Plumbago. Oval, 9f by lOf'iVt. On vellum.
The original drawing for the well-known engraved portrait. (257)

Third Day 146
JOHN HOPPNER, R.A.
1758-1810.
451 Miss Beridge. Half-length, face to the right, looking to the
right. She wears a white decollete bodice, and pale blue
fillet about her powdered hair. Red curtain in background.
Oval, If by 2f in. On ivory.
Exhibited in Brussels in 1912 and described in the Exhibition
Catalogue.From the Barnard Collection. (118)

JOHN HOPPNER, R.A.
452 Mrs. Delany. Half-length, viewed ~ full, face to the right.
She wears a simple bodice with short frUled sleeves to the
elbow, long gloves, white fichu brought well up under the chin,
a dark shawl edged with lace about her shoulders and tied
over the bosom in a bow. Elaborate hat with soft bonnet-
brim falling round the head, surmounted with large bows.
Pencil. Rectangular, 11 by 14 J in. On paper.
Born Mary Granville, she was piarried to Mr. Delany in
1743 and died in 1788 in her eighty-ninth year. Both her
" Autobiography " and " Letters " have been published.
She was godnjother to the Earl of Mornington.
This noble drawing depicts her in extreme old age. (147)
[See. Illustration.]

JOHN HOPPNER, R.A.
453 Lady Charlotte Percy. Half-length, looking to the left.
She wears a simple white decollete bodice and pale blue
sash. Her powdered hair is bound with a white turban.
Rectangular, 3 by 3f in. On ivory.
This miniature is believed to be the study for the well-known
picture painted in 1794. The picture is now in the possession
ofthe Duke of Northumberland.
Only two other miniatures besides those in this collection

No. 452.

No. 376.

No. 453.

147 Third Day
Lot 453 — continued.
can be, with any certainty of attribution^ ascribed to Hoppner,
one of them is in the Pierpont Morgan Collection.
The engraved inscription was on the frame when the purchase
was made from the descendant of the lady who is represented. (288)
[See Illustration].

JOHN HOPPNER, R.A.
454 Sarah Siddons. Three-quarter length, viewed almost in profile
to the left. Fluffy bodice, full skirt, mushroom hat, with
streamers, tied under .the chin.
Pen and ink. Rectangular, Q by 8 in. On paper.
An exceedingly powerful sketch. (482)

Attributed to JOHN HOPPNER, RA.
455 A Girl, name unknown. Full length, seated, on the ground,
viewed to the right. She wears a loose, short-sleeved smock
and soft hat ; short hair. Her hands are held clasped before
her. Pencil. Rectangular, 6f by 8f in. On paper. (764)

CHRISTIAN HORNEMAN
1765-1844.
456 Prince Rupert [or Prince Maurice, or one of their brothers].
Bust, viewed to the right, eyes full. He wears a grey doublet
with broad, faUing lace coUar, the red ribbon of an Order
across his breast. Brown hair parted in centre and faUing
in curls to the shoulders. Oval, 1% by l\in. On ivory.
Very little is known of this Danish Miniaturist. (468)

Third Day 148
JOHN HOSKINS, Senr.
flourished 1630-64.
457 Thomas, Lord Fairfax. The Parliamentary General. Half-
length, in armour, viewed to the left, eyes looking to the
right. Short lace cravat. Soft dark brown hair falling over
the shoulders, moustache, small tuft under lower lip.
Oval, 2f by If in. On vellum.
An important miniature enclosed in a remarkably good and
contemporary enamel frame. (237)

JOHN HOSKINS^ Senr.
458 Henrietta Maria, Queen of Charles I. (Believed to represent
her.) Half-length, viewed to the left, eyes looking right. She
wears a white decollete bodice decorated with pearl and topaz
clasps ; pearl drops secured to the ears with pink bows, pearl
necklace, pearls in her hair, which is parted in a circle round
the forehead and disposed in ' heavy clusters of tight curls
over the ears with a fringe of curls over the brow.
Plumbago and crayons. Rectangular, 7 by 8£ in. On paper.
In the original tortoise-shell frame.
%* A superb portrait recalling that of the Countess of Dysart,
by Hoskins, at Ham House. (349)
[See Illustration.]

OZIAS HUMPHRY, R.A.
1742-1810.
459 Colonel Carnac. Bust, viewed to the right in profile. He
wears a scarlet uniform with blue facings, gold and blue
epaulettes, white cravat and frill. His iron-gray hair falls
to his shoulders and is tied with a black ribbon.
Oval, 2 by 1\ in. On ivory.
Signed and dated, " O.H. pinxit, Calcutta 1786 " (on the
reverse). Ohe of the finest miniatures by Humphry that has ever
been sold. (882)

No. 458.

149 Third Day
OZIAS HUMPHRY, R.A.
460 John Flaxman, r.a. Bust, face to the left, looking left. Brown
hair falling about his shoulders. He wears a green coat,
white waistcoat with pearl buttons and white cravat.
Oval, If by 2 in. On ivory.
Exhibited at Brussels in 1912 and iUustrated in the Exhibition
Catalogue, but erroneously catalogued as the work of Bone.
A most beautiful miniature depicting Flaxman as a youth.
From the Addington and Falcke Collections. (53)

OZIAS HUMPHRY, R.A.
461 Believed to represent Warren Hastings. Bust, viewed to
the right, looking full. He wears a bluish-green coat, white
waistcoat edged with gold, white neck-cloth, powdered hair.
Oval, 1 J by If in. On ivory.
Humphry visited India in 1784, and the present miniature
probably dates from this visit.
There is good evidence for considering the portrait to represent
Hastings. Humphry painted several portraits' of Hastings. (37)

OZIAS HUMPHRY, R.A.
462 John Hoole, Translator of Tasso. He is represented half-length,
viewed in profile to the left, seated in an armchair reading
a book, which he holds in his right hand. He wears a plain
coat and neck-cloth. Powdered wig in pigtail with four
tight curls over his ear, spectacles on his nose. A column
and curtain in the' background.
Pencil, heightened with colour. Rectangular, 7 by 8|- in. On paper.
This portrait was drawn in 1784 and afterwards engraved.
An interesting portrait. (721)

Third Day 150
OZIAS HUMPHRY, R.A.
1742-1810.
463 A Lady and Gentleman, names unknown. He is represented
. half-length, viewed in profile to the left, dressed in XVIIIth
century costume. The Lady is in profile to the right, wearing
a turban.
Pencil. Both are rectangular, measuring 7\ by 10 in. On paper.
Signed. (95 and 95a)

OZIAS HUMPHRY, R.A.
464 Elizabeth Linley, afterwards Mrs. R. B. Sheridan. Half-
length. She is represented in profile to the left, dressed in
white bodice with sleeves and blue girdle. Her brown hair,
which falls in curls upon the shoulders, is bound up with
a white scarf tied in a bow at the top ofthe head.
Pencil, heightened with colour. Oval, 2f by 3| in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-17.
, Humphry lodged with the Linley's at Bath. At the period
of this miniature Miss Linley was at the zenith of her beauty. (54)

OZIAS HUMPHRY, R.A.
465 George Romney. Bust, viewed to the right, eyes full. Deep
plum-coloured coat and plain white neck-cloth, brown hair.
Oval, l\J>y 1\ in. On ivory.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue. Humphry and Romney were close friends, and both studied
in Italy from 1773 to 1775. Romney painted the portrait
of Humphry now in the possession of Lord Sackville at Knole.
An interesting portrait.
Several of these miniatures are fuUy described and illustrated
in WUliamson's " Life of Humphry." (139)

No. 468.

151 Third Day
OZIAS HUMPHRY, R.A.
466 Believed with excellent evidence to be a portrait of Mrs.
Sheridan. Half-length, viewed in profile to the left, the head
inclined and looking-down. She wears a plain decollete
bodice. Her dark hair is simply arranged, and confined in a
white mob-cap tied under the chin.
Pencil and black chalk. Rectangular, 15 by 20 J in. On paper. (758)
OZIAS HUMPHRY, R.A.
467 Thomas Tyers (see inscription). Seated, half-length, viewed
in profile to the right. He wears a high-buttoned brown
coat with laWn cuffs. Small powdered wig. His right hand
holds a book, his left is thrust in his coat.
Pencil, heightened with colour.
Oval, on rectangular paper, 8| by 9\ in.
*** Thomas Tyers was the eldest son of Jonathan Tyers, proprietor
of the VauxhaU Gardens, on whose death he became joint
manager with his brother Jonathan. He furnished the words
of many songs sung at Vauxhall. " He was a great favourite
with Dr. Johnson, who used to caU him ' Tom ' Tyers."
Johnson described him in the " Idler " (1759, No. 48) as
" Tom Restless " the " ambulatory " student. . . . Johnson
confessed that Tyers always told him something he did not
know before. (806)

OZIAS HUMPHRY, R.A.
468 William Upcott, the Artist's natural son. Half-length, viewed
full, face to the left. He wears a green sleeveless jacket
over a white lawn shirt, with falling lace collar open at the
neck ; brown hair to the shoulders. His left hand holds an
apple, the right hand falls at his side. A dark red curtain
in the background, partly disclosing a view of trees and sky
to the right.
Pastel. Rectangular, 17 by 24 in. On paper.
Described in Williamson's "Life of Humphry," and iUustrated
therein. (757)
[See Illustration.] .

Third Day 152
JEAN AUGUSTE DOMINIQUE INGRES
1780-1867.
469 The Duke of Wellington. Half-length, viewed to the left,
eyes looking full. The head is highly finished but the uniform
is only lightly sketched in.
Pencil. Rectangular, 4£ by 3f in. On vellum. (873)
JEAN BAPTISTE ISABEY
1767-1855.
470 Lady Chichester. Bust, turned to the left, head inclined
slightly to the right, face to the right. She is represented
nude, clasping to her breast flowing draperies of blue and
- white edged with gold. Brown hair in curls bound up with
a blue fillet. Oval, 3 by 3f in. On ivory.
From the Collection of the Earl of Chichester. (489)

JEAN BAPTISTE ISABEY.
471 A Gentleman, name unknown. Bust, viewed to the right,
looking to the left. He wears a slate-coloured coat, lace cravat,
powdered hair. i Oval, If by 2 in. On ivory.
Painted about the year 1790. (87)

JEAN BAPTISTE ISABEY
472 The Duke of Wellington. Half-length, viewed to the left.
Crimson coat with standing collar, embroidered with gold
oak leaves, white cravat, a brown cloak over his shoulders.
Short brown hair. He is wearing the ribbon and Star of
the Order of the Garter, the Golden Fleece and the insignia
of other Orders.
Water-colour. Rectangular, 10 by 13 in. On paper.
Drawn in 1813. (450)

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No. 474.

153 Third Day
JEAN BAPTISTE ISABEY
473 A Lady, name unknown. Half-length, viewed to the left, eyes
looking slightly to the right. She wears a pink silk bodice
secured at waist by a gold "belt, a mass of white tuUe falls
from her hair over her shoulders, broad lace ruff. Her chestnut
hair is worn in curls and ornamented with flowers.
Oval, 2\ by 2 in. On ivory. (917)

JOHN JACKSON, R.A.
1778-1831.
474 Horatia, Daughter of Nelson and Lady Hamilton, aged 3.
She is viewed, seated, to the left, her eyes looking to the
right. She wears a decollete frock with short sleeves, her
bare arms resting in her lap ; short straight hair falling over
the forehead.
Pencil. Rectangular, 5£ by 7| in. On paper.
Signed and dated July 14, 1804.
%* Jackson has noted (on the reverse) that this portrait was
drawn by him at Castle Howard (Lord Carhsle's).
No other early portrait of " Horatia " is recorded.
On September 2, 1814 (four months before her death), Lady
Hamilton wrote (from Calais) to Sir William Scott :
... if my dear Horatia was provided for, I should dye happy, and if
I could only now be enabled to make her comfortable and finish her
Education Ah, God, how I would bless them that enabled me to do it !
She already reads writes and speaks Italian, French and English, and I
am teaching her German, iSpanish, Music she knows. . . . But my
Broken Heart does not leave me I have seen enough of grandeur not to
Regret it but comfort and what would make Horatia and myself live
like gentlewomen would be all I wish and to live to see her well settled
in the world. I set out from London ten weeks ,or more ago with: not
quite fifty pounds, paying our passage also out of it; think then of
the situation of Nelson's child, and Lady Hamilton. I made Lord Nelson
write the letter for the Prebendary of Canterbury, which his Lordship
kindly gave him, they have never given the dear Horatia a sixpence.
[See Illustration.]

Third Day 154
JOHN JACKSON, R.A.
475 Charles Matthews, the Actor. Head and shoulders, viewed
to the right, eyes looking full. High-collared coat, poke
coUar, and white cravat.
Pencil. Rectangular, 4f by 3\ in. On paper.
[This has not been found as we go to press.] (592)

JOHN JACKSON, R.A.
476 Captain (Edward) Riou. In uniform. Bust, viewed to the
right, eyes looking futt. Dark high collar, white stock,
short brown hair and whiskers.
Pencil and water-colour. Rectangular, 6f by 9 in. On paper.
Captain Riou was killed in the attack on Copenhagen in
1801. (685)

MARIE VICTOIRE JACQUOT
1778-1855.
477 Le Boux de la Bapaumerie, " ancien Magistrat et Maire de
Salins." Bust, viewed in profile to the left, Wearing his
magisterial robes with the ribbon of an Order across his
breast. Frilled cravat, wig in pigtail.
Pencil. Circular, diameter 2^ in. On paper.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (339)

MARIE VICTOIRE JACQUOT
478 A Lady, name unknown. Bust, viewed to the left, eyes looking
down, decollete bodice. Hair dressed high in curls and bound
with a narrow fillet, two locks falling to the shoulders.
Pencil. Circular, diameter 2\ in. On paper.
Signed " Marie fecit." (517)

155 Third Day
MARIE VICTOIRE JACQUOT
479 Joseph Monin, Bishop of Sedan. Bust, viewed in profile to
the left. Wearing a soutane and black tab collar, a crucifix
on his breast. Short hair, skull cap.
Pencil. Circular, diameter 3 in. On paper.
Signed and dated 1798.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
*** Inscribed, " M. Joseph Monin, Eveque de Sedan"
'\Sacre a Paris le 1st. Juillet 1798."
"Dessine par Mlle. Jacquot." (290)

JOHN JACKSON, R.A.
1778-1831.
480 The Artist's own Portrait. Half-length, viewed to the left,
eyes looking full, holding a palette and brushes in his right
hand. He wears a broad-collared coat, white cravat and
black stock. Short wavy hair brushed up from his forehead.
Pencil. Rectangular, 9\ by llf in. On paper.
The original study for the well-known Self portrait. (786)

JOHN JACKSON, R.A.
1778-1831.
481 Mr. Courtney, Senr. Half-length, viewed full. Open coat,
high-buttoned waistcoat, powdered wig.
Pencil. Rectangular, 7\ by 8f in. On paper.
Signed, and. dated November 1803. (460)

Third Day 156
H. DE JANVRY
Exhibited at the Royal Academy, 1798-1800.
482 Mrs. Fitzherbert. Bust, viewed in profile to the left. Decollete
bodice with fichu. She wears a turban, from under which
her hair falls in a fringe of curls. Oval, 2£ by 3 in. On ivory.
Signed in monogram and dated 1796.
A delightful- miniature en grisaille.
Exhibited at Brussels in 1912.
George IV. married Mrs. Fitzherbert in 1785.
De Janvry's miniatures were untU quite recently ascribed to
Hoppner. (100)

H. DE JANVRY
483 The Prince of Wales, afterwards George IV. Bust, to the left,
in uniform. High collar and epaulettes, the Star of the
Order of the Garter on his breast. Frilled cravat, powdered
hair in pigtail.
Painted en grisaille. Circular, diameter 2J in. On ivory.
Signed in monogram and dated 1793.
The companion portrait to Mrs. Fitzherbert. (68)

H. DE JANVRY
484 A Gentleman, name unknown. Bust, in profile to the right.
High-collared coat, wig in pigtail.
Painted en grisaille. Circular, diameter 2| in. On ivory.
Signed with monogram and dated 1794. (566)

157 Third Day
H. DE JANVRY.
485 A Lady, name unknown. Bust, in profile to the left. Decollete
bodice with fichu. Her curly hair is bound with a scarf,
which falls in a loop at the back.
Painted en grisaille. : Circular, diameter 2J in. On ivory.
Signed and dated 1794.
[This has not been found as we go to press.] (567)

PHILIP JEAN
1755-
486 A Naval Officer, name unknown. Half-length, viewed to
the left. He wears a naval unform With brass buttons, gold
braid and epaulettes, white frilled cravat, powdered hair in
pigtail. Oval, 2f by 2\in. On ivory.
As good a portrait as Jean ever painted. (102)

PHILIP JEAN ,
487 The Prince of Wales, afterwards George IV. Bust, viewed
to the left. He wears a blue, high-collared coat, white waist
coat with pearl buttons and under cottar of blue, edged with
pink. White cravat tied in a bow, powdered hair.
# Oval, 2\ by 3 in. On ivory.
Jean also painted George III, the Duke of Clarence, and
other members of the Royal Family. His work is often
confused with Cosway's. '
From the Sanderson Collection. (129)

Third Day 158
CHARLES JERVAS
1675-1739.
488 Thomas Murphy. Halt-length, viewed to the right, eyes looking
fuU. Open coat, white waistcoat, light lawn stock, a small
turban on his head.
Plumbago. Oval, 4$ by 3^ in. On vellum.
Drawn in Jamaica in 1733.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
Inscribed on the reverse, " Thomas Murphy, natus Clonmeliae
in Hibernia 1698, done in Jamaica 1733." (78)

A. JOHNS
1776-1858.
489 Miss Patty Farrell. Half-length, viewed almost full. She
wears a simple white decollete gown with short sleeves.
Her lightly powdered hair is bound with a white scarf.
Oval, 2f by 3 in. On ivory.
Signed and dated 1978.
Exhibited at Brussels in 1912.
Very little seems to be known of this Miniaturist. (5)

JAKOB JORDAENS
1593-1678.
490 A Study for a Man's Portrait. A head viewed full, iifclining
to the right, eyes looking down. Square collar, skull-cap,
hair falling to the ears ; small moustache and beard.
Black and red chalks. Rectangular, 6| by 5| in. On paper.
Identified by Dr. de Groot. (434)

¦>

159 Third Day
ARFVID KARLSTEEN
1647-1718.
491 Prince Rupert, nephew of Charles I. Half-length, viewed to
the left, eyes looking full. In full armour, a cloak over his
left arm. Frilled cravat, curly hair to the shoulders.
Plumbago. Oval, 2-^ by 1\\ in. On vellum.
Dated on the reverse 1643.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (350)

ANGELICA KAUFFMANN, R.A.
j 1741-1807.
492 Maria Cosway. Seated half-length, viewed to the left, eyes
looking to the right. Close-fitting bodice with big sleeves.
She wears a turban, one band of which falls forward over
her right shoulder.
Pencil, heightened with colour. Oval, 2\ by 3\ in. On paper.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue.A particularly interesting portrait of Mrs. Cosway, because
it was due to Angelica Kauffmann that she left Florence
and settled in England. (106)

WILLIAM KAY
493 Lord Byron, at the age of seven. He is dressed in tight-fitting
white trousers, short blue coat and white waistcoat with a
broad fitted collar, and is carrying a bow and arrows. Wavy
hair to the shoulders. Trees in the background to the right.
To the left a target set in a meadow with a river and moun
tains beyond.
Water-colour. Oval, 4 by 5| in. On paper.
Signed and dated 1795.
This is the first portrait of Lord Byron. It was drawn by
William Kay of Edinburgh, in 1795. In Moore's " Life of
Byron " it is thus recorded : "As a mark of gratitude for

Third Day 160
Lot 493 — continued
her attention to him, Byron had, in parting with May Gray,
presented her with his watch- — the first of which he had
ever been possessor. This watch the faithful nurse preserved
fondly through life, and when she died, it was given by her
husband to Dr. Ewing, by whom, as a relic of genius, it was
equally valued. The affectionate boy had also presented
her with a full-length miniature of himself, which was painted
by Kay of Edinburgh, in the year 1795, and which represents
him standing with a bow and arrows in his hand, and a
profusion of hair falling over his shoulders. This curious little
drawing has likewise passed into the possession of Dr. Ewing."
Edition of 1838, page 18.
The Miniature is also mentioned in the/' Dictionary of National
Biography," Vol. VIII, pp. 133, 153, and Vol. XXX, pp. 249 ;
and by R. Edgcumbe and A. Graves, in " Notes and Queries,"
sixth series, Vol. VI, pp 422, 472, and Vol. VII, p. 269.
It is reproduced in an article on the " Authentic Portraits
of Lord Byron," which appeared in " The Connoisseur."
William Kay was the son of John Kay, an Edinburgh painter'
known as a miniaturist and caricaturist.
Two letters from " Tom " Moore to Dr. Ewing, accompany
the miniature. (810)
[See Illustration.]

THOMAS KERRICH
1747-1828.
494 William Pitt, drawn when he was a student at Cambridge
in 1776. Half-length, viewed to the right. In his under
graduate's gown, hair in pigtail.
Pencil. Oval, 3^ by 2-^- in. On vellum.
An account of Kerrich, who was Pitt's close friend at Cambridge,
is given in the " Dictionary of National Biography." This
drawing is four years earlier than any of the engraved portraits
of Pitt.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
A portrait of the highest interest. (311)

No. 496.

161 Third Day
CORNELIS KETEL
1548-1616.
495 Henry Fitzalan, Twelfth Earl of Arundel, K.G. Bust, viewed
in profile to the left. He wears a full sleeved coat with a cape,
the ribbon and the badge of the Order of the Garter are
s round his neck ; standing collar, pointed beard and moustache,
short hair ; flat cap with a plume.
Plumbago. Circular, diameter 4-^ in. On paper.
Exhibited at the Victoria and Albert Museum, 1914-18.
From the Collections of the Earl of Arundel, Charles I. and
Thomas and John Thane. (See inscription on the reverse.)
This drawing bears the blind-stamped star which was
impressed on the drawings collected by the Brothers Laniere
for Charles I,
An important portrait. (30)

THOMAS DE KEYSER
1596-1667,
496 A Lady, name unknown. Three-quarter length, viewed to the
left, eyes looking fuU. She wears a long laced bodice, long
sleeves with wide cuffs, full skirt, broad falling collar secured
over the bosom with a bow. Hair brushed back from the
forehead and confined in' a small cap, hands folded before her.
Plumbago. Rectangular, 10| by 8 in. On vellum.
Signed and dated 1636.
From Lord Ronald Gower's Collection.
An important portrait. , (114)
[See Illustration.]

Attributed to THOMAS DE KEYSER
497 A Lady, name unknown. Half-length, viewed to the left, eyes
looking full. She wears a close fitting black bodice and
white falling collar with pointed ends. Brown hair brushed
back from the forehead and confined in a small white cap.
Painted in oils. Oval, 5\ by 7\ in. On a panel. (817)

Third Day 162
SIR GODFREY KNELLER
1646-1723.
498 A Gentleman, name unknown. Three-quarter length, viewed
to the right, face to the left, eyes looking futt. Tight-fitting
coat, white shirt open at the neck. A cloak, draped over his
right arm, which rests on a pedestal, is brought round and
held in the left hand. Hair falling to the shoulders.
Body colour. Rectangular, 10 by 13 J in. On paper. (453)

SIR GODFREY KNELLER
499 Margaret, Countess of Pembroke. She is seated threer
quarter length, viewed full, face to the left, eyes looking to
the right. Light, short-sleeved decollete bodice, with- darker
over-mantle fastened at the sleeves and bosom with small
jewels, a jewelled chain faUing across the bosom from
the right shoulder. Hair brushed up from the forehead, one
lock falling over the left shoulder. Her left arm lies in her
lap, the right falls at her side.
Body colour. Rectangular, 6| by 8£ in. On paper. (486)

SIR GODFREY KNELLER
500 The Duke of Schomberg. Half-length, in armour, viewed to
the left, face to the right, eyes looking right. His right arm rests
on his hip, while the left holds the baton of a Field-Marshal,
the Order of the Golden Fleece about his neck. Loose cravat,
curly wig to the shoulders.
Pencil, heightened with red chalk. Oval, 9 by 11 J in. On paper.
The Duke was killed at the battle of the Boyne in 1690. (122)

163 Third Day
Fr. KYTE
flourished 1710-1745.
500a John Milton. Drawn, it is stated, from the famous bust now
at Christ's College, Cambridge. See Richardson Junr.'s note
on the reverse. Rectangular, 8 by 9^ in.
The drawing is probably the original for Kyte's mezzotint.
From the Esdaile CoUection. (260)

ADELAIDE LABILLE-GUIARD
1749-1803.
501 Voltaire. Bust, viewed full. Pale blue coat edged with gold,
lace cravat, powdered wig in pigtail. Oval, 1\ by l\in. On ivory.
%* A dettghtful and unmistakable portrait by an artist whose
works, in miniature, are of rare occurrence. (186)

J. LACON
flourished middle of the XVIIth Century.
502 A Gentleman, name unknown. Bust, viewed, to the right.
Blue coat with red coUar, white waistcoat, brown hair in
pigtail. Oval, 1\ by 1\ in. On ivory.
Signed and dated 1760.
Nothing appears to be known of this Miniaturist, except that
he owned a puppet-show at Bath. (403)

J. LACON
503 Miss Sarah Verney. Half-length, viewed to the right, eyes
looking to the left. White lace bodice with bow in
front, pearl necklace, brown hair brushed back from

Third Day 164
Lot 503 — continued.
the forehead and tied at the back with a small blue bow.
Oval, If by If in. On ivory.
Signed and dated 1756.
Exhibited at Brussels in 1912 and iUustrated in the Exhibition
Catalogue. (40)

* SIR EDWIN LANDSEER, R.A.
1802-73.
504 Nicholas I, Emperor of Russia. Full-length, viewed in profile
to the left. His hands behind his back, holding a high-
crowned hat. Light-trousers, swallow-tail coat ; short hair
and moustache.
Pencil. Rectangular, 9 by ll1 in. On paper.
Signed and dated Gore House, 9 Aout, 1844.
From Lady Blessington's Collection. (648)

MARCELLUS LAROON
1679-1772. i
505 A " Conversation." containing portraits of Mat. Ashton (the
painter) and others.
Representing the Artist to the right in a broad-brimmed
hat, holding a stick. Three figures to the left, in the costume
of the period, are depicted engaged in a mocking conversation
at his expense. To which he makes the retort " Miserable
Goths." Plumbago. Rectangular, 13 by 8\in. On paper.
Signed. From Horace Walpole's Collection. The British Museum
also contains a drawing by Laroon from Walpole's Collection,
This Artist's drawings are often attributed to his freind
Hogarth. (135)
[See^lLLUSTRATION.]

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165 Third Day
CHRISTOPH LAUCH
1647-1730.
506 Leopold I, Emperor of Germany (see inscription). Bust,
viewed to the right, eyes looking to the left. In armour, a
white cloak across the right arm, curly wig to the shoulders,
moustache. Contained in a medallion encircled with scroU
decorations. Oblong titular inscription in Latin below.
Plumbago and Indian ink. Rectangular, 8f by 11J in. On vellum.
*** A VERY EXTRAORDINARY DRAWING WHICH HAS PROBABLY
BEEN ENGRAVED. (384)

JACQUES LAUDIN OF LIMOGES
1627-95.
507 Louis XIV and Maria Theresa. The King is represented
dressed in a blue coat edged with gold braid, long white cravat,
brown wig to the shoulders. The Queen wears a red bodice
edged with lace, over which is draped a brown mantle edged
with ermine ; high starched cap with a veil faUing down the
back, one fold of which she holds in her right hand ; jewelled
necklace and cross.
Two Enamels, forming a purse. Oval, each measures 2| by 2 in.
Signed. (551)

Attributed to NICHOLAS LAVREINCE
1737-1807.
508 A Lady, name unknown. Half-length, viewed in profile to
the left. She wears a tight-fitting bodice, tied with a bow
and a very broad Medici collar. Her hair is dressed high
and decorated with feathers, curls falling to her the shoulders,
pearl necklace.
Pencil, slightly touched with colour.
Rectangular, 3 by 2\ in. On a card.(887)

Third Day 166
1 SIR THOMAS LAWRENCE, P.R.A.
1769-1830.
509 Miss Farren, afterwards Countess of Derby. Seated, three-
quarter length, viewed fuU, face to the left ; her hands are
folded in her lap. Short-sleeved bodice with belt and buckle,
ribbons tied in bows at the wrists ; wide-brimmed hat worn
high on the head and decorated in front with satin bows,
ostrich plumes at the top ; hair arranged in curls about the
face. Pencil. Rectangular, 7\ by 10J in. On paper. (376)

SIR THOMAS LAWRENCE, P.R.A.
510 A Girl, name unknown. Bust portrait, viewed to the left,
eyes looking to the right. Nude shoulders, short brown hair.
Crayons. Oval, 2\ by 3f in. On paper. (179)

SIR THOMAS LAWRENCE, P.R.A.
511 Miss Grant of Grant. Head and shoulders, viewed to the
left, head slightly inclined to the left. FriU-edged bodice
lightly sketched in, curly hair bound with a white scarf and
falling down her back.
Pencil, heightened with colour. Oval, Q\ by 4\ in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18. (176)

SIR THOMAS LAWRENCE, P.R.A.
512 Captain Hillier and Miss Hillier. Half-lengths, viewed in
profile to the left. The lady wears a richly frilled mob-cap,
festooned bodice and fichu, a ribbon round her neck.
Captain Hillier is in uniform with epaulettes. An elaborate
head-dress with plumes and ribbons ; long curly hair.
Both are in pencil. Oval, 4| by 3\ in. and 3f by 3 in. On vellum.
Exhibited at the Victoria and Albert Museum, 1917.
From the Collection of Miss Walcot, Lawrence's grand-niece.
(662 and 663)

167 Third Day
SIR THOMAS LAWRENCE, P.R.A.
513 A Lady, name unknown. Half-length, viewed in profile to the
left. Dark bodice with broad black fur stole, lace collar ;
hair simply arranged on top of the head. Her arms folded
are before her.
Pencil, heightened with colour.
Rectangular, 7f by 10J in. On paper.
(275)

SIR THOMAS LAWRENCE, P.R.A.
514 A Lady, name unknown. Seated, three-quarter length, viewed
full, face to the left, inclined to the left. Her left arm rests on
a table on which stands a jardiniere, her right arm lies in
her lap. She wears a long-sleeved bodice with wide fichu ;
hair bound with a scarf and falling in curls about the face.
Pencil. j. Oval, 9\ by 11 in. On paper. (268)

SIR THOMAS LAWRENCE, P.R.A.
515 Mrs. Meredith, the Artist's sister. Represented almost full
length, seated, viewed to the left her face is turned to the
right, eyes looking full. She is leaning slightly forward, her
right arm resting in her lap, the right hand holding a wrap.
The left arm rests at her side. She wears a close-fitting
habit with a sash and peaked lapels, full skirt, frUled fichu ;
stiff-brimmed hat with high crown decorated with a large
bow. Her fluffy hair is simply arranged.
Pencil. Oval, 6 J by l\in. On paper.
Signed and dated 1791.
%* This drawing belonged to Mrs. Bloxam, another sister of
Lawrence's.On the reverse of the frame Mrs. Bloxam has written : "I
hope my daughter Lucy to whom I give this picture of her Aunt
(Lucy Meredith) & Godmother will value this drawing of

Third Day 168
Lot 515 — continued.
her by my Brother (now Sir Thomas Lawrence) as much as
I do. It was drawn in the year 1791. and a strong likeness.
Anne Bloxam, Decr 22nd. 1823."
Under this, in another hand, is written " I leave this picture
to my daughter Lucy, Oct. 23, 1866. Lucy Bern." (575)

SIR THOMAS LAWRENCE, P.R.A. »
516 William Pitt. Seated, half-length, viewed in profile to the
left. High-cqilared coat, frilled cravat, hair uncurled and
tied in pigtail.
Pencil. Rectangular, 6| by 5 in. On paper.
This is the original study made by Lawrence (when staying
in company with Pitt, at Stanmore) for the famous portrait
now at Windsor. See explanatory letter from Dr. Bloxam,
Lawrence's nephew, on the reverse.
Exhibited at the Victoria and Albert Museum, 1916-18.
From the Bloxam Collection. (365)
[See Illustration.]

SIR THOMAS LAWRENCE, P.R.A.
517 The Princess of Wales, afterwards Queen Caroline. Almost
half-length, viewed to the right, face looking full. She
wears a black bodice with a white ruff ; white hat with long
ostrich plumes. Brown curly hair. Oval, 3| by 2f in. On paper.
Signed.
This miniature was painted in 1801, whilst Lawrence was
staying with the unfortunate , Princess at Montague House.
Lawrence was one of those who were subsequently charged
with having been too intimate with the Princess ; he was,
however, acquitted by the Royal Commissioners.
9 Exhibited at Brussels in 1912. (28)

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No. 516.

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No. 519.
169 Third Day
SIR THOMAS LAWRENCE, P.R.A.
518 Mrs. Siddons. Bust, viewed full. Narrow cottar ; her curly
hair bound with a scarf tied under the chin.
Pencil, heightened with colour. Circular, diameter 15 in. On paper.
The engraving from this drawing is very well-known. (273)

SIR THOMAS LAWRENCE, P.R.A.
519 The Countess .Spencer and Lady Sarah Spencer. Full-length.
The Countess is represented head and shoulders, viewed to
the left, inchned to the right, holding her young daughter in
her arms. Lady Sarah grasps one bare foot with her left
h^and, her right hand holds a flower ; lace cap.
Pencil. Rectangular, 8 by 12 in. On paper.
Lady Sarah married Lord Lytteltqn in 1813 and died in 1870. (267)
[See Illustration.]

SIR THOMAS LAWRENCE, P.R.A.
520 Master and Miss Steele, of Stroud. The boy is represented
half-length, viewed to the right, eyes looking full. He wears
a dull brown coat over a chamois-coloured waistcoat, white
falling collar ; his brown hair, brushed forward, falls in
tight curls to his ears. A tree in the background to the left.
The girl is viewed to the left, eyes looking to the right. She
wears a chocolate-coloured habit over a white frilled bodice
with wide falling collar. Brown hair falling in curls to her
shoulders. Foliage in the background to the right.
Crayons. Both are ovals, measuring 9\ by 11\ in. On paper.
Signed and dated December 14, 1784.
Lawrence was truly an " Infant genius " — his earliest recorded
crayon portraits were drawn in 1775. (217 and 218)

Third Day 170
SIR THOMAS LAWRENCE, P.R.A. ,
521 The Ladies Mary, Emily, and Priscilla Wellesley. The
three heads are grouped together, each being viewed almost
full. Lady Priscilla's arm rests on Lady Mary's shoulder.
Lady EmUy is in the centre.
Pencil, slightly tinted. Rectangular, 61 by 8\ in. On paper.
This is the first sketch for the well-known engraving which
was published in 1827.
The finished drawing is in the Duke of Wellington's possession
— it was purchased by the first Duke from Lawrence for
40 guineas. A replica of it, which belonged to Lord Raglan,
was sold bv auction in December 1915 for £840. (433)
[See Illustration.]

charles Etienne le guay
1762-1840.
522 Octave Henri Gabriel Segur, famous Chemist. Bust, viewed
in profile to the right. Dress open at the neck ; short curly
hair. Pencil. Oval, 2| by 3| in. On paper.
(618)
SIR PETER LELY
1618-80.
523 The Duchess of Portsmouth, mistress of Charles II. Seated
three-quarter length, viewed full, face to the right, inclined
slightly to the right, eyes looking to the left. The body
is slightly sketched in pencil, while the face, one side of the
head, and a strip of dark background, are finished in wash.
Decollete bodice with elbow sleeves ; her right hand rests
in her lap, the left hand is raised and holds some drapery.
Hair parted in the centre and faUing to the ears in curls.
Pencil and wash. Rectangular, 9 by 12\ in. On paper.
Probably an original study for the weU-known portrait in
mezzotint. Inscribed. (452)
[See Illustration.]

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No. 523.

171 Third Day
SIR PETER LELY
524 William Wycherley, Poet and Dramatist, set. 28. Bust,
viewed to the right, eyes looking full. Long wig to the
shoulders. Red chalk. Rectangular, 5 \ by 6f in. On paper.
An important portrait. (541)

FOURTH DAY'S SALE.

JEAN BAPTISTE LE MOYNE
1704-78.
525 A Lady, name unknown. Three-quarter length, viewed full, face
to the left. She is seated beside a classic urn on a pedestal
and wears a slashed bodice with puff-sleeves. A cloak,
draped over her right shoulder, falls to her knees. Her right
hand rests on the urn, her left rests in her lap and holds a
wreath. Short curly hair.
Pencil. Rectangular, 8 by 11 in. On paper. (402)

Attributed to JACQUES LE MOYNE
flourished 1780-1790.
526 A Sleeping Girl. A girl in a white low-cut dress reclines on
a grass bank asleep. Her head, with loose curled auburn hair,
falls to the left and rests over her right shoulder against a
silk covered couch. Her right hand rests in her lap holding
blue ribbons, her left arm falls limply by her side. A pink
rose lies near her feet, and on her left stands a large ewer under
two saplings. Oval, 5 by 3| in. On ivory. (853)

ANDREW BENJAMIN LENS
1713-70.
527 Jacob Tonson, the Publisher. Seated, half-length, viewed to
the right, face to the left. He wears a full-sleeved cloak and
tight-fitting cap. His left hand holds a book.
Plumbago. Rectangular, 10 J by 13£ in. On paper.
Signed and dated 1734. (154)
[See Illustration.]

No. 527.

173 Fourth Day
ANDREW BENJAMIN LENS
528 A Boy. Half-length, viewed to the right, eyes looking to the
left. Costume of the period ; long curly wig.
Plumbago. Oval, 2\ by 2\ in. On vellum.
(83)

BERNARD LENS
1682-1740.
529 A Gentleman, name unknown. Bust viewed to the left. Blue
slashed coat trimmed with red in front, small lace collar,
brown hair falling to the shoulders.
Oval, l\by 1-j^ in. On bone or ivory. (352)

BERNARD LENS
530 George Frederick Handel. He is represented almost full-
length, viewed to the left, seated, with legs crossed, beneath
a tree in a wood. His right arm leans on a rock, whUe his
left rests on his hip. He holds a hautboy. A book of music
lies beside him. He wears a long yellow coat open at the cuffs,
showing the white undersleeve, and a blue mantle flung across
his knees. Red stockings, long powdered wig to the shoulders ;
white cravat. Rectangular, 7 by 5£ in. On ivory.
This is the earliest known portrait of the Composer, and
probably dates from about the year 1710.
Exhibited at Brussels in 1912 and described in the Exhibition
Catalogue.
An important portrait. (27)

Fourth Day 174
BERNARD LENS
531 Lady Lovelace, wife of John, Lord Lovelace, Governor of
New York, 1708-9. Half-length, viewed to the left. De
collete bodice. Her hair is parted in the centre and disposed
in long locks falling upon each shoulder.
Plumbago. Oval, If by 1\ in. On vellum.
(571)

BERNARD LENS
532 Mary Queen of Scots (called a portrait of). Bust, viewed to
the left, eyes looking to the right. White upright ruff, neck
lace of pearls and jewels. Her light brown hair is brushed
back from the forehead and confined in a black cap edged
with lace. Above it is worn a black hat with feathers.
In a frame of the period with a portrait of Our Lady at the
back. Oval, 2f by If in. On ivory.
This miniature belonged to the Countess of Dorchester, from
whom it passed into the Colyear-Dawkins Collection. It was
probably originally in the possession of James II. (477)

BERNARD LENS
533 Prince Charles Edward Stuart, " Bonnie Prince Charlie."
He is represented half-length, viewed to the right, eyes looking
to the left. Unbuttoned coat, waistcoat edged with lace,
cravat secured with black ribbon ; short hair ; black hat
edged with lace and ornamented with a feather and jewelled
pin.Plumbago. Oval, 2\ by 3 in. On vellum.
Exhibited at Glasgow in 1911, and at Brussels in 1912.
Described in the Brussels Exhibition Catalogue.
It is a curious coincidence that Lens was -drawing-master
to the " Butcher " Duke of Cumberland. (90)

175 Fourth Day
BERNARD LENS
534 Horace Walpole, when a youth. Bust, -viewed to the left, eyes
looking slightly to the left. He is depicted wearing an early
Stuart doublet of black sUk shot with crimson sttk, broad
faUing linen collar tied at the neck and edged with broad lace.
Hair dressed with side curls. Oval, If by 1 \ in. On ivory.
This beautiful miniature was painted about the year 1733-34,
and is preserved in a charming enamel frame of the period.
Walpole was born in 1717 and died in 1797. (918)

Attributed to BERNARD LENS
535 A Lady, name unknown. Half-length, viewed full, face to the
left. Blue decollete bodice edged with lace, a lace scarf over
her right shoulder, caught at the bosom in a bow. Her brown
hair is bound with pearls ; a string of pearls about the neck
and pending to the bosom.
Painted in oils. Oval, 5 by 4f in. On copper. (33)

PETER PAUL LENS
flourished first half of the XVIIIth Century.
536 Catherine Lens, his mother. Half-length, viewed almost full.
She wears a brown decollete bodice edged with white ; over
this is a blue scarf striped with red, which she holds together
with her right hand. Brown hair falling in a long wave. over
the left shoulder. Oval, 3 by 2\ in. On ivory
Signed and dated 1729. (357)

Fourth Day 176
LEONE LEONI
1509-92.
537 Ferrante Gonzaga, Prince of Molfetta. Bust, viewed in profile
to the left, in richly ornamented armour with a lion's head on
the shoulder. Beard and moustache, short hair.
Pen and ink. Circular, diameter 9 in. On paper.
This very remarkable portrait, which dates from 1555 or
1556, appears to be the original study for the famous medallion
portrait. This medallion of Ferrante Gonzaga is regarded as
Leoni's masterpiece.
From Dr. Wellesley's Collection. (245)

OTTAVIO LEONI
1574-1628.
538 A Lady, name unknown. Half-length, viewed to the left, eyes
looking full. She wears a square-cut decollete bodice with
loose sleeves. Short hair brushed back from her forehead
and caught up in a knot at the back.
Pencil. Rectangular, 5\ by 7\ in. On paper. (785)

OTTAVIO LEONI
539 St. Philip Neri, Founder of the Oratorians, and Philip II
of Spain. The Saint is represented head and shoulders,
viewed to the right, eyes looking to the left. He wears a
biretta, beard and moustache. The King is viewed to the
left, eyes looking to the right. Hair cut short and brushed
up from the forehead, pointed moustache and beard.
Pencil. Both are rectangular and in one frame,
measuring 3| by 4f in. On greenish paper.
From Dr. Wellesley's Collection. (423 and 423a)

177 Fourth Day
JEAN JACQUES ANDRE LE VEAU
1729-85.
540 La Marquise de Caux. Bust, viewed in profile to the right.
Frilled fichu, mob-cap.
Pencil. Rectangular, 4f by 6£ in. On vellum.
Signed and dated 1783. (345)

CHARLES LEWIS
1753-95.
541 " Blind Man's Buff." Representing three figures, a boy in a
yeUow coat and two girls, one of whom is " blind man " ;
playing the game on a lawn under a tree. A cottage on the
right, a lake and a mansion in the background.
Water colour. Rectangular, 9f by 6 in. On paper.
Signed. (233)
JAN LIEVENS
1607-74.
542 The Earl of Essex (CaUed). Half-length, viewed almost full.
He wears a close-fitting doublet with a sash round the waist ;
square falling collar reaching to the shoulders and tied in loops
over a jewelled clasp, straight hair parted in the centre and
falling to the ears, small beard and moustache.
Plumbago. Oval, 2f by 2f in. On vellum.
In the original richly tooled leather case.
A fine miniature. (298)

JOHN LINNELL, Senr,
1792-1882.
543 John Constable, r.a. Bust, viewed to the left, eyes looking
full. Black coat, white cravat, dark brown hair and side
whiskers. Oval, If by £ in. On ivory.
An important portrait. (476)

Fourth Day 178
Attributed to JEAN ETIENNE LIOTARD
1702-1790.
544 The Duchesse de Brissac. Three-quarter length, viewed full
face. She wears a blue silk dress trimmed with white lace.
Powdered hair with flowers, pearl necklace secured with a
black ribbon. , She is holding a quantity of flowers in a white
silk scarf. Landscape in background. Rectangular, 3 by 2| in. On ivory. (862)
DAVID LOGGAN
1635-93.
545 Ralph Bathurst (?)-. Half-length, viewed to the right. In
black gown. Square falling collar, hair in curls to the shoulders
Plumbago. Oval, 4f by 3$ in.. On vellum.
Signed and dated 1681. ¦
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (317)

DAVID LOGGAN
546 Cardinal Mazarin. Half-length, viewed to the right, eyes
looking full. He wears a soutane and cape, broad falling
collar with tassels. Hair in curls to the shoulders, skull cap,
the familiar beard and moustache.
Plumbago. Oval, 61 by 5| in. On vellum.
Signed and dated 1659.
This portrait was formerly in the possession of the notorious
Duchess of Mazarin, and was discovered in an old house at
Chelsea within a stone's throw of the Duchess's former
residence there.
Exhibited at Brussels in 1912, and at the Victoria and Albert
Museum, 1914-18, and described in the Catalogues of the
Exhibitions. Figured and described in Foster's " Samuel Cooper and the
English Miniature Painters of the XVIIth Century."
As. fine a drawing by Loggan as can be desired. (97)
[See Illustration.]

No. 546.

179 Fourth Day
DAVID LOGGAN
547 Charles II. Bust viewed full. Long wig to the shoulders, lace
cravat. Two other slight " trials " for portraits are sketched
on the paper. Oval, 6f by 5\ in. On paper.
This slight sketch was found at the back of Loggan's portrait
of Cardinal Mazarin, and is doubtless a rough sketch for his
well-known portrait of the King.
The Rijks Museum contains several qf Loggan's prints but
none of his drawings.
Unframed. (99)

DAVID LOGGAN
548 Mrs. Perwick. Half-length, viewed slightly to the right, eyes
looking full. Tight-fitting bodice with slashed sleeves. A
very rich lace fichu is brought horizontally across the bosom
and covers the shoulders ; small head-dress covered with a
dark scarf folded under the chin.
Plumbago. Oval, 4f by 3\in. On vellum.
Signed and dated 1665.
Exhibited at Brussels, 1912, and described in the Catalogue
of the Exhibition. Also exhibited at the Victoria and Albert
Museum, 1914-18, and figured in the special Catalogue.
Described in Foster's " Samuel Cooper and the English
Miniature Painters of the XVIIth Century."
Mrs. Perwick was a famous Singing Mistress at this period.
The drawing of the lady's lace bodice is wonderful. (103)

GIOVANNI DOMENICO LOMBARDI
1682-1752.
549 Peg Woffington, the Actress. Bust, viewed to the right,
looking full. She wears a blue decollete bodice edged with
white and partly covered with a magenta scarf, frilled mob-

Fourth Day 180
Lot 549 — continued.
cap brought round under the chin and bound round the head
with pink ribbon, brown hair.
Oval, l\byl\in. Enamel.
From the ChUd, George IV's and the Bridge Collections. (169)

JAMES LONSDALE
1777-1839.
550 Lord A. Hamilton. Almost half-length, viewed fuU, face to
the left. Double-breasted coat, high stock, short hair.
Pencil. Rectangular, 8 by 9\ in. On paper.
Signed. (379)

Attributed to CARLE VAN LOO
1705-1765.
551 J[A Boy, name unknown. Bust portrait viewed full. He wears
an open jacket with narrow falling collar. Curly hair to the
shoulders, confined in a flat cap.
Red chalk. Rectangular, 7| by 9f in. On paper.
Exhibited at the Bath Gallery, 1919. - (784)

JEAN BAPTISTE VAN LOO
1684-1745.
552 A Lady, name unknown. Half-length, viewed full, face to the
right. She wears a decollete bodice, with jewelled ornament
at the bosom, jewelled necklace, hair falling in curls to the
shoulders, and a fringe of curls over the forehead.
Pencil. Rectangular, 4f by 3\ in. On paper. (105)

181 Fourth Day
R. LE LOUP
circa 1700.
553 View of Aix-la-Chapelle. Representing a street lined on
either side by arched arcades. The famous fountain of " hot
water " is represented by a small building projecting into the
street in the middle distance to the right. Four figures are
seen in the foreground.
Plumbago. Rectangular, 3f by 5J in. On vellum. (676)
SAMUEL LOVER
1797-1868.
554 The Artist's own Portrait. Half-length, viewed full face to
the right. Open high-collared coat showing a full black silk
cravat, short hair falling about his ears.
Pencil. Oval, 4\ by Q\ in. On paper.
This drawing has been engraved.
See framed cutting on the reverse. (593)

NICHOLAS MAES
1632-93.
555 An Elderly Man, name unknown. He is represented half-
length, seated at a table and viewed to the right. He wears
a loose doublet and falling collar covered by a fur coat. A
high fur hat is on his head. His left hand, extended on the
table, holds some papers.
Pencil. 6f in. square. On paper. (708)
JEAN BAPTISTE MALLET
1759-1835.
556 A Students' Fete. Six young men are grouped round a table.
One plays a mandoline, another stands drinking, a third leans
across the table on his right elbow and embraces a girl on the

Fourth Day 182
Lot 556 — continued.
other side with his left arm. Seated on a chair in front is a
man with a long cloak fatting from his left shoulder ; to the
right centre sits a figure leaning forward with his elbows on
the table and his face in his hands. A small boy with a dog
and carrying a plate and bottle is going off on the right. On
the other side of the table a girl places a dish of cakes, being
meanwhUe embraced and " toasted " by a youth in a broad-
brimmed hat. Through the fan-lighted door at the back are
seen two figures dancing a minuet in the open, surrounded by
children. Sepia wash and ink, heightened with Chinese white.
Rectangular, 14f by 10| in. On paper.
Signed and dated 1783.
Exhibited at the Bath Gallery 1919.
See a long inscription on the back. (859)

GIUSEPPE FILIPPO LIBERATI MARCHI
1735-1808.
557 Oliver Goldsmith. Head and shoulders, viewed full, face to
the left. He wears a loose coat edged with fur, peaked waist
coat, lawn cravat ; powdered hair in pigtail.
Pencil. Rectangular, 6J by 7| in. On paper.
An interesting portrait. (770)

L. MASSARD
558 Louis IX (St. Louis). Half-length, viewed to the left, holding a
falcon on his right wrist. Slashed cape with fur collar ; a
gold chain about his neck ; hair falling to the ears and
confined in a velvet cap.
Pencil. Rectangular, 3\ by 5\ in. On paper.
Unframed. (545)

183 Fourth Day
L. -MASSARD
559 Louis IX. Half-length, viewed almost full. He wears chain-
matt covered with a cloak, embeUished with fleurs-de-lys
and secured with a clasp over the left shoulder. The circular
crown with its six jewelled fleurs-de-lys is on his head. Hair
to the ears. His left hand clasps a cross-hilted sword to his
breast.
Pencil. Rectangular , 3\ by 4 in. On paper.
Unframed. (546)

L. MASSARD
560 Louis XI. Half-length, viewed to the left. Belted doublet,
gold chain and badge of an Order ; fur-trimmed cape with
full sleeves ; a close-fitting linen cap toped with a stiff round

hat on his head.

A curtain in the background.

Pencil.

Rectangular, 3 by 4 in.

On paper.

Unframed.

(547)

CARLO MARATTI
1625-1713.
561 An Ecclesiastic, name unknown. He is represented three-
quarter length, viewed to the left, seated before a table in his
study. He wears a soutane with tab collar, with a loose-
sleeved cloak about his shoulders ; long curly hair parted
in the centre. His left hand holds an open book, his right
holds up his cloak. A crucifix stands before some books in
the background to the left, a suspended curtain with tassels
to the right.
Plumbago, Rectangular, 8\ by 1 1 in. On vellum.
From an important collection.
It has an owner's stamp upon it. (680)

Fourth Day 184
CARLO MARATTI
1625-1713.
562 L'Abbate Gaetani. Half-length, viewed to the right, ' eyes
looking full. He wears a tight-fitting doublet with smaU
falling collar and has a cloak over his right arm. Curly hair
to the neck.
Plumbago. Rectangular, 4| by 5f in. On vellum.
From the Hodges and Carrington Collections.
See inscription on the reverse.
A NOTABLE PORTRAIT. (690)

JEAN BAPTISTE MASSE
1687-1767.
563 Louise Diane D'Orleans. Known as " Madame de Chartres,"
daughter of the Regent d'Orleans. Half-length, viewed to
the right, eyes full. Light yellow bodice edged with lace,
full sleeves with jeweUed clasp, a blue scarf worn over the
right shoulder and arm unfurls itself at the back. Brown
hair dressed high in curls with tiny ringlets over each temple
and a long lock falling upon each shoulder.
Plumbago, heightened with colour. Oval, 3\ by 2\ in. On vellum.
In the original silver-gilt frame.
Exhibited at the Victoria and Albert Museum, 1914-18. (442)

JEAN BAPTISTE MASSE
564 A Lady, name unknown. Seated, half-length, viewed full, head
turned and slightly inclining to the left, looking full. One
arm — on which she wears a bracelet containing a miniature —
rests on a couch to the left ; the other rests in her lap. She
is dressed in a white bodice with a loose gown over it, a black
sttk cap with pink bow on her powdered hair, one curl of which
lies on the left shoulder. A square stone column in back
ground to the right.
Pencil and wash, heightened with colour. Oval, 3\ by 2\ in. On vellum. (269)

No. 566.

185 Fourth Day
JEAN BAPTISTE MASSE
565 Pauline, Marquise de Simiane, niece of Madame de Sevigne.
She is represented half-length, viewed full, face to the right,
in the act of taking snuff from an open box held in her left
hand. A bracelet containing a miniature is on her right wrist.
She wears a laced bodice covered with a loose gown, its full
sleeves edged with lace. Her hair, brushed up from the fore
head and falling in curls behind, is covered with a small turban
ornamented with an osprey plume. On a table in the back
ground to the left are placed a lighted candle, snuffers, and
a book ; a lifted curtain to the right.
Plumbago. Oval, 3\ by 3 in. On vellum.
(180)

THEODOOR MATHAM
1606-60.
566 Baldesare Castiglione, after Raphael. Half-length, viewed
to the left, eyes looking slightly to the left, hands clasped
before him. He wears a puff-sleeved doublet with dark
collar and cuffs, a fur cape over the left shoulder, high cap
with wide slashed brim, beard and moustache.
Plumbago. Rectangular, 8 by Q\ in. On vellum.
Signed.
*jf* Drawn in 1639 at Amsterdam when Raphael's famous por
trait of CastigUone (painted in 1515) was sold by public
auction for 3,500 gulden. Rembrandt also attended the sale
and made a drawing ; this is now in the Albertina Museum,
Vienna. Raphael's portrait is in the Louvre. (286)
[See Illustration.]

SIR JOHN BAPTIST MEDINA
1659-1710.
567 John Medina, the Artist's son. Almost half-length, viewed to
the right. High-cut coat, long wig to the shoulder tied up
at the neck. ,
Pencil. Rectangular, .3 by 2\ in. On vellum. (603)

Fourth Day 186
ANNE MEE
1770-1851.
568 The Princess Sophia, 5th daughter of George III. Bust,
viewed full, face to the left. She wears an Empire bodice with
standing collar ; a locket on a string -of pearls is round her
neck. Her hair, simply arranged in curls, is bound with
a white turban. Contained in an oval, surmounted with a
coronet ; below, a wreath with a palette, sketch-book, and a
classic mask.
Indian ink. Rectangular, 5\ by 3| in. On paper.
The Prince of Wales, afterwards George IV; was one of '
Mrs. Mee's principal patrons, and a number of her miniatures
are in the Royal Collection at Windsor. In 1791 Horace
Walpole wrote to Miss Berry that Mrs. Mee was staying at
Windsor " painting miniatures of all the Princesses, to be
sent to all the Princes upon earth."
*** The miniature for which this is a study is in the Royal
Collection at Windsor. (773)

CLAUDE MELLAN
1598-1688.
569 Cardinal Mazarin. Half-length, viewed full face to the. right,
eyes looking slightly to the left. He wears a soutane with
wide falling collar and a skull-cap ; beard and moustache,
hair falling to the ears.
Pencil. Rectangular, 5 by *5f in. On paper.
From Dr. Wellesley's Collection. (229)

OSORIO FRANCISCO MENESES
1630-1705.
570 A Girl, name unknown. Bust, viewed almost full. She wears
a black habit and white standing ruff edged with point lace,
dark jewelled necklace. Brown hair simply arranged with
a small red rose over each ear.
Painted in oil. Oval, 3 by 2§ in. On copper. (32)

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No. 571.

187 Fourth Day
ANTON RAFAEL MENGS
1728-79.
571 The Artist's own Portrait. He is seated half-length, viewed
to the left, face to the right. He holds a portfolio and draughts
man's penctt in his left hand, the right hand is raised in gesture.
Loose coat and neckcloth, hair brushed back from the forehead
and falling to the ears.
Plumbago. * Rectangular, 8 by 10£ in. On vellum.
The original drawing for the well-known engraved portrait. (164)
[See Illustration.] '

PHILLIP MERCIER
1689-1760.
572 Frederick Lewis, Prince of Wales. Half-length, viewed full,
face to the right, eyes looking fuU. He wears a high-cut
coat coloured with blue embroidery, white neck cloth. Pow-
1 dered wig. The blue ribbon of the Garter across his breast,
with the star ; the stiff black ribbon of another Order around
his neck. His left hand is thrust in his coat ; his black three-
cornered hat under his arm.
Pastel. Rectangular, 22\ by 17 \-in. On paper.
%* This drawing was engraved by J. Simon. (818)

JEREMIAH MEYER
1735-89.
573 The Princess Augusta, daughter of George III. Bust,
viewed to the left, eyes looking full. She wears a blue
decollete bodice edged with lace and embellished with sUver
embroidery. In her brown hair, which falls in curls down
her back, she wears a small white plume. Oval, If by If in. On ivory*
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
Meyer was appointed Miniature-painter to both George III
and Queen Charlotte.
From the CoUection of the Earl of Chichester. (19)

Fourth Day 188
JEREMIAH MEYER
574 The Lady Henrietta Churchill. Half-length, viewed full,
face to the left, looking full. She wears a pink decollete
bodice edged with white, a purple scarf over the right shoulder
and arm. Light brown hair falling in small ringlets to the
shoulders. Foliage in background to the left.
Oval, If by 1 J in. Enamel.
(252)
JOHN MIERS
flourished 1780-1810.
575 John Smart, Senr., the Miniature-painter. Bust, viewed to the
left. High-collared coat, frUled cravat, hair in pigtail. In
an elaborate frame edged with blue and white enamel and
small gold stars.
Indian ink. Oval, 2byl\ in. On ivory.
This was drawn in 1799 and presented by Smart to his wife,
Edith (see contemporary inscription on back). Smart's name
has been spelled Smarte in error by the engraver.
Exhibited at South Kensington Museum in 1913.
Believed to be the only portrait of this eminent Miniaturist,
save that which appears on a rare medal. (312)

G. VAN DER MIJIN
flourished 1630-1640.
576 A Lady, name unknown. Three-quarter length, viewed to the
left, eyes looking full. She wears a short decollete bodice
, with puff sleeves decorated with strips of embroidery. A
rich flailing ruff of point lace and a double string of beads
round her neck. Her hair falls in short curls about her face
and is adorned with a rosette ; large pearl drops in her ears.
Her hands are folded before her, her right holding a smaU fan.
A column in the background to the left.
Pencil. Rectangular, 8| by 9\in. On paper.
Signed. (807)

189 Fourth Day
MICHEL JANSZ VAN MIEREVELD'
1567-1641.
577 A Spanish General, name unknown. Half-length, viewed to
the right, eyes looking full. He wears a tight-fitting doublet
and a wide ruff. The badge of the Order of the Golden Fleece
is suspended from his neck and in his right hand he holds
a Marshal's baton. Scanty hair, pointed beard and moustache.
Pencil and black chalk, heightened with Chinese white.
Rectangular, 8 by 5f in. On paper.
The finished study for a portrait. (885)

NICOLAS MIGNARD
1605-1668.
578 Gustavus Adolphus, King of Sweden. Three-quarter length,
viewed to the left, eyes looking full, wearing full armour and
the Order of the St. Esprit. He stands before a table on which
rests a visored helmet, a pair of gauntlets and a scroll of paper.
High-crowned broad brimmed hat decorated with a plume ;
wide falling collar ; a rich lace edged robe, draped across his
breast, faUs over the right arm. The left hand grasps the
baton of a Field Marshal, the right rests on his lip. Wavy hair
to the shoulders. A curtain and a column in the background
to the left and right.
Red chalk. Rectangular, 9 by lOf in. On paper.
Exhibited at the Bath Gallery, 1919. (783)

Attributed to PIERRE MIGNARD
1610-95.
579 Philip V of Spain. He is viewed three-quarter length in armour
in profile to the left, face to the left, eyes looking full. He is
standing beside a covered table, on which rests his plumed
helmet. Long flowing wig ; the sash of a Field-Marshal
round his waist ; his right hand rests on his helmet, his left
hand holds his baton.
Pencil. Rectangular, 7 by 8 in. On paper. (461)

Fourth Day 190
E. MONDRON
580 A Gentleman, name unknown. Bust, in profile to the left.
Frilled cravat, wig in pigtail.
Painted en grisaille. Oval, 2f by 2 in. On ivory.
Signed and dated 1794. (20)

JEAN MICHEL MOREAU (" Le Jeune ")
1741-1814.
581 A Group. The four figures, presumably a mother with her three
children, are represented sitting on rocks by the sea. The
mother is dressed in a green gown and white cap with a purple
bag on her right arm, holding a handkerchief in her lap. At
her back, on the left, sits a brown-headed boy in a purple suit
playing a reed pipe. Facing her on the right, her hands on
her mother's arm, stands a girl dressed in rose with white
sash and turban. In the extreme right another girl, seated,
dressed in white with a blue hat, is holding an open book in
her lap. In the background a church and spire to the left.
Glimpse of the sea and sky to the right.
Circular, diameter 8\ in. On ivory.
(251)

JEAN MICHEL MOREAU (Moreau " Le Jeune ")
582 A Lady, name unknown. She is represented full-length, viewed
to the left, eyes looking to the right, and seated beneath a
tree in a wood. She wears a rich silk gown open at the neck ;
her powdered hair faUs in curls to her shoulders. Her left
hand holds an open book, her right rests on her knees.
Pencil, very slightly touched with colour.
Rectangular, 8f by 6f in. On vellum.
Exhibited at the Bath Gallery, 1918. (777)

191 Fourth Day
JEAN MICHEL MOREAU (" Le Jeune ")
583 Charlotte Corday. Bust, eyes looking to the left. She wears
a loose bodice open at the neck. Her hair, which falls in
ringlets to her shoulders, is covered with a mob-cap.

m

\

Pencil, slightly touched with colour. Oval, 2f by 2\ in. On paper.
This charming portrait was drawn in Court by Moreau, during
her trial on July 16th, 1793, for the slaying of Marat.
On the reverse is written, " Marie Anne Charlotte Corday,
Nee a St. Saturnin les Vignaux. Age de 25 ans moins trois
mois. A I'instant ou elle s'apercoit qu'un des Auditeurs
est occupe a la dessin elle tourna la tete de son cote."
This Miniature is the result of the appeal which was made by
Charlotte Corday on July. 15th. On that date she wrote to
the Comite de Surete Generale, and asked that " un peintre
en Mignature " should be in attendance the following morning
to take her portrait.
(The original letter was in the Morrison Collection).
a very important portrait especially for a french
Collector. (822)

JEAN MICHEL MOREAU (dit " Le Jeune ")
584 A Fete Champetre. Exhibiting a Fair with four booths erected
in the park at the gates of a Chateau. To the right is the
tribune with spectators. At the foot of the tribune is a gilt
coach in which ladies are seated. The Chateau is viewed in
the distance. Two of the booths are occupied by strolling
players, the third sells dolls and the other sells flowers.
This exquisite Miniature, which is painted on a piece of ivory
i measuring Q\ by 4\ in., is crowded with figures depicted with
. extraordinary skill. On ivory.
Signed and dated 1774. (915)

Fourth Day 192
ANTONIUS MORO
1512-1576.
585 A LAdy, name unknown. Half-length, viewed to the left, eyes
looking right. She wears a V-shaped bodice with full sleeves
decorated with panels of embroidery. Wide cape-cottar
secured at the neck with a rosette. Pearl ear-rings. Hair-
brushed back from the forehead and confined in a small round
cap with light curls falling to the shoulders.
Pencil, slightly heightened with colour.
Rectangular, 9 by 11 in. On paper.
From the Paar (Vienna 1896) and Freund Collections.
Exhibited at the Bath Gallery, 1918. (389)
, [See Illustration.]

ROBERT NANTEUIL
1623-1678.
586 A Gentleman, name unknown. Bust, viewed to the left, eyes
looking full. He wears a tight-fitting doublet with a cloak,
thrown over it, broad falling white collar. Hair falling to
shoulders, slight moustache and tuft on his chin.
Pencil and black chalk. Oval, 8 J by 7 in. On paper. (876)
[See Illustration.]

ROBERT NANTEUIL
587 Charles L'Abbe de Monv-jsron, " Avocat au Parlement de
Paris " et " Jurisconsulte Francais " (1582-1657). Half-
length, viewed to the right, eyes looking full. He wears a
buttoned doublet tied round at the waist and a broad falling
coUar. A full-sleeved cape covers his shoulders. Short grey
hair to the ears confined in a skull cap, small pointed beard
and moustache.
Pencil. Rectangular, 5£ by 6f in. On vellum.
Signed and dated 1665.
From the Hodges and Carrington Collections.
Nanteuil's pencil drawings are of superlative rarity. This
¦¦•¦• is the finest pencil drawing we have ever seen. (691)
[See Illustration.]

No. 585.

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No. 586.

No. 587.

193 Fourth Day
Attributed to ROBERT NANTEUIL
588 A Gentleman, name unknown. Viewed to the right, looking to
the left. Falling collar, curly hair to the neck, skull cap,
clipped moustache.
Wash. Rectangular, 3J by 3| in. On paper.
(244)
EDWARD NASH
1778-1821.
589 A Lady, name unknown. She is represented full-length, seated
on a couch by a window. Her left arm rests on the couch,
her right hand holds a letter. She wears a low-cut black
dress, her arms being bare. Landscape to the left through an
open window.
Pencil and wash, touched with colour.
Rectangular, 8 J by 6 in. On paper.
Signed and dated 1809.
Exhibited at the Bath Gallery, 1919.
Nash exhibited at the Royal Academy from 1811 to 1820.
In later years he drew portraits in India, sending them home
to be exhibited. (821)

JEAN MARC NATTIER
1685-1766.
590 Mlle. de Lambesc and Le Comte de Brienne. She is repre
sented seated, full length, with face to the left. The young
Count, in armour and white sash, stands to the right. Her
right arm rests on his shoulder, while in her right hand she
holds his helmet. She wears a white decollete bodice with
brown over-mantle covering the bosom and right arm, brown
girdle and skirt covered with a shot blue drapery. Both wear
powdered hair. Violet and claret curtains form a background
left and right. Oval, 4\ by 3\ in. Probably on vellum.
This is. perhaps the finished study for the picture now in the
Louvre.
From the Falcke Collection.
*„.* By an eminent French authority it is pronounced to be
undoubtedly the work of Nattier. (57)

Fourth Day 194
JEAN MARC NATTIER
591 James Edward Stuart, James III of England and VIII of
Scotland. In armour, viewed to the left, looking to the right.
He wears the blue ribbon of the Order of the Garter and a
richly ornamented sword. His right hand, gauntleted, rests
upon a red baton, the other, ungloved, upon his hip. Before
him is placed a helmet with white plumes. Lace cravat,
powdered hair tied at the back in a large black bow.
Painted en gouache. Rectangular, 3% by 4\ in. Probably on vellum. (417)

CONSTANTINE NETSCHER
1669-1722.
592 Henrietta Churchill, afterwards Duchess of Marlborough.
Half-length viewed fuU, face to the left. She is dressed in a
white decollete bodice edged with lace. A white scarf falling
, from her right shoulder is caught at the bosom in a large bow ;
another rose-coloured scarf encircles her left arm. A string
of pearls round her neck and pending to the bosom. Soft
brown hair arranged with flowers and short veil falling behind.
Painted in oils.

Oval, 5| by 4| in.

On copper.

(348)

ISAAC OLIVER

1556-1617,

593 Called Ludovick Stuart, Duke of Lennox and Richmond, k.g.
He is viewed nearly full-face, turning slightly to the right, and
looking towards the spectator. He has dark brown hair, and
a light brown moustache and beard. He wears a starched
white ruff and a white and gold doublet. A jewelled chain,
fastened with a large jewelled clasp, is round his neck. The
blue ribbon of the Order of the Garter falls over his doublet.
Dark blue background.
In contemporary frame. Oval, 2 by 1 \ in. On vellum on card.
(842)

195 Fourth Day
Described as by JOHN OLIVER
594 Miniature Painting. " An Exact and Compendious discourse
concerning the Arte of Miniatura or Limning, and Names,
Nature and Properties of Colours." . . . Sm. 4to. A manu
script of 65 pp. (Circa 1640). This valuable manuscript
contains references to the art of Isaac and Peter Oliver,
Hilliard, Holbein, Durer, Clovio, Raphael, Rubens, Titian,
Michael Angelo, Goltzius, and others.
On one of the covers the arms of Mildmay Fane, Earl of
Westmorland (ob. 1666) are let in from the original binding.
The Author's name does not appear, but he was evidently an
Artist of no mean skill and taste. He was, however, a cousin
of the painter, Peter Oliver, whom he speaks of as being at
work at the time of his writing.
This is a manuscript of Norgate's Miniatura and follows one
^n the Harleian Collection (6000) with only a few verbal
differences. It is described by Mr. Martin Hardie in " Minia
tura or the Art of Limning." Oxford 1919. (62)

Attributed to PETER OLIVER
1364-1648.
595 William Herbert, Earl of Pembroke, the patron of Shakespeare.
He is represented full length, standing beside a table covered
with a crimson cloth, on which rests his brown, broad-brimmed
hat. He wears a close-fitting mauve doublet and full green
trunks, both striped with gold, falling lace collar and cuffs.
The blue ribbon of the Order of the Garter about his neck,
the Garter itself round his knee. A red cape striped with
black over his left arm. The left hand grasps the Lord
Chamberlain's Staff. His jewelled sword is swung behind him
from a golden belt. High brown boots and spurs, brown
hair brushed back and falling to the ears, brown beard and
moustache. Parted crimson curtains in the background.
In colours. Rectangular, 7\ by 5£ in. On panel.
From the Radnor Castle Collection.
A fine painting to which it is hardly possible to put any other
name than that of Oliver. (557)

Fourth Day 196
Almost certainly by JOHN OPIE
1761-1807.
596 Mary Godwin. Half-length, viewed full, face to the left. She
wears a white decollete gown, confined at the waist and finished
, with a lawn fichu. Her hair is simply arranged and confined
in a plain round hat.
Pencil. Oval, 3\ by 4 J in. On paper.
An important portrait. (405)

JOHN OPIE
597 A Lady and her Son, names unknown. The Lady is repre
sented seated three-quarter length, viewed full, face to the
right, inclined to the right, eyes looking to the left. She
wears a short-sleeved bodice with wide fichu, her hair confined
in a lace mob-cap. Her left arm rests on a table, while her
right hand holds an open book, from which her son, standing
beside her, is reading. The boy's left hand rests on her
shoulder.Pencil. Oval, 9\ by 11% in. On paper.
(281)

JEAN BAPTISTE OUDRY
1686-75.
598 Marcus Mehers, Architect. Half-length, viewed to the right,
eyes looking to the left. He wears a cloak with sleeves and a
frilled cravat. His left hand, outstretched, holds an archi
tectural drawing, the right hand a pair of compasses against
his breast. Hair brushed back from the forehead and falling
in curls down the back.
Pencil. , Rectangular, 14f by 91 in. On paper.
Dated 1731. (659)
[See Illustration.]

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No. 598.

197 Fourth Day
JEAN BAPTISTE OUDRY
599 Wild Animals. A group of wild beasts attacking one another in a
forest.
Chalk and wash. Rectangular, 13\ by 22\ in. On paper.
Signed and dated, 1745.

CRISPIN DE PASSE
1565-1637.
600 A Gentleman, name unknown. Bust, viewed to the right, eyes
looking full. He wears a dark spotted doublet with wide
white ruff. Short brown hair brushed up from his forehead,
pointed brown beard and moustache.
Plumbago, heightened with red chalk.
Rectangular, 4\ by 3\ in. On paper.
Signed with his monogram.
From Bishop Percy's Collection.
De Passe worked in England from about 1630 to 1635. (718)

CRISPIN DE PASSE
601 Hendrik Goltzius, the Engraver. Bust, viewed to the right,
eyes looking to the left. Tight-fitting doublet, falling lace
ruff, short hair, pointed beard and moustache.
Pen and ink. Oval, 4\ by 3^ in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (41)

DAVID PATON
flourished 1650--1700.
602 Charles II. Half-length, viewed to the right, eyes looking full.
He wears armour with the George of the brder of the Garter

Fourth Day 198
Lot 602 — continued.
on his breast, short lace cravat, long curly wig, small mous
tache.Pen and ink. Oval, 4 by 5 in. On vellum.
Very little is known of Paton, and we are indebted to the
Honble. Hew Dalrymple for the following transcript : —
I David Paton Limner in Edr graynt me to have recieved from
Mr. David McGill professor of Philosophy in name of Robert Viscount of
Oxfurd the soum of one hundred eighty six pounds eight sh.- as the
interest of seven hundred and eighty pound Scots money, viz one hundred
and fourty pounds for three years from the twenty of May 1692 years to
the twenty of May 1695 years.
Item for a picture of the Prince, of Wales in mignature set in silver,
and two silver frames for other pictures Fourty five pounds twelt shill.
extending in haill to the forsaid soum. Whereof I graunt the recept and
discharge the said Viscount and all whom it may concern of the said soum.
In witness whereof I have written and subscrived thir presents with my
hand at Edenburgh this fifth of June 1695 years. David Paton.
The original is among the papers at Oxenfoord Castle,
Midlothian. - (449)

DAVID PATON
603 The Earl of Dalkeith. Half-length, viewed to the left, eyes
looking full. He wears a richly embroidered cloak and the
ribbon and star of the Order of the Thistle, large fluffy wig.
Plumbago. Oval, 3 by 1 f in. On vellum.
The Earl was the son of the Duke of Monmouth and grandson
of Charles II. The Order of the Thistle was conferred on him
by Queen Anne in 1704.
Exhibited at the Victoria and Albert Museum, 1916-18. (604)

DAVID PATON
604 Sir John Dalrymple. Bust, viewed to the left. Wearing a
loose cloak, rich lace cravat, curly wig to the shoulders.
Plumbago. Oval, 2^- by If in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
The subject of this portrait became the first Earl of Stair
(1648-1707).
%* A tiny plumbago of the very finest quality. (21)

199 Fourth Day
DAVID PATON
605 William III. Half-length, viewed slightly to the left, face to the
right, eyes looking full. He is dressed in armour with a broad
lace cravat, long curly wig to the shoulders.
Pen and ink. Oval, 3 by 3\ in. On vellum.
Drawn in 1695. (361)

RICHARD MORTON PAYE.
1750-1821.
606 A Girl with her Favourite Turkey. Bust, viewed, to the left,
head slightly inclined to the -light. She is represented holding
a young white, turkey against her breast. She wears a blue
dress with light yellow shawl about her head and shoulders ;
short brown hair. Oval, 3 by 2J in. On ivory.
Signed R. M. Paye fecit.
Exhibited at the Royal Academy in 1789. (4)

THOMAS PEAT
Exhibited Royal Academy, 1791-1805.
607 Elizabeth, Duchess of Devonshire. Bust, viewed to the left,
looking to the right. White bodice and fichu, light brown
hair faUing in curls to the shoulders. Landscape in back
ground. Oval, 2\ by 2 in. Enamel.
Signed by the artist on the reverse thus, " Duchess of Devon
shire. T. Peat." (201)

THOMAS PEAT
608 Dr. Moss, physician to George III. Bust, viewed to the left,
looking to the right. Deep blue coat, white frilled cravat,
semi-poudre hair. Oval, 2 by 1\ in. On ivory.
Signed.Exhibited at the Royal Academy in 1791, and at Brussels
in 1912. Illustrated in the Brussels Exhibition Catalogue. (12)

Fourth Day 200
THOMAS PEMBROOKE
1662-1690.
609 A Gentleman, name unknown. Bust, viewed to the left, eyes
looking full. Coat edged with fur, square falling collar, skull
cap, hair to the shoulders.
Plumbago. Rectangular, 3J by 2f in. On vellum.
Signed T. P. fecit. (414)

Attributed to. JEAN BAPTISTE PERRONEAU
1715-83,
610 A Boy, name unknown. Bust, viewed full. High-buttoned
orange coat, narroW|White frilled collar, short brown hair.
Crayons. Oval, 7\ by 10 in. On paper.
(437)

THE REV. W. M. PETERS. R.A.
1742-1814.
The only Clergyman elected to the Royal Academy.
61 1 Miss Frances Reynolds and Mrs. Palmer, Sisters of Sir Joshua
Reynolds. Miss Reynolds is represented half-length, her back
slightly turned to the spectator and her face to the left. She
is dressed in a fuU-sleeved bodice, broad-brimmed hat with
hanging strings and plumes ; her hair in clusters of curls to
the ears. Mrs. Palmer is inclined slightly forward to the
left, her face to the right, looking at her sister. She wears a
decollete bodice ; a flowered hat with hanging strings is on
her head.
Pencil. Rectangular, 8 by 11 in. On paper.
*** This beautiful drawing, which formerly belonged to the
Palmer family, was ascribed by them to Sir Joshua Reynolds. (121)

201 Fourth Day
THE REV. W. M. PETERS, R.A.
612 A Lady, name unknown. Full-length, viewed full, face to the
right. She wears a tight-fitting bodice with wide lawn fichu ;
a pannier skirt and wide-brimmed hat decorated with a pendant
tassel at the side. Hair in curls to the shoulders ; a pendant
locket hangs at her bosom. Her hands are folded before her.
Pencil. Rectangular, 5% by 11 in. On paper. (724)
THE REV. W. M. PETERS, R.A.
613 A Lady, name unknown. She 'is represented full length, standing
to the right, in the act of placing a wreath of flowers upon
the pedestal of a bust. She wears a simple bodice and pannier
skirt ; her hair falls down her back.
Pencil. Rectangular, 11 by 7 \ in. On paper.
Probably the study for a picture. (609)

THE REV. W. M. PETERS, R.A-
614. Two Ladies, names unknown. One is represented in classic
costume, violet mantle and jewelled girdle, holding a white
dove in her right hand, which a little winged cupid is reaching
out to take from her. The other, similar in composition,
represents 'a girl asleep, her head, crowned with flowers,
resting on her arm, a blue mantle across her knees. Another
cupid, with a red rose in his hand, is here depicted with a finger
to his Ups in sign of silence.
Water-colour. Ovals, both measuring 6J by 7\ in. On paper.
(627 and 628)

JEAN PETITOT
1607-91.
615 The Princess Anne, afterwards Queen Anne. Bust, viewed to
the right. Blue decollete bodice, crimson overmantle edged
with ermine over the right shoulder and secured left with a

Fourth Day 202
Lot 615 — continued.
jewelled chain. Her powdered hair, which falls in curls to the
shoulders, is bound with small strings of pearls ; a jewelled
crescent with pearl drop over her brow.
Oval, in ormolu frame.
Enamel on gold, slightly larger than a shilling.
From George I V's and the Bridge Collections. (170)

JEAN PETITOT
616 Anne of Austria. Bust, viewed to the left. She wears a yellow
decollete bodice with jewelled ornament at the bosom, pearl
, necklace, hght brown hair falling in tight curls about the neck.
This tiny enamel, about the size of a sixpence, is probably a
" trial " for a larger miniature. Circular. Enamel.
From Lord Chichester's Collection. (18)

JEAN PETITOT
617 A Lady, name unknown. Head and shoulders, viewed to the
left. White decollete bodice partly shown, brown hair parted
in centre and' disposed in three rows of curls on either side of
the head ; two curls fall forward over each shoulder. She
wears large pearl drops in her ears and a pearl necklace.
Oval. Enamel on gold, rather larger than a shilling.
This may possibly be by Jean Petitot the younger. The
detaUs are somewhat hard for the work of the father.

JEAN PETITOT %
618 Charles II. Bust. The King is viewed to the right, his eyes
looking full. The blue ribbon of the Order of the Garter is
just visible, broad white lace cravat, hair falling to his shoulders.
Oval, 1 \ by 1 in. Enamel..
A fine example of the elder Petitot 's work. (904)

203 Fourth Day
BERNARD PICART
1673-1733.
619 George I and Sophia Dorothea, his Queen. The King is
represented three-quarter length, viewed to the right, face to
the left. He is in armour, with the baton and sash of a
Field-Marshal, his plumed helmet beside him. Curly wig to
the shoulders. Behind him a winged figure of " Father
Time " with an hour-glass and wings on his head is depicted
in the act of raising a curtain from an oval portrait of the
Queen, half-length, viewed to the left, which stands on a table
behind the Crown.
Indian ink. Rectangular, 6f by 8| in. On paper. (263)

JEAN BAPTISTE MARIA PIERRE
1713-89.
620 La Savoyarde. Representing a woman dressed in a well-worn
grey skirt and bodice, with a black scarf about her head,
seated on a rock by a wall. A stout staff lies at her side. A
young man, in yellow breeches and crimson coat, is depicted
kneeling before her to the right and holding the hand which
rests in her lap. Some rocks and shrubs in the background
to the right.
Painted en gouache. Rectangular, 8 by 10 in. On vellum.
This drawing has been engraved. (687)

JEAN PILLEMONT
1727-1808.
621 A Peasant. Viewed full-length, in a landscape, a town is in
the distance.
Pencil and black chalk. Rectangular, 6f by 5J in. On paper.
Signed. This drawing, if unsigned, would probably have been ascribed
to Watteau. (836)

t

Fourth Day 204
ROBERT EDGE PINE
1730-88.
622 George III. Bust, viewed to the right, in ermine robes. The
collar of the Order of the Garter round his neck. Lace cravat,
long wig.
Pen and ink. Oval, 4f by 51 in. On vellum.
Drawn in 1763.
Pine, who painted a well-known portrait of Washington,
died at Philadelphia on November 19, 1788. (333)

4

ROBERT EDGE PINE
623 George III. Half-length, viewed to the left. He wears an
ermine-lined coat and embroidered waistcoat, the ribbon of the
Order of the Garter and the George around his neck. Lace
cravat. Powdered wig in pigtail.
Pen and ink. Oval, 3J by 4\ in. On vellum. (538)

CHRISTOPH PLATZER
624 George Frederick Handel. Bust, viewed to the right, face
turned and looking towards the spectator. He wears a blue
cloak over his shoulders, short lace cravat, long powdered wig.
Oval, 2§ by 1 f in. On vellum.
In the original fine diamond frame.
Signed. Platzer worked at Passau during the first half of the XVIIIth
Century. About 1720 he was appointed Court painter to the
Prince-Bishop. (198)

205 Fourth Day
ANDREW PLIMER
1763-1837.
625 The Marchioness Cornwallis. Bust, viewed to the left. She
wears a white bodice, lace ruffle tied with pink ribbons, pink
ribbon securing a frilled mob-cap, curly brown hair falling
about her neck.
She was the wife of the famous Marquess Cornwallis
See supra, Addington, lot 2. Oval, 2f by 2\ in. On ivory.
From the Lindsay Collection. (331)

ANDREW PLIMER
626 Thomas Ireland. Bust, in blue velvet coat and white cravat,
face to the left, eyes full. Semi-poudre hair in pigtail.
Oval, liby 1 \ in. On ivory.
Signed and dated 1787, and inscribed on the reverse, " Thomas
Ireland painted by Andrew Plimer, pupil of Cosway, 1787."
Painted in Plimer's earliest manner. (224)

ANDREW PLIMER
627 Edward Jerningham of Costessy. Bust, viewed to the right.
High-collared coat, white stock ; short hair, brushed forward ;
side whiskers.
Pencil. Oval, 2f by 2\ in. On paper or card.
Exhibited at Brussels in 1912 and at the Victoria and Albert
Museum, 1914-18, and illustrated in the Catalogues of the
Exhibitions.
The only miniature by Plimer, in pencil, that is known to
exist.From the Jerningham Family Collection. (127)

Fourth Day 206
ANDREW PLIMER
628 William Charles Jerningham of Costessy. Bust, viewed
to the left, eyes full. He is dressed in an Austrian uniform,
indigo coat with braid and brown fur collar, black stock,
short powdered hair, side whiskers.
Oval, 2| by 3 in. On ivory, in leathern case.
Illustrated in Williamson's " Andrew and Nathaniel PUmer."
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
At this period British and Irish Catholics, being denied admis
sion into the English Army and Navy, frequently entered
the Austrian service.
From the Jerningham Family Collection. (126)

ANDREW PLIMER
629 Colonel Sir J. May, k.c.b. Bust, in uniform, viewed to the left.
Red coat with blue lapels and collar, gold epaulettes, white
cravat, powdered hair. Oval, 2\ by 2| in. On ivory.
This miniature dates from Plimer's middle period. (45)

ANDREW PLIMER
630 The Countess of Mornington. Half-length, face to the right,
eyes full. She is represented seated on a red upholstered
chair dressed in blue, with a white kerchief folded well up under
the chin. White mob-cap, grey hair. Oval, 3f by 3 in. On ivory.
The Countess was mother of the Marquess* Wellesley, Lord
Maryborough, the Duke of WeUington and Lord Cowley. She
was born in 1742 and died in 1831. *
*** This large miniature was painted for the Prince Regent, who
presented it to the Marquess Wellesley in 1811. (171)

"•'• ' *** 207 , Fourth Day
ANDREW PLIMER.
631 Mrs. Thompson. Bust, viewed to the left. White decollete
bodice with ruffle collar. Her light brown curly hair, bound
,•; with a small fillet of pearls, falls about her neck and shoulders.
Oval, 2\ by 2\ in. On ivory.
From the Lindsay Collection. (323)

ANDREW PLIMER
632 William Wellesley-Pole, Lord Maryborough and (in 1842)
Earl of Mornington. Bust, viewed to the right. Deep blue
coat with brass buttons, white waistcoat, white neck-cloth,
powdered hair in pigtail.
, Oval, 2f by 2 in. On ivory. (563)

ANDREW PLIMER
633 A Young Lady, name unknown. Bust, viewed to the right,
eyes full. Brown bodice with white fichu and collar with
brown bow, hair lightly powdered. Oval, l\by If in. On ivory.
Signed and dated 1787.
A delightful miniature painted in Plimer's earliest manner. (143)
NATHANIEL PLIMER
634 A Gentleman, name unknown. Bust, face to the right. Dressed
in a blue coat with brass buttons, white waistcoat and neck
cloth, powdered wig.
Oval, l\by If in. On ivory.
Signed and dated 1787.
Exhibited at Brussels in 1912.
An exceedingly fine miniature. Although Nathaniel is
overshadowed by his brother (Andrew), he was the greater
artist. (104)

Fourth Day 208
NATHANIEL PLIMER
(or perhaps Andrew Plimer)
635 Mr. Hallam. Bust, turned to the right, looking to the left.
He wears a blue coat and yellow waistcoat, frilled cravat,
powdered hair.
Oval, 2\ by 2f in. On ivory. (49)

SOLOMON POLACK
1757-1839.
636 Alexander Pope. Half-length, viewed full, face to the right.
His head rests on his hand. Long cravat, curly wig.
Plumbago. Oval, 3 by 2| in. On vellum.
Signed on* the back.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
An interesting portrait. (509)

SOLOMON POLACK
637 Jean Jacques Rousseau. Bust, viewed full, face to the right,
eyes looking full. Loose neck-cloth, hair in curls to the ears.
Plumbago. Oval, 2f by 2\ in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
Polack was born at the Hague in 1757, he first exhibited at
the Royal Academy in 1790, and died at Chelsea in 1839.
An interesting portrait. (510)

209 Fourth Day
PIERRE PAUL PRUD'HON
1758-1822.
638 Madame Bougeart. She is viewed half-length, the bust being
nude. Eyes full. Her fair hair is bound with a black ribbon.
Pastel. Circular, diameter 39 ins. Blue paper.
On the reverse is written ", Ce dessin m'a ete donne par mon
bon ami Bougeart qui le tenait de sa Grand'mere a laquelle
Prud'hon l'avait donne. F. Charneron a Lizy s/Ourcq
6 Janvier 1851. Cette etude avait ete faite pour le portrait
de la Grand'mere de Bougeart."
Signed and dated 1790. (830)

Attributed to PIERRE PAUL PRUD'HON
639 " Our Lady of the Rocks." A very highly finished chalk (or
pencil) drawing after Leonardo da Vinci's famous picture.
Rectangular, 18\ by 13 in. On paper.
- (455)

PIETER JANSZ QUAST
1606-1647.
640 An Interior, representing a Surgeon richly dressed in slashed
doublet aftd plumed hat performing an operation on a man's
head. The patient sits on a stool in the centre. To the right
are several spectators keenly interested in the proceedings.
An assistant is arranging some bottles of medicine to the left.
Plumbago. Rectangular, 10 by 11 J in. On vellum.
Signed and dated 1645.
From the Paar and Freund Collections. (791)

Fourth Day 210
SIR HENRY RAEBURN, R.A.
1756-1823.
641 Mrs. Archer, nee Miss Clerk; Seated, half-length, viewed to the
left, face to the left, looking slightly to the right. She wears
an olive gown with white fichu and black chiffon scarf about
her shoulders, white mob-cap ; black hair ; long olive-green
gloves drawn up to her elbow, which rests on one arm of the
chair. Oval, 2f by 3£ in. On ivory.
Signed (it is declared).
Raeburn painted portraits of two or three other members
of the Clerk famUy. (559)

SIR HENRY RAEBURN, R.A.
642 Philip Howard. Bust, viewed to the left, eyes looking full. He
wears a brown coat with brass buttons, white fritted cravat,
powdered hair. Oval, If by 2 in. On ivory.
From the Howard family. . The tradition assigning it to
Raeburn is of some standing. (412)

SIR HENRY RAEBURN, R.A.
643 Master Keighley. Bust, turned to the left, face io the left.
Large brown eyes, his golden-brown hair fatting in curls over
a broad white ruffled coUar and plum-coloured jacket.
Oval, 2£ by 2f in. On ivory.
The beautiful enamel frame is enriched with diamonds.
*#* A very puzzling miniature. It is of superb quality and has
always been attributed to Raeburn. If it is not his work it
is difficult to say who could have painted it. The boy's hair
is on the reverse. (184)

211 'Fourth Day
ALLAN RAMSAY
1713-84.
644 Captain Ferguson. Bust, viewed in profile- to the left. Three
cornered hat, wig in pigtail.
Pencil. Rectangular, 4\ by 3f in. On paper.
Dated January 1775. (See inscription). (492)

PIERRE NICOLAS RANSONETTE
1735-1810.
645 A Gentleman, name unknown. Bust, viewed to the right,
eyes looking fuU. Brown coat, neck-cloth, curly wig
to the ears.
Pencil, heightened with colour. Oval, 2\ by 3\in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18.
Signed with initials and dated 1772. (639)

PIERRE NICOLAS RANSONETTE
646 A Lady, name unknown. Half-length, viewed to the left, eyes
looking full. Decollete bodice cut square over the bosom
and. decorated with a frilled stole, a small bow in front,
powdered hair dressed high on the top of her head in curls.
Pencil, heightened with colour. Oval, 2| by 3\ in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18.
Signed with initials and dated 1772.
*** TWO REMARKABLE PORTRAITS BY AN ARTIST WHOSE WORK
IS RARE. (638)

Fourth Day 212
JAN ANTHONISZ VAN RAVESTEIJN
1572-1657.
647 A Gentleman, name unknown. Half length, viewed to the
left, eyes looking full. He wears a plain doublet with fuU
sleeves and fatting collar secured with tassels. Short hair
parted in the centre. His left hand is on his breast.
Pencil. Circular, diameter, 6 in. On paper. (774)

JONATHAN RICHARDSON, Senr.
1665-1745.
648 The Artist's own Portrait. A head in profile to the left. He
wears a lawn cravat, a soft cap with a small tassel is worn
thrust from the forehead.
Pencil. Rectangular, 8f by 11£ in. On paper.
Signed and dated Sept. 26th, 1734.
This drawing was given by Richardson to the poet Pope. (175)
[See Illustration.]

JONATHAN RICHARDSON, Senr.
1665-1745.
649 Two Self Portraits of the Artist (in one frame), (a) Half-
length in full wig, looking to the right; drawn in 1695.
(b) Half-length with natural hair, looking to the left. Drawn
in 1734.
Pencil. Rectangular, both measure Q\ by 5| in. On vellum.
Both of these drawings have important notes by Richardson
on the reverse, and both have been engraved. (829)

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No. 648.

213 Fourth Day
JONATHAN RICHARDSON, Senr.
1665-1745.
650 William Cheselden, f.r.s. A drawing of the face alone, viewed
to the right, eyes looking left.
Pencil. Rectangular, 4f by 5f in. On vellum.
Signed.This drawing was engraved by Faber. (789)

JONATHAN RICHARDSON, Senr.
651 Mr. Drake of Charlos. A head, viewed to the left, eyes looking
to the right. Short wig.
Plumbago. Rectangular, S\by7 in. On vellum.
Signed and dated October 28th, 1734, on the reverse. (578)

JONATHAN RICHARDSON, Senr.
652 John Dryden, set. 65. Head and shoulders, viewed in profile to
the right, face to the right, eyes looking full. Plain coat and
narrow collar, wavy hair parted on the left side and faUing to
the ears.
Plumbago. Rectangular, 2f by 3\ in. On vellum.
Dated 1697.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
In this year Dryden published his famous " Ode to St. Cecilia."
An important portrait. (443)

JONATHAN RICHARDSON, Senr.
653 An Ecclesiastic, name unknown. Almost half-length, viewed
to the left, eyes looking full. Buttoned coat with tab collar,
curly hair to the ears.
Indian ink wash. Oval, 6f by 8f in. On paper.
This drawing is after Van Dyck., Richardson has inscribed
it " V. D. 1639." (368)

Fourth Day 214
JONATHAN RICHARDSON, Senr.
654 Called- William Hogarth. Bust, viewed to the right. Frilled
cravat, long wig. He holds a long-stemmed pipe in his
mouth.
Pencil, touched with red crayon. Rectangular, 4% by 3f in. On paper.
(474)
JONATHAN RICHARDSON, Senr.
655 Mrs. Knapton. Bust, viewed to the left, eyes looking full.
Her hair is parted in the centre, brushed up over the ears, and
adorned on the right with a cluster of pearls.
Pencil. Rectangular, 3 by 3f in. On vellum.
Signed with his initial, as customary.
Exhibited at the Victoria and Albert Museum, 1916-18.
She was the wife of James Knapton, the Publisher, and
mother of George Knapton, the Painter. (539)

JONATHAN RICHARDSON, Senr.
657 Matthew Prior, the Poet. Half-length, viewed fuU, face to the
left. Buff coat. He wears no cravat. A buff turban on his
head.
Plumbago, touched with colour. Rectangular, 2f by 3\ in. On vellum.
This is probably the study for the portrait now at Welbeck.
Exhibited at the Victoria and Albert Museum, 1916-18. (150)
JONATHAN RICHARDSON, Senr.
658 Jonathan Richardson, Junr. A head, in profile to the right.
High forehead, short wavy hair.
Plumbago. Rectangular, 4f by 5f in. On vellum.
Signed and dated May, 1736. (264)

215 Fourth Day
JONATHAN RICHARDSON, Senr.
659 Jonathan Richardson, Junr. Half-length, viewed in profile
to the left, face to the left, eyes looking full. Plain coat with
long cravat, wavy hair falling to the ears. He holds a monkey
in his arms. Rectangular, 5 J by 7\ in. On v ilium.
See long inscription on the reverse, dated 5 May, 1735. (580)

JONATHAN RICHARDSON, Senr.
660 Edward Wright. Bust, viewed in profile to the left. Hair in
curls to the shoulders.
Plumbago. Rectangular, 4\ by 51 in. On vellum.
Dated (on the reverse) December 27th, 1736. (256)

CHRISTIAN RICHTER
1682-1732.
661 John Selden. Head and shoulders, viewed to the left. He
wears a black coat with white falling collar ; hght brown hair
parted in the centre and falling in curls to the shoulders.
Water and body colour. I\by2\in. On vellum.
Signed and dated 1708 on the reverse. (674)

HYACINTHE RIGAUD-Y-ROS
1659-1743.
662 Jean Racine, the Poet. Bust, viewed in profile to the right,
face turned to the right, eyes looking full. He wears an
elaborate lace collar and a cloak secured in front with a
jewelled clasp and bow. Long curly wig to the shoulders.
Pencil. Rectangular, 9f by 7 in. On paper,
It has an owner's stamp upon it with a monogram R.L. (197)
V.

Fourth Day 216
G. RIVIERA
663 Eugene, Marquis de Beauharnis. Bust, viewed to the right,
face to the left. He wears a cloak drawn across his breast ;
short hair in tight curls, side whiskers.
Pencil. Oval, 2f by 2-^ in. On paper.
Signed and dated 1823.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (338)

HUBERT ROBERT
1733-1808.
664 A Gentleman, name unknown. He is represented full length,
viewed to the right, seated on a leafy bank in a wood. His
left elbow rests on the bank, his left hand holds the long clay
pipe he is smoking ; his right arm rests in his lap, the right
hand holding a cup. Silk stockings and knee breeches, wide-
collared coat, lawn cravat, a high-crowned hat on his head.
A man's figure in the background to the right.
Pencil. Rectangular, 10 by 13J in. On paper.
Signed and dated (on the reverse) 1796. (144)

ANDREW ROBERTSON
1777-1845.
665 Believed to represent Mrs. Warren Hastings. Bust viewed to
the right, eyes looking full. She wears a blue decollete bodice.
Her brown hair dressed high in curls is confined in a white
scarf folded under her chin. Pearl necklace.
Circular, diameter If in. On ivory.
Signed with conjoined initials. (803)

217 Fourth Day
ANDREW ROBERTSON
666 Sir Walter Scott. Bust, viewed to the right, eyes looking full.
He is represented wearing a blue coat with brass buttons,
black coUar, white neck-cloth ; semi-poudre hair, cut short.
Oval, 2\ by 2f in. On ivory.
(125a)

ANDREW ROBERTSON
667 Major-General the Honble. Sir Arthur Wellesley, k.c.b.
(afterwards Duke of Wellington). Bust, viewed to the left,
eyes looking fuU. He wears an indigo cape with falling collar,
fastened at the neck with a gold brooch ; black stock, short
curly brown hair. Rectangular, 3 by 2f in. On ivory.
Painted between 1805 and 1806. (321)

ANDREW ROBERTSON
668 The Marquess Wellesley. Half-length, viewed full, face to.
the right, eyes looking fuU. Black coat, white cravat. He
is wearing the ribbon and Star of the Order of the Garter.
Short grey hair. Rectangular, 3\ by 4\ in. On ivory.
Inscribed on the reverse " Lord Mornington, first Viceroy of
India, brother to Duke of Wellington, by Andrew Robertson,
the great miniature painter."
Exhibited at the Royal Academy in 1818.
There is a similar miniature in the Apsley House Collection. (44)

Fourth Day 218
ANDREW ROBERTSON
669 The Marquess Wellesley. Half-length, viewed full, face to
the right, looking to the right. He wears a black velvet coat
with broad collar of black sUk, under which is just visible the
blue ribbon of the Order of the Garter. The Star of the
Garter is at his breast. White silk cravat.
Rectangular, in circular frame, 3\ by 4 in. On ivory.
Exhibited at the Royal Academy in 1826, at South Kensington
Museum in 1865, and at Brussels in 1912. Described in the
Catalogue of the Brussels Exhibition. (43)

ANDREW ROBERTSON
670 Lord Charles Wellesley, son of the first Duke of Wellington
and father of the third and fourth Dukes. Bust, viewed to
the right, eyes looking full. Blue uniform with crimson
facing, collar of silver braid, silver braid looped over the left
shoulder. He wears the insignia of four different Orders on
his breast. Curly red hair. Oval, 1 f by 2 in. On ivory. (202)
ANDREW ROBERTSON
671 Benjamin West, r.a. Half-length, viewed full. Wide-collared
coat, white stock, bald head with grey hair at the temples.
Pencil. Oval, 3£ byx3% in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18.
The original study for the engraved portrait. (617)

WALTER ROBERTSON
Called " Irish Robertson "
Died 1802.
672 Mrs. Abbot. Bust, viewed full, face to the left, eyes looking
full. Green decollete bodice edged with white. Powdered

219 Fourth Day

Lot 672 — continued.

hair en pompadour decorated with a green bow, one curl
falling over the left shoulder.
A charming sketch. Oval, 2f by 3\ in. On paper.
This Artist's miniatures are of great rarity. The son of a
Dublin jeweller, he left Ireland in 1793 and went to America
with Gilbert Stuart. (3).

SAMPSON TOWGOOD ROCH
1759-1847.
673 Mrs. Thrale. Half-length, viewed fuU, face to the right. She
is dressed in a white bodice and fichu, secured at the waist
with a blue bow. White silk wrap trimmed with brown fur
about the shoulders ; a white scarf over her powdered hair,
which is dressed in heavy curls, a black velvet band at the
neck. Oval, 1 f by 2\ in. On ivory.
Signed and dated 1782.
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
Described and illustrated in the Connoisseur for September
1917.
Roch was an Irishman, but his best miniatures (of which the
present is a good representation) were painted at Bath. (15)

PETER ERNEST ROCKSTUHL
1764-1824.
674 A Russian Officer. Bust, in profile to the left. High em
broidered coUar, black stock, the ribbon of an Order across
his breast, brown hair in a short pigtail.
Painted en grisaille. Oval, 2\ by 2\ in. On ivory.
Signed. (132)

Fourth Day 220
GEORGE ROMNEY
1734-1802.
675 A. Family Group, names unknown. Representing a girl with
bare feet seated on the ground to the left, shading her eyes
with her left hand. She wears a scarf tied round her head.
Her right arm embraces a baby, while an older child sits at
her feet. Another figure stands in the background.
Pencil. Rectangular, lOf by 15 J in. On paper. (282)
GEORGE ROMNEY
676 John Henderson, the Actor. Bust, viewed to the right. Black
coat, white cravat ; powdered hair brushed back from the
forehead and tied in a pigtail.
Crayons. Oval, 8byQ in. On paper.
(143)

[See Illustration.]

GEORGE ROMNEY
677 A Lady, name unknown, probably a member of the Gower
family. . Half-length, viewed to left, eyes looking full. She
wears a tight-fitting white bodice edged with a broad white
frill, a black silk scarf falls from her shoulders. Her brown
hair is brushed back from her forehead, white cap tied with
pink ribbons.
Water-colours. Rectangular, 7f by 6 in. On paper. (888)
GEORGE ROMNEY.
678 The Lady Emily Macleod. Bust, viewed to the left, eyes
looking slightly to the right. She wears a pink decollete
bodice edged with white. Her brown hair, dressed en
pompadour and bound with a gold fillet, falls in curls to her
shoulders. Oval, 1 ^g by If in. On ivory.
This most exquisite miniature is, with very slight variations,
the finished study for the portrait sold at Christie's on May 6,

No. 676.

221 Fourth Day
Lot 678 — continued.
1905. It is enclosed in an ivory locket-case ; within the cover
are directions by Lady Louisa Stuart concerning its disposal
after her death : " This picture of the late Lady Emily
Macleod, my earliest friend, is at my death to be given, or
sent, to her youngest son, Lt.-Colonel Henry Macleod. —
Louisa Stuart."
Lady Louisa Stuart, who was the youngest daughter of
John, third Earl of Bute, died in 1854, aged 94.

JU *
*

This portrait may be accepted with all confidence
as the work of romney, one of the only half-a-dozen
miniature portraits he is said to have painted. (756)

GEORGE ROMNEY
679 Colonel Shelley (see inscription). Seated, half-length, viewed
to the right, his left arm resting on the back of his chair, his
right in his lap. High-collared coat, powdered wig.
Pencil. Rectangular, 10J 6y 12f in. On paper. (280)

JEAN ROUQUET
1702-59.
680 Admiral* the Hon. John Byng. , Bust, viewed to the left.
Blue coat trimmed with loops of gold braid, light yellow
waistcoat, white cravat with lace bow, powdered wig.
Oval, If by If in. On ivory.
Signed with initials.
The Admiral was shot, for misconduct at Minorca, in 1757. (182)

Fourth Day. 222
THOMAS ROWLANDSON
1756-1827.
681 Lady " Betty " Foster. Seated full length, viewed full, face
to the right. Her hands are folded over a book in her lap.
Flowing white gown touched with yellow, wide-brimmed straw
hat with blue band, brown hair to the shoulders.
Pencil and wash, heightened with colour.
Rectangular, 1 '\ by 10 in. On paper.
This beautiful woman was afterwards Duchess of Devonshire,
her famous portrait is in the Pierpont Morgan Collection. (521)

PETER PAUL RUBENS
1577-1640.
682 The Artist's own Portrait. Half-length, in armour, viewed
extreme to the left. A scarf across his shoulders ; curly hair
falling about the face.
Pencil. Rectangular, 4f by Q\ in. On paper.
A very early self-portrait. (60)

PETER PAUL RUBENS
683 A Girl, name unknown. Head and shoulders, viewed to the left,
eyes looking up. Simple white bodice cut round at the neck ;
dark hair falling in loose strands to the shoulders and confined
in a small slashed cap worn well at the back of the head.
• Black and red chalks. Rectangular, 5 \ by 6 J in. On paper.
Signed.From the Collections of Sir Peter Lely and Bernard Granville
of Calwick. (697)

Probably by PETER PAUL RUBENS
1577-1640.
684 Two Classical Heads.
Pen and ink. Ovals, 2byl\ ins. On paper.
From the Crozat Collection. (832, 833)

223 Fourth Day
i
JOHN RUSSELL, R.A.
1744-1806.
685 A Boy of the Pears Family. Almost half-lfength, viewed to the
right. Brown coat, rose waistcoat, frilled cravat, brown hair '
falling to the shoulders.
Water-colour. Oval, 5£ by 4f in. On paper.
Russell drew several members of the Pears family.
From the Russell Family, Collection. (302)

JOHN RUSSELL, R.A.
686 The Coquette, after Reynolds. Half-length, viewed full, head
slightly inclined to the left and looking to the right. She wears
a black decollete bodice secured at the bosom with two pink
bows, white skirt and white fichu ; blond curly hair confined
in a white lawn mob-cap tied under her chin and decorated
with a pink bow over the forehead.
Crayons. Oval, 12£ by 15| in. On paper. (228)

JOHN RUSSELL, R.A.
687 The Smythe Children. The youngest child, seated on a rock
to the right, holds up a black and tan spaniel by the collar ;
the eldest stands behind him, in the centre, with his left hand
on the dog's back ; the other chUd holds up a whip. They
wear tight-fitting blue jackets with brass buttons and low
lace coUars. Brown hair falling loose to the shoulders.
Circular, diameter 2f in. On ivory.
Exhibited at the Bath Gallery 1918.
A puzzling miniature. It certainly resembles the work of
Russell, notably in colouring and in composition but it cannot
be attributed to him without reserve. (775)

Fourth Day 224
JOHN RUSSELL, R.A.
688 Elizabeth Russell, the Artist's sister. Half-length, viewed to
the right, looking to the right. She wears a pink decollete
bodice with pink sleeves tied with white ribbon, black waist
band. Her masses of black hair fall in curls to her breasts.
Oval, 2f by 2 in. On ivory.
Signed and dated (on the reverse), "By J. Russell, Crayon
painter to His Majesty and The Prince of Wales. 1788."
From the Russell FamUy Collection. (874)

JOHN RUSSELL, R.A.
689 His Sketch Book for the Years 1759-1762. This interesting
volume contains eighteen pencil and Indian ink portraits of
RusseU himself, his mother, sisters, and cousins. Some of
the drawings are signed and dated. It was acquired from a
descendant of the Artist. See Mr. Webb's (Russell's great-
grand nephew) letter in the portfolio. (160)

WILLIAM WYNNE RYLAND
1732-83.
690 George III. Full-length, viewed full, in his Coronation robes,
standing beside a table to the right, on which is placed the
Crown ; columns and a curtain in the background. His left
hand rests on his hip, his right on the table.
Plumbago. Rectangular, 13J by 19f in. On vellum.
This is the original drawing for Ryland's chef-d' ceuvre, the
famous mezzotint (published in 1761) after Allan Ramsay's
portrait. This engraving so greatly pleased George III, that
he appointed Ryland " Engraver to the King." The drawing
differs considerably from the published engraving. Ryland
was executed for forgery in 1783. (397)

225 Fourth Day
CORNELIS SAFTLEVEN
1606-1682.
691 A Lady, name unknown. She is seated full-length, viewed to
the left, head inclined and turned to the right. She wears
a full skirt with an apron and a blouse with a sleeveless jacket
over it. A short scarf about her shoulders. Her hair is
confined in a small round cap. Her left hand rests on the
back of the bench on which she sits, her right is raised in
gesture.
Pencil. Rectangular, 5f by 8f in. On paper.
Exhibited at the Bath Gallery, 1919. (787)

AUGUSTIN DE ST. AUBIN
1736-1807.
692 Cardinal Flechier. Bust viewed to the right. He wears a
soutane with a square tab collar. The Order of the St. Esprit
round his neck. Curly hair, skull cap. Cbntained in an oval
with oblong space for inscription below.
Pencil. Rectangular, 3f by 5 in. On paper.
The drawing was engraved in 1802. (802)

AUGUSTIN DE ST. AUBIN
693 A Gentleman, name unknown. Bust, viewed in profile to the
left. Wide falling collar to coat, wig in pigtail.
Pencil, heightened with colour. . Rectangular, 5 J by 7\ in. On paper.
From the Cailleux Collection.
Signed. . (409)

Fourth Day 226
AUGUSTIN DE ST. AUBIN
694 A Gentleman, name unknown. Head and shoulders, viewed in
profile to the left. Hair in pigtail. He is represented seated,
holding a book. AU of this portrait, save the head, is but
barely suggested in a very Ught line.
Pencil. Rectangular, 4f by 4\ in. On paper. (479)

AUGUSTIN DE ST. AUBIN
695 A Gentleman, name unknown. Half-length, viewed in profile
to the right. High-cut coat, hair in pigtail.
Pencil. Circular, diameter 10 in. On vellum.
(518)

AUGUSTIN DE ST. AUBIN
696 A Gentleman, name unknown. Bust, in profile to the left. High-
collared coat, frilled cravat, powdered wig in pigtail.
Pencil. Oval, 3& by 2\\ in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (294)

AUGUSTIN DE ST. AUBIN
697 A Gentleman, name unknown. Half-length, viewed in profile to
the left. High-collared coat, full cravat, hair brushed back
and fatting in curls to the neck.
Pencil. Rectangular, 4\ by 5f in. On paper.
Glass broken. (341)

227 Fourth Day
CHARLES BALTHAZAR JULIEN FEVRET DE ST. MEMIN
1770-1852.
698 A Gentleman and his Daughter, names unknown. The
gentleman is represented half-length, viewed in profile to the
left. FrUled cravat, powdered hair in pigtail. His daughter
is in profile to the right. She wears a light blue bodice with
white yoke, and collar, puffed sleeves ; short hair, brushed
back from -the forehead.
Pencil, slightly tinted.
•Circulars, diameter 3f in. and 3-fe in. On paper.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
St. Memin went to America in 1793 and worked there till
1810, when he returned to Paris. (514 and 515)

SATCHY
699 Miss Perkins, of Deedham, Suffolk. Half-length, viewed to
the right, eyes looking to the left. She wears a decollete
bodice richly embroidered and edged with ruffles, tight cap
with ruffles, pearl clusters in her ears.
Plumbago. ' Oval, l-£%by2\ in. On vellum.
Signed and dated 1758.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
Nothing is known of the artist. (138)

JOHN SAUNDERS. '
Exhibited at the Royal Academy, 1771-73.
700 Clementina Maria Sophia Walkinshaw, mistress of' Prince
Charles Edward Stuart. Half-length, viewed full, face to the
left. She wears a pink decollete bodice edged with lace and
fastened in front with a clasp of three pearls, a light blue
drapery about her shoulders ; short sleeves showing lace
underneath, an embroidered flower ornament at her bosom.
Short brown curly hair confined in a lace cap with a rosebud
over the brow.
Crayons. Rectangular , 16 by 191 in. On paper.
Signed and dated Feb. 16th, 1747. (762)

FIFTH DAY'S SALE.

JOSEPH SAUNDERS
Exhibited at the Royal Academy, 1778-1808.
701 A Young Gentleman, name unknown. Half-length, viewed
to the right, eyes looking full. Deep blue coat, buff waistcoat,
white cravat, powdered hair in pigtail.
Oval, 1\ by 1\ in. On ivory.
Signed and dated 1782.
Saunders's miniatures are sometimes confused with Smart's,
as their signatures are somewhat similar.
From the Dunn-Gardner Collection. (HI)

JAMES SAYERS
1748-1823.
702 A Rehearsal. Representing eight figures (one lady in pompa
dour wig) engaged in a concert in a drawing-room. Two
figures (left) are playing the fife and violin from a score,
lighted by a candle. The 'celloist is seated in the centre,
whUe another musician is accompanying on a piano (right)
a lady with a vocal score. The audience is composed of
three standing figures in the background. The whole lighted
from a chandelier in the centre.
Water-colour. Rectangular, 8 by 9\ in. On paper.
Signed and dated 1773. (703)

229 Fifth Day
S. NIKOLAUS SCHENEKER
1760-1822.
703 " Nell " Gwyn. Half-length, viewed full, face to the, right,
eyes looking full. DecoUete bodice with loose short sleeves ;
pearl necklace, pearl drops in her ears. Hair parted in the
centre and faUing in curls to the ears,, one lock over her right
shoulder ; a fiUet of pearls looped above the left ear. Her
right hand holds a dark cloak up to her breast.
Pencil. Oval, 3f by 4f in. On paper.
Exhibited at the Victoria and Albert Museum, 1916-18.
This appears to be the original drawing for the portrait in
Grammont's " Memoirs." (81)

ALBERT SCHUMAN
704 A Scene after Wouvermans. Representing a company of
horsemen fording a stream. A single tree and high rocky
bank to the right, to the left a distance of river and hills ; blue
sky half-overcast with clouds. Rectangular, 4\ by Qin. On ivory.
Signed. (552)

JAMES SCOULER
flourished 1755-87.
705 Major (John) Andr*6, hanged as a Spy during the American
Revolution. Half-length, viewed to the left. Plain open
coat, frilled cravat, black stock, lightly curled wig in pigtatt
in eel-skin, three-cornered hat with cockade. The locket
contains (at the back) his plaited hair.
Painted en grisaille. , Oval, 1£ by 1 in. On ivory.
This is a youthful portrait, dating from about 1771. (673)

Fifth Day 230
JAMES SCOULER
706 A Gentleman, name unknown. Bust, viewed to the right,
eyes looking full. Mauve coat edged with gold braids, white
cravat, powdered hair in a pigtail.
Oval, 1\ by If in. On ivory.
Signed and dated 1762.
This Artist was the first who exhibited miniatures at the
Royal Academy. (13)

JAMES SCOULER
707 A Lady and Gentleman, names unknown. The gentleman
is viewed half-length to the right, eyes looking to the left.
Open . crimson coat, white embroidered waistcoat, white
cravat, powdered hair in pigtail.
In a frame set with pearls. Oval, 1£ by 1 in. On ivory.
Signed and dated 1776.
The lady is viewed half-length to the left, eyes looking full.
She wears a blue decollete bodice edged with thin lace. Brown
hair dressed high en pompadour with a veil picked with gold
falling over the left shoulder and secured in a loop at her bosom.
In a frame set with pearls. Oval, 1\ by lin.
These exquisite little portraits formed the clasps of a pearl
necklace. No other miniatures by Scouler of anything like
equal quality to these are known. They are almost equal
to Smart at his best.
Two superb portraits. (234 and 235)

JAMES SCOULER
708 Lady Banks, wife of Sir Joseph Banks, Bart., F.R.S.
Half-length, viewed to the right, eyes looking to the right.
She wears a bright green sUk dress with a white lace fichu,
her shoulders being covered with a violet silk shawl. Her

231 Fifth Day

Lot 708 — continued.

dark hair, which is dressed high, is decorated with pearls.
A ruby and pearl brooch is worn. Oval, .2 by l\in. On ivory.
Signed and dated 1778.
A fine portrait.
See lot 444 for companion miniature. (91 1)

PIETER VAN SERWOUTERS
1586-1657.
709 A Gentleman, name unknown. He is viewed to the right,
wearing a rich doublet and ruff. Pointed beard and moustache,
short hair. The left hand is placed on his breast, whUe the
right rests on his hip.
Pen and ink. Oval, 3 by 2\ in. On vellum.
Signed with his initials. (351)
/
TIMOTHY SHELDRAKE
flourished 1740-56.
710 David Garrick. Bust, -viewed to the left, eyes full. Slate-grey
coat, lace cravat, powdered wig. Oval, If by l\in. On ivory.
Painted in 1745.
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
Sheldrake does not appear to have painted many miniatures.
He is best known by his ittustrations to his own publications.
An important and little known portrait. (14)

TIMOTHY SHELDRAKE
711 Alexander Pope, the Poet (see inscription). Bust, viewed in
profile to the right. Fur collar to coat, short hair.
Plumbago. Rectangular, 5f by 7 in. On paper.
Signed. (369)

Fifth Day 232
SAMUEL SHELLEY
1750-1808.
712 The Artist's own Portrait. Half-length, viewed to the right,
eyes looking fuU. Dark coat, frilled cravat, powdered hair
in pigtail.
Pencil. Oval, 2f by 2\ in. On paper.
Exhibited at the Burlington Fine Arts Club in 1889, and at
the Victoria and Albert Museum, 1916-18. (589)

SAMUEL SHELLEY
713 Georgina, Duchess of Devonshire. Seated half-length,
viewed full, face to the left. She wears a white bodice with
puff sleeves bound with blue ribbon. A blue girdle round
her waist. Her powdered hair is dressed high in curls and
partly covered with a white veil. White fichu and pearl
necklace. Sky and foliage in the background.
Circular, diameter 3\.in. On ivory.
(801)

SAMUEL SHELLEY
714 A Family Group, names unknown. Representing a Mother,
to the left, full length, viewed full face to the right. She
wears a simple Empire gown with frilled collar. Short hair
bound with a fillet. At her left stands a little girl in pannier
skirt, holding her mother's left hand in hers ; another child,
to the right, holding her right hand. An older girl, viewed
to the left, is next depicted carrying a baby on her back ;
lastly, a boy in a jacket and pantaloons and broad-brimmed
hat, with his face to the left.
Pencil. Rectangular, 13 by 17f in.
Glass broken. (278)

233 Fifth Day
SAMUEL SHELLEY
715 Admiral Forbes. Half-length, viewed to the left. Open,
high-collared coat, curly-wig to the ears.
Pencil. Rectangular, 3f by 4\ in. On paper.
Signed with his initial. , (677)

SAMUEL SHELLEY
716 The Misses Harcourt. They are represented half-length,
turned to the left, standing side by side. The younger girl
(on the left) has one arin about her sister (on the right), who
is holding a basket of fruit and flowers. The former is dressed
in ah olive-coloured decollete bodice, a wreath of flowers
in her hair ; the latter in yellow silk with a mauve and yeUow
wrap faUing from her shoulders. Her dark hair is bound
with a white fillet.
Pencil, heightened with colour. Oval, 4 by 3f in. On paper.
A DELIGHTFUL STUDY FOR A MINIATURE. (607)

SAMUEL SHELLEY
717 A Lady, name unknown. Half-length, viewed to the right,
eyes looking full. White bodice with puff sleeves, ruff lace
collar, curly brown hair bound with two fillets.
Pencil, heightened with colour. Oval, 3\ by 2f in. On paper. (327)
SAMUEL SHELLEY
718 A Lady and Gentleman, in Van Dyck costume. Half-lengths.
The lady (on the left) is dressed in a blue and white striped
bodice with low lace ruff. She wears ropes of pearls about
her neck and pearls in her brown hair, which falls in curls

Fifth Day 234
Lot 718 — continued.
to the shoulders. The gentleman, whose arm she has taken,
wears a blue mantle and falling collar edged with lace ; short
brown hair. Oval, 4f by 3\in. On ivory.
Perhaps the copy of an oil painting. (533)

SAMUEL SHELLEY
719 The Princess Louise of Stolberg, wife of Prince Charles
Edward Stuart. Half-length, viewed to the right, eyes
looking full. She holds a violoncello in her lap and is wearing
a hght blue decollete gown, with blue gauze scarf dotted
with gold about her shoulders. Brown hair dressed high
in curls and bound with pearls. Oval, 4 by 3\ in. On ivory.
From the Collection of the Princess Charlotte.
Exhibited at South Kensington Museum in 1865, and at
Glasgow in 1888. (390)

SAMUEL SHELLEY
720 Mrs. Ruspini and her Son. She is represented, viewed to the
left, dressed in a loose rose gown, open at the neck and partly
covered with a white scarf. A similar scarf binds her dark
hair and is secured under the chin in a bow. Her right arm
embraces a golden-headed -boy, who snuggles against her,
his right arm round her neck. Circular, diameter 8 in. On paper.
Signed, with a note in Shelley's autograph.
This beautiful miniature has been engraved. (602)

SAMUEL SHELLEY
721 John Henry (5th) Duke of Rutland. Half-length, viewed
in profile to the left. Costume of the period.
Pencil. Oval, 2f by 2 in. On paper. (484)

235 Fifth Day
SAMUEL SHELLEY
722 Miss Shelley. She is seated, full length, viewed to the right,
her left arm caressing a dog sitting beside her ; her right
arm supports her head ; an open book in her lap. Drab
skirt and bodice ; a medal suspended from a chain round
her neck. Brown hair simply arranged on the top of the
head. Pencil and wash. Rectangular, 4\ by 5f in. On paper.
(Glass broken at the back). * (665)

SAMUEL SHELLEY
723 The Duchess of Sussex. Bust, viewed in profile to the left.
She wears a black silk wrap , edged with black lace ruffles
and secured with a bow, white fichu, mob-cap, powdered hair
falling in curls about the neck. Oval, 2 by 1 \ in. On ivory.
Exhibited at Glasgow in 1911, and at Brussels in 1912. Illus
trated ¦ in the Catalogue of the Brussels Exhibition.
Lady Augusta Murray married in 1793 H.R.H. the Duke
of Sussex, and died in 1830. Owing to the Royal Marriage
Act she was never officially known as Duchess of Sussex. (63)

SAMUEL SHELLEY
724 Dr. Henry Symonds, of Hampstead. Half-length> viewed in
profile to the left, standing before a table on which rest paper
and a pen. Frilled cravat, wig in pigtail.
Pencil. Oval, 4f by 3f in. On paper.
The subject of this exceedingly beautiful drawing was a very
favourite model of SheUey's (see note on the reverse) reading,
" Dr. Henry Symonds of Hampstead. Mr. Shelley's favourite
head. The best likeness taken of him."
Exhibited at the Victoria and Albert Museum, 1916-18. (608)

Fifth Day 236
SAMUEL SHELLEY
725 Fresnoy's Art of Painting, published in 1783. This edition
of Fresnoy was used by Shelley as a Sketch-book for his
miniatures, etc., and contains a large number of his original'
drawings (including that of H.R.H. the Duchess of Cumber
land). It was sold in the Artist's Sale in 1809. (168)

LUC SICARDI
1746-1825.
726 A Gentleman, name unknown. Bust, viewed to the right,
eyes looking to the left. High-collared coat, white stock,
powdered hair.
Pencil. Circular, diameter 2|| in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (292)

LUC SICARDI
727 A Lady, name unknown. She is viewed full face. Her folded
arms rest on a pedestal and one hand holds a scroll. She
wears a silver decoUete gown with collar worked in red, blue
sash, blue fillet and flowing veil, the hair dressed high in
curls and powdered. Oval, 3 by 2\ in. On ivory in leathern case.
Signed by three initials. (50)

LUC SICARDI
728 A Lady and her Two Children, names unknown. She stands
in the centre, her face viewed to the right. She is dressed
in a simple white gown with blue girdle, a red-striped scarf
binding her brown hair. One child peeps over her left

¦^^-m** ~>* ir -iV i ¦'**^^w.1»ii ¦¦¦Aim . -"-'-1

No. 729.

237 Fifth Day
Lot 728 — continued.
shoulder, while the other, dressed in a blue frock with a
white cap over her light brown hair, stands at her right.
Foliage in the background. Circular, diameter 16 in. On 'ivory. (653)

CHRISTOPHER VAN SICHEM
flourished 1573-1601.
729 Queen Elizabeth. Viewed whole-length, looking to the right.
The Queen wears the magnificent dress, embroidered with
pearls, in which she is said to have gone to St. Paul's Cathedral,
to return thanks' for the defeat of the Spanish Armada. She
is crowned and has magnificent jewels in her hair and ropes
of pearls hanging from the neck. In her right hand she
holds the sceptre and in her left the Orb.
Pen, ink and water-colour. Rectangular, 11 by Tin.
Signed,
The drawing recalls the weU-known print by William Rogers. (863)
j [See Illustration.]

GEORGE SIMPSON
730 Miss Mary Hume, niece of David Hume. Half-length, viewed
to the left, looking full. She wears a white open-necked
gown, secured at the waist with pale blue ribbon. The long
blue ribbon that secures her straw hat has come untied
and the hat has been pushed from her brow, showing her
blond curly hair, a ringlet of which falls to her shoulder.
The right arm holds her skirt, while the other is half-hidden
among the foliage that forms a background to the portrait.
Oval, 3f by 2f in. * On ivory.
Exhibited at the Royal Academy in 1799, at Glasgow in
1911, and at Brussels in 1912. Illustrated in the Brussels
Exhibition Catalogue.
Signed and dated 1799. (69)

Fifth Day 238
WILLIAM SINGLETON
Exhibited at the Royal Academy, 1770-90.
731 The Artist's Nephew. Bust, turned to the left, face to the
left, looking full. The right hand holds a book. Blue
coat and white frilled cravat. Blue eyes, golden brown hair
falling in curls about the neck.
Rectangular, 2 by 2\in. On ivory.
Exhibited at the Royal Academy in 1787, also at Brussels
in 1912 and illustrated in the Catalogue of the Exhibition.
This Artist's miniatures are of great beauty and rarity. (2)
[See Illustration.]

J. W. SLATER
Exhibited at the Royal Academy 1803-36.
732 The Hon. Mrs. Phipps. Half-length, viewed to. the right, face
almost full, eyes looking to the left. She wears a light brown
bodice with sleeves and low neck. Dark brown hair simply
arranged. Signed and dated 1811, thus : " Maria Phipps, 17 Fevrier
1811. J. W. Slater, 33 Berners St. Oxford Street 1811."
Very little is known of Slater, but this miniature is one of
great excellence. Oval, 3 by 2\ in. On ivory.
Maria, daughter of the first Baron Rendlesham, married the
Hon. Augustus Phipps. (22)

PIETER VAN SLINGELANDT
1640-91.
733 Cornelis van Dalen, the Engraver. Half-length, viewed to the
right, eyes looking full. He wears a dark loose cloak with
black hood and wide falling collar with tassels, white cuffs.
Hair parted in the centre and falling in curls to the shoulder,

At

*¦%.

1 *&

j. >Sy»,iy

No. 26,

No. 742

No. 731.

No. 740.

239 Fifth Day

Lot 733 — continued.

light moustache. His right hand is raised to his breast.
A wall and some shrubbery in the background to the left
and right.
Plumbago. Rectangular, 7\ by 9\ in. On paper.
Exhibited at the South Kensington Museum in 1865, and
at the Victoria and Albert Museum, 1916-18.
From the Verstolk Collection. (398)

PIETER VAN SLINGELANDT
734 An Elderly Lady, name unknown. Half-length, standing with
folded arms, turned slightly to the left. She wears a black
jacket over a white bodice, with white apron ; grey hair
confined in a peaked black lace cap ; jewelled ear-drops, red
coral necklace ; a ring on one finger of each hand. The
doorway of a house in the background. i
Water-colour and pencil. Rectangular, 4 by 5 in. On vellum.
Signed with initials. (395)

JOHN SMART, Senr.
1740-1811.
735 The Honble. Mrs. Baldwin. Half-length, viewed to the left,
eyes looking to the left. She wears a white sUk dress, open
at the neck and trimmed with gold braid, a pale blue shawl
is over her shoulders. Her curly auburn hair is partly covered
with a scarf ornamented with pearls which falls to her
waist. An emerald and pearl brooch is worn.
Oval, If by If in. On ivory.
Signed and dated 1782. . (913)

Fifth Day 240
JOHN SMART, Senr.
736 The Honble. Harriet Hervey-Aston. Half-length, face to
the left, looking to the left. She is dressed in a blue decollete
bodice with white sleeves, with lace touched with pink at
the breast ; the left arm holds a white satin wrap. She wears
a pearl necklace and a smaU string of pearls fixed in her brown
hair, which falls in a curl over the right shoulder.
Oval, If by l\in. On ivory.
Signed and dated 1787.
%* A most beautiful miniature. (564)

JOHN SMART, Senr.
737 John Smart, Junr. Head and shoulders, viewed' fuU. High-
collared coat, lawn neck-cloth, short hair and side whiskers.
Pencil. Oval, 5f by 3\ in. On paper.
Signed and dated 1808.
Exhibited at the Royal Academy in 1808 and at the Victoria
and Albert Museum, 1916-18.
The younger Smart, who was also a Miniaturist of distinction,
died (at an early age) at Madras in 1809. (240)

JOHN SMART, Senr.
738 General Marriott. Bust; viewed to the right, eyes looking
full. Red coat with white waistcoat, white coUar and cravat.
Grey hair tied in a pigtail. Oval, If by If in. On ivory.
The miniature is set in a shuttle-shaped ivory patch-box.
Signed and dated 1779. (881)

241 Fifth Day
JOHN SMART, Senr.
739 Lady Teignmouth. Half-length in profile, viewed to the left.
Her hair is dressed high and ornamented with pearls. She
wears a low-necked dress trimmed with a white lace fichu.
Pencil. Oval, 8 by 6 in. On paper.
She was Charlotte, wife of John Shore (Lord Teignmouth),
Governor-General of India. (841)

JOHN SMART, Senr.
740 Colonel Watson, Chief Engineer of Bengal. Bust, viewed to
the right, eyes looking full. He wears a scarlet uniform
with blue lapels and collar, gold stitched button-holes, blue
and gold epaulettes with star and letters " LII Regt." in
gold, white waistcoat and frilled cravat, powdered hair.
Oval, 2 by If in. On ivory.
Signed and dated 1786, J. S. I.
*** A splendid miniature, painted by Smart whilst in India and
signed with his Indian signature. (221)
[See Illustration.]

JOHN SMART, Senr.
741 Colonel Watson. Half-length, viewed to the left. Open
coat edged with braid, white waistcoat, white stock, wig in
pigtail.Pencil. Oval, 3f by 2f in. On paper.
The subject was probably a relative of Colonel Watson of
the Bengal Engineers (see lot 740).
Exhibited at the Victoria and Albert Museum, 1916-18 (271)

Fifth Day 242
JOHN SMART, Senr.
742 A Young Gentleman, name unknown. Bust, viewed to the
right. " Pink satin coat with a wide lace collar, which is painted
with extraordinary delicacy. Brown hair cut short.
Oval, If by If in. On ivory.
This tiny miniature is of remarkable quality. (222)
[See Illustration.]

JOHN SMART, Junr.
Died at Madras in 1809.
743 Hugh BoYd, " Master Intendant of Madras." Bust, viewed
to the right, eyes looking futt. He wears a blue coat with
gold braided buttons ; white peaked waistcoat, frilled lawn
cravat. Sandy hair in pigtaU. Contained in an oval with
border, titular inscription below.
Rectangular, 4f by 4f in. On paper.
Drawn in India in 1793 and exhibited at the Royal Academy
in 1803. Exhibited at the Bath GaUery, 1918. Described
in the " Connoisseur " June, 1918.
Hugh Boyd and Sir Philip Francis share the probable author
ship of the Letters of Junius. (640)

JOHN SMART, Junr.
744 William Dobson, the Painter. Half-length, viewed in profile
to the right, eyes looking down. Square collar, skull-cap,
hair falling, to the ears, small moustache and beard.
Black-lead, heightened with Chinese white.
Rectangular, 6f by 5f in. On paper.
Signed and dated 1800.
Exhibited at Bath, 1918. (644)
[See Illustration.]

No. 744.

243 Fifth Day
JOHN SMART, Junr.
745 Mary Anne Green. Half-length, viewed to the left, eyes
looking right. She wears a mauve Empire gown with lace
cottar ; brown hair simply arranged. Landscape in the
background.
Oval, 4f by 3f in. On paper.
Exhibited at the Royal Academy in 1808.
Signed and dated 1807.
Unframed. (532)

JOHN SMART, Junr.
746 Captain (afterwards Admiral) Robert Williams. Half-
length, viewed to the right, eyes looking full. Black coat
with gold braid and buttons, white cravat, short powdered
hair. The ocean and a ship in the background.
Signed and dated 1801. Oval, 5f by Sin. On paper.
Exhibited at Brussels in 1912 and illustrated in the Catalogue
of the Exhibition.
%* Admiral Williams was born in 1765, and entered the Navy
in January, 1777. In 1780 he went out to North America
in the London Flagship of Rear-Admiral Thomas Graves
(afterwards Lord Graves), and in the London he was present
in the action off the Chesapeake on March 16, 1781. In August,
1781, he was appointed to the Royal Oak as Lieutenant ; on
September 5 he took part in the second action off the
Chesapeake, and on April 12, 1782, in the battle near
Dominica. He returned to England in 1784.
The younger Smart's admirable miniatures are of the greatest
rarity. . (59)

Attributed to JOHN SMART, Senr.
746a Miss Burt, " the beautiful Miss Burt." Half-length, viewed to
the right, eyes looking full. She wears a white bodice edged
with a ruff-like fichu of lace. Her lightly powdered hair,

Fifth Day 244
Lot 746a— continued.
bound with a blue fillet, falls in curls about her face. A
narrow blue ribbon across her breast.
Oval, If by 2f in. On ivory.
Set in an oblong ivory box with rounded ends, an inset of
brown plaited hair on the reverse of the box. A letter is
sold with the portrait.
A beautiful miniature. (816)

Attributed to JOHN SMART, Senr.
747 Mr. Hoare, Bust, viewed full face. Crimson coat with white
lace collar, white waistcoat. His powdered hair is tied with
a black ribbon.
Oval, If by l^in. On ivory. (861)

ROBERT SMIRKE, R.A.
1752-1845.
748 Dorothy Jordan in the character of " Thalia." Bust,
viewed to the left, face in profile to the left. Short-sleeved
bodice ; her hair arranged in curls and falling in a braid
down the back.
Pencil. Rectangular, 5 by 5f in. On paper.
Signed. (214)
JOHN RAPHAEL SMITH
1752-1812.
749 The Artist's Wife and Daughter. The mother, dressed in
a simple bodice and full skirt, is represented full length,
seated in an armchair, viewed in profile to the right, her
face to the right. The child stands at her knee, viewed to
the left.
Pencil. Rectangular, 15f by 11 in. On paper.
A delightful group. (279)

245 Fifth Day
t
MATTHEW SNELLING
flourished temp. Charles I.
750 John Fletcher, the Dramatist. Bust, viewed to the right.
High-buttoned coat ; short curly hair, beard and moustache,
" John Fletcher " inscribed on the reverse.
Sepia and wash. Rectangular, 2 by 3 in. On vellum.
From George Vertue's CoUection. (572)

PIETER SOUTMAN
1590-
751 William II of Nassau (as a boy). Bust, viewed to the left, eyes
looking to the right. FaUing collar edged with lace over a
breastplate, hair fatting to the shoulders ; broad-brimmed
hat, turned up to the right, ornamented with a bow and a
plume. '
Plumbago. Oval, 9 by 12 in. On vellum.
This drawing resembles Honthorst's well-known portrait.
William of Nassau married Mary, daughter of Charles I, and
their son became William III of England. (522)

SPANISH
XVIIIth Century.
752 A Volume of 108 Drawings by Goya and others. One of
the drawings appears to be a study for an important miniature. (560)
SPANISH.
753 A XVth-CENTURY Spanish Triptych. This contains fifteen
miniatures illustrating the Rosary of our Blessed Lady. On panel.
It was brought from Spain in the XVIIth century by
a member of the de ITsle family, an ancestor of the present
owner. (388)

Fifth Day 246
LADY DIANA SPENCER
1734-1808.
754 John Gay, the Poet. Bust, viewed to the left, wearing a turban.
The left hand grasps a cloak worn over his shoulder.
Pencil and wash. Oval, 2f by If in. On vellum.
Signed. Lady Diana was a daughter of the second Duke of Marlborough.
She is better known as Lady Diana Beauclerk, having married
Topham Beauclerk in 1768.
Her drawings were greatly praised by Sir Joshua Reynolds. (568)
GERVASE SPENCER
Died 1763.
755 A Lady, name unknown. Bust, viewed to the right. Black
bodice, covered with a broad white fichu, folded weU-up under
the chin and crossed at the bosom with a black ribbon ;
white mob-cap tied under the chin and bound round the
head with a black ribbon. Oval, 1\ by 1 in. Enamel.
Signed and dated 1759.
This Miniaturist is stated to have commenced life as a man
servant. (39)

SPERANDIO DE MANTOUE
1441-1528.
756 Joannes (II) Bentivolus. Bust, viewed in profile to the left.
Red jerkin over chain-mail, red cap, brown hair to the ears.
Black and red chalk . Rectangular. 4f by 6 in. On paper.
The original sjudy for the famous Medallion portrait now in
the possession of the University of Bologna.
*** This is believed- to be the only drawing by Sperandio in an
English Collection.
John II, " Seigneur de Bologne," was born in 1443, and died
in 1509. He was the adversary of Pope Julius II and of
Csesar Borgia. (573)

247 Fifth Day.
HENRY SPICER
1743-1804.
757 Turner Roope. Half-length, viewed to the right, eyes looking
full. Deep brown coat with high collar, white neck-cloth,
powdered hair. Suggestion of landscape in the background.
Oval, 3 by 2\ in. Enamel.
Signed and dated 1797 on the reverse, thus : " Turner Roope,
Esq. H. Spicer pinxt. 1797."
Exhibited at the BurUngton Fine Arts Club in 1889, and at
Brussels in 1912.
A fine enamel. (91)

JAN STEEN
1626-79.
758 A Dutch Merrymaking. Representing the interior of a tavern
with huge fireplace in the background, before which several
figures of men and women are seated in various positions.
Four figures of old men are represented dancing in the fore
ground, one holds aloft a flagon, another is opening a bottle.
A table with bottles and saucepans to the right ; lifted curtain.
Plumbago. Rectangular, 15f by llf in. On vellum.
Signed. From the Butler Collection.. (119)

WILLIAM STREETES
flourished 1550-1560.
759 Gregory Fienes, Lord Dacre. Bust, viewed to the right, eyes
looking full. Deep brown coat, fatting white collar ; fluffy
brown hair to the ears. Oval, If by 2f in. In oil on copper.
The beautiful ornamental frame of ebony with rich inlay of
silver ornamentation and monogram is contemporary.
Tradition supports this attribution. The miniature is cer
tainly 16th century work.

Fifth Day 248
PETER STENT
flourished 1640-62.
760 A Gentleman, name unknown. Half-length, viewed to the
right. He wears a mantle over the right shoulder ; falUng
collar, hair in curls to the shoulders.
Plumbago. Rectangular, 4 by 3f in. On vellum. (481)
SIR ROBERT STRANGE
1721-92.
761 Lord George Murray. Half-length, viewed to the right, eyes
looking full. Plain coat, loose neck-cloth, close-fitting wig.
Plumbago slightly tinted. Oval, 3-fa by 2^f in. On vellum.
Signed, " R. Strange delin."
Exhibited at the Victoria and Albert Museum, 1914-18,
and described in the special Catalogue. (320)

SIR ROBERT STRANGE
762 Prince Charles Edward Stuart, " Bonnie Prince Charlie."
Bust, in profile to the left. Coat with ermine cape,
frilled cravat, powdered hair in pigtail with flowing bow.
Indian ink. Rectangular, 3\ by 3 in. On paper.
Both Strange and Lord George Murray were devoted followers
of " Bonnie Prince Charlie." (430)

A REMARKABLE and probably unique volume.
763 A Stuart Volume (temp. Charles II) containing a number of
original drawings for Miniature Portraits, possibly by
Mary Beale.
Plumbagos On vellum. (448)

9 249 Fifth Day
GILBERT STUART
1755-1828.
764 William Gifford, Critic and Editor of the " Quarterly Review."
Bust, viewed to the right, eyes looking to the right. He
wears a high-cut coat with a broad turned-down collar, white
waistcoat and white cravat. Wig tied in a pigtail with a black
ribbon. Pencil. Oval, 5 by 3f in. On paper.
An interesting portrait. (896)
GILBERT STUART
765 John Henderson, the Actor. Bust, viewed to the right, eyes
looking full. He wears a blue, high-cut coat with brass
buttons, white neck-cloth, and semi-poudre hair.
The miniature is painted on a small piece of specially prepared
canvas. Oval, 3f by 3 in.
Signed (on the reverse) with a note in Stuart's handwriting.
" John Henderson born in Goldsmith Street, London,
March 8, 1747, died Nov. 25, 1785, buried in Westmr. Abbey.
Gilb** Stuart, pinx." •/

* *
*

Stuart's miniatures are of the greatest rarity. The only other
known miniature by him is that of General Knox, which
is now in the Drexel CoUection (PhUadelphia).
This miniature, which was engraved by Coyte in 1787, is
described in the " Proceedings of the Massachusetts Historical
Society " for 1915.
Henderson, who was Garrick's successor on the English
stage, is buried in Westminster Abbey. Stuart's portraits
of Washington rendered him world-famous. (447)
[See Illustration.]

Fifth Day 250 m
GILBERT STUART
766 Samuel Peters, Bishop of Vermont. Bust, viewed in profile
to the left. He wears a wide-collared coat and plain neck
cloth ; powdered wig in pigtatt with two tight curls over the
ear.Pencil. Oval, 5f by 7\ in. On paper.
Peters was a notable figure during the American War of
Independence. He was born at Hebron in 1735 and died
at New York in 1826. (679)

GEORGE STUBBS, A.R.A.
1724-1806.
767 Josiah Wedgwood. Bust, viewed to the left. High-buttoned
coat with stock, wig in pigtail.
Pencil. Rectangular, 4\ by 7 in. On paper.
Signed and dated 1795.
This is the original study for the portrait now at the Wedg
wood factory. (377)

LUKE SULLIVAN
1705-71.
768 A Gentleman, name unknown. Bust, viewed to the right, eyes
looking full. He wears a violet coat and waistcoat edged
with gold braid, white cravat, powdered hair.
Oval, If by l\in. On ivory.
Signed and dated 1760.
Exhibited at Brussels in 1912 and illustrated in the Exhibition
Catalogue. Sullivan was born in Ireland in 1705 and arrived in London
in 1750.
A fine example of the work of a painter whose miniatures
are rare. (36)

251 Fifth Day
WILLIAM TASSIE
1777-1860.
769 The Duke of Wellington. A head in cameo, surrounded with
the inscription in gold letter : " Waterloo, 18 June 1815."
The cameo is inserted in a box (lined with tortoise-shell) made
from the wood of the tree under which Wellington stood at
Waterloo. A few of these boxes were made for the Duke, who presented
them to his Staff at Waterloo and members of his family.
*** The present box was given to the Marquess WeUesley in 1815. (761)

JOHN TAYLOR
1739-1838.
770 Two Clergymen, names unknown. The first is viewed full,
face to the right. Dark coat, white neck-cloth, close-fitting
powdered wig. His left hand is thrust in his waistcoat.
The other clergyman is represented half-length also, but
viewed to the left, eyes looking full. Same costume. His
left hand rests on a stick. Close-fitting wig. Foliage is
introduced to .the left.
Plumbagos. Ovals, each measuring 5f by 4f in. On vellum.
Signed and dated 1772.
Both were exhibited at the Victoria and Albert Museum,
1916-18. (191 and 192)

JOHN TAYLOR
771 Mrs. Harcourt. Half-length, viewed in profile to the right,
carrying a fine covered cup. She wears a white decollete
bodice with puff sleeves, a dark drapery about her shoulders
and over her arms. Her dark hair is simply arranged.
Plumbago. Oval, 5f by 4f in: On vellum.
Exhibited at the Victoria and Albert Museum, 1916-18. (624)

Fifth Day 252
JOHN TAYLOR
772 Miss Hervey of Ickworth. Half-length, viewed to the left.
Buff skirt and bodice with wide lace fichu secured at the
bosom with a blue bow ; lace cuffs ; large mob-cap edged
with lace and bound with blue ribbon and bow over her
powdered hair ; her arms folded before her, the left hand
holding a book.
Pencil and water-colour. Oval, 7\ by 8f in. On paper.
Signed and dated 1787.
A DELIGHTFUL PORTRAIT. (623)

JOHN TAYLOR
773 A Lady, name unknown. Three-quarter length, viewed full,
face almost in profile to the right. She'is represented standing,
her hands clasped before her, one arm resting on a square
pedestal to the left. She wears a smiple white decollete gown
with narrow blue girdle, the long sleeves tied with blue ribbons ;
a blue mantle, draped round her hip, is brought over the left
arm and covers the pedestal ; brown hair, simply arranged.
Foliage and cloudy sky in the background.
Water-colour. Oval, 6 by 7\ in. On paper.
Signed and dated 1774. (438)

JOHN TAYLOR
774 George Lewis Scott, ll.d., of Woolston Hall, in Essex. Half-
length, viewed to the left, eyes looking full. He is seated in
a high-backed chair, his left hand resting on a large book.
He wears a gown with a white tab collar ; close-fitting wig.
Plumbago. Oval, 5f by 4f in. On vellum.
Dated 1770. (316)

No. 776.

253 Fifth Day
JOHN TAYLOR
775 Rev. B. N. Turner. Viewed full, face to the left. Dark coat,
white neck-cloth. His left arm hangs over the back of a chair,'
whUe his right hand rests on a volume of Corelli's Operas.
The base of a column in the background to the left.
Plumbago. Oval, 6f by 5\ in. On vellum.
Signed and dated 1779.
Exhibited at the Victoria and. Albert Museum, 1916-18.
Taylor's pencil portraits are of the highest excellence. He
used to be called " The Father of the English School," as
he was an original Member of the '' Society of Incorporated
Artists " and survived all his colleagues. (362)

GESINA TER-BORCH
1617-81.
776' Moses Ter-Borch, the Artist's brother. Almost half-length,
viewed full, face sUghtly to the right, eyes looking to the left.
Breastplate over slashed doublet, lace cravat, wavy hair to
the shoulders, smaU moustache.
Plumbago, heightened with Chinese white.
Rectangular, 7\ by 6 in. On vellum..
Signed and dated 1664 (on the reverse).
Gesina and Moses were sister and brother to Gerard Ter-Borch,
and both were artists of distinction. Moses, who was also
an Officer in the Dutch navy, was killed in an engagement
with the English fleet in 1667.. .
The inscription round the portrait was added after Moses'
death in 1667. It reads : " Moses Ter-Borch geboren Anno
1645 Den 15 Juni en door ougeluckige Kogets gestorven op
Hervits'den 12 Juli, Anno 1667."
This very remarkable drawing was formerly in the Schiefbaan-
Hovius Collection at the Hague. Exhibited at the Victoria
and Albert Museum, 1916-18. (651)
[See Illustration.]

Fifth Day. 254
PIETRO TESTA
1617-70.
777 The Artist's own Portrait. Half-length, viewed to the left,
holding a drawing block and pencil before him. Long-sleeved
cloak ; hair parted in the centre and falling to the shoulders,
beard and moustache.
Plumbago. Rectangular, 11 by 16J in. On paper.
Pietro Testa, known as " II Lucchesino," was drowned in
the Tiber in 1650.
*„.* The inscription round the portrait was added after the Artist's
death, probably by his nephew, Giovanni Testa.
From Sir Tho/nas Lawrence's Collection. (459)

J. P. THEBAUT
1763-1824.
778 A French Officer. Bust, in armour, viewed to the left. He
wears the silver cross of an Order, white neck-cloth, powdered
wig in pigtail. Oval, 2 by If in. On ivory.
Signed and dated 1789.
This Artist's later miniatures are signed Thiboust. (108)

WILLIAM MAKEPEACE THACKERAY
1811-1863.
779 A Procession of Men.
Water-colour. Rectangular. On paper.
JOHANNES THOPAS
flourished 1650-75.
780-81 A Gentleman and his Wife, names unknown. He is seated,
three-quarter length, viewed fuU, face to the right, eyes looking
full. His left hand, holding a book in which his thumb marks

255 Fifth Day

Lot 780-81 — continued.

the place, rests in his lap ; his right hand is on the back of
his chair. He wears a tight-fitting velvet coat with broad
lace collar and lace cuffs ; hair in curls to the shoulders, slight
moustache. A curtain and a column on a pedestal in the
background to the left and right.
Plumbago. Rectangular, 6f by 5f in. On vellum.
Signed.
The Lady is represented three-quarter-length, viewed full,
standing in a garden beside a small fountain with foliage
in the background. A formal terrace with fountain and
pergola to the left, hills in the distance. She wears a light
satin gown decorated at the sleeves with bows ; a silk scarf
has fallen from her shoulders. Pearl necklace, pearl drops in
the ears. Her hair is arranged in a mass of small curls with a
long curl pending from each side of the head. Her right hand
holds a rose, her left is raised to her bosom.
Plumbago. Rectangular, 7f by 8f- in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
Thopas worked principally at Haarlem and at Zaandam-
opposite Amsterdam. He died in 1675.
A pair of plumbagos in the Artist's finest manner. (158 and 158a)

JACQUES THOURON
1737-90.
782 A Gentleman, name unknown. ' Bust, viewed in profile to the
left. He wears a cloak secured in a loop over his shoulder,
small lace cravat, powdered hair in pigtail.
Pencil. Oval, 3f by 3f in. On paper.
Probably a design for an enamel or a medallion ; very highly
finished. (771)

Fifth Day 256
ALESSANDRO TIARINI
1577-1668.
783 A Lady, name unknown. Almost half-length, viewed full, head
inclined forward and viewed to the left. She wears a loose
cloak about her shoulders. Short curly hair parted in the
centre and caught up in a knot at the back. Her left hand
holds a domino mask.
Pencil. Rectangular, 5f by 6f in. On paper.
Exhibited at the Bath Gallery, 1919. (809)

JOHANN HEINRICH TISCHBEIN
1722-89.
784 Dr. Brill. Half-length, viewed to the left, eyes looking full.
High-buttoned coat, lawn neck-cloth and cuffs ; his right
hand thrust in his waistcoat ; light wig.
Pencil. Rectangular, 9f by 12| in. On vellum. (488)

TITIAN (AFTER)
785 The Duke of Norfolk, " A Young Englishman." Three-
quarter length, viewed full, face to the left, eyes looking full.
Doublet with pendant sleeves, cape and belt ; a chain is
round his neck, narrow collar and cuffs ; short hair. His
left hand holds a pair of gloves, his right rests on his hip.
Pencil. Rectangular, 9f by llf in. On paper.
Probably the engraver's original drawing.
From Dr. Wellesley's Collection.
Glass broken. (381)

257 Fifth Day
PELTRO WILLIAM TOMKINS
1767-1840.
t
786 A Girl, name unknown. Half-length, viewed to the left, reading
a book held in her left hand, her right is raised to her bosom.
Brownish dress with white fichu ; a veil covers her head and
falls down her back.
Pencil, heightened with colour. Oval, 5f by 6 in. On paper. (262)

PELTRO WILLIAM TOMKINS
787 Zilla in the Temple of the Sun. She is represented in profile
to the left, kneeling before a classic altar wreathed with
flowers, an urn beside her. Her hands clasped before her,
her face lifted and gazing into the rays of the sun from above.
She wears a turban, loose robe, and sandals. A column in
the background to the right.
Pencil. Oval, 9f- by 12 in. On paper.
This is the highly finished drawing for the well-known engraving
published in 1790. (635)

JEAN FRANgOIS DE TROY.
4679-1752.
788 A Scene from Moliere. Three ladies and three gentlemen are
viewed in the grounds of a Chateau, all being' grouped round
\ a fountain. A lady (standing) plays a guitar, a lady (seated)
reads from a book. A richly dressed Cavalier reclines on
the ground, his head being in the seated lady's lap. Architec
tural background with figures and fountains.
Gouache in colours. Rectangular, 13f by 12 in. On paper. (868)

Fifth Day 258
A. E. TOUCHEMOLIN
789 A Lady, name unknown. A bust, viewed to the left. Loose
bodice and fichu, hair faUing in curls to the shoulder. A
miniature box and a pianoforte to the left, a book with Italian
inscription and a vase of flowers to the right ; curtain and
tassel as background.
Pencil. Rectangular, 6f by 8 in. On vellum.
Signed and dated 1799. (464)

JOHN TRUMBULL
1756-1843.
790 A Gentleman, name unknown. Bust, viewed to the right, eyes
looking full. He wears a dark brown coat with a broad
collar ; powdered hair. Oval, 2f by 2\ in. On ivory.
Trumbull, a Connecticut man, served as aide-de-camp to
Washington during the Revolutionary War. He died in
New York in 1843. His miniatures are amongst the finest
painted in America. (581)

CHARLES TURNER
1773-1857.
791 The Duke of Wellington. Half-length, viewed full, face to the
right. Dark coat over light waistcoat, short hair.
Pencil and Indian ink. Rectangular, 8\ by 6f in. On paper.
This portrait was drawn in 1845, seven years before the Duke's
death. (142)

WALLERANT VAILLANT
1623-1677.
792^ A Gentleman, name unknown. Half-length, viewed to the
right, eyes looking slightly to the left. He wears a dark
cloak with a broad, falling white collar secured with white

259 Fifth Day
Lot 792 — continued. *
tassels. His dark hair falls in masses to his shoulders, slight
moustache. Plumbago and black chalk, the face just touched with colour.
Rectangular, 15f by 13f in. On paper.
Signed and dated 1651.
It is framed in a remarkably fine contemporary tortoise-shell
frame. (908)

ANNE VALAYER-COSTER 1744-1818.
793 The Duchess of Rutland. Half-length, viewed to the right.
She wears a light blue decollete bodice trimmed with flowered
rushing, lace tie and pink ribbon about her neck ; red and white
plumes in her hair, which is dressed high and falls in heavy
curls. Oval, 3f by 3 in. On ivory. (64)
PIETER VAN DER BANCK
1649-97.
794 Louis XIV. Half-length, viewed in profile to the left, face to the
left, eyes looking to the right. In armour, with long lace
cravat, large curly wig.
Plumbago. Oval, 6f by 5f in. On vellum,
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (31)

MICHIEL VAN DER GUTCH
1660-1725.
795 George, Lord Lansdowne, the Poet. Bust viewed full. Face
three-quarters to the left. He wears an open coat with a
white shirt and soft collar. A silk cap on his head.
Pencil. Oval, 3 by 2f in. On blue paper. (82)

Fifth Day. 260
• JAN VAN DE VELDE
1593-1641.
796 A Lady and Gentleman, names unknown. The Man is viewed
to the right, the head inclining to the left. A cloak across the
shoulders ; fur hat, hair falling to the ears, light beard and
moustache.Pen and ink. Rectangular, 3 by 4 in. On vellum.
Signed and dated 1639.
The Lady is viewed to the left, eyes looking to the right.
Dark bodice trimmed at the neck with rushing ; fur cape.
A jewelled chain across the bosom. Hair falling to the neck
ornamented with jewels, a jewel and osprey plume over the
1 right temple.
Pen and ink. Rectangular, 3 by 4 in. On vellum.
Signed and dated 1639.
From Dr. Wellesley's Collection. (241 and 241a)
[See Illustration of one of them.]

DIEGO RODRIGUEZ DE SILVA. Y VELAZQUEZ
1599-1660.
797 A Man, name unknown. Bust, viewed to the left ; the eyes are
looking full. Beard and moustache.
Black chalk. Rectangular, 4\ by 5f in. On paper.
This drawing probably dates from Velazquez's visit tq Italy
in 1629.
From Sir Thomas Lawrence's and Dr, Wellesley's Collections. (374)

¦ NICOLAS VENEVAULT
1697-1775.
798 Louise Diane D'Orleans, Princesse de Conti (see inscription on
the reverse). She is viewed three-quarter-length, turned
shghtly to the right. She wears a very low-necked white

261 Fifth Day
Lot 798 — continued.
dress, her bosom being almost bare. Her hair is. poudre
and dressed with flowers. Round her waist she wears a
jewelled girdle and a rope of flowers extends from her neck
to her waist. In her right hand. she holds a crystal and gold
ewer. Oval, 4f by 3f in. On a card.
From the Thibaudeau Collection. (845)

EUGfiNE JOSEPH VERBOECKHOVEN
1798-1881.
799 A Flemish Bull. Representing a bull wading knee-deep in a
stream ; a low bank and a tree in the background, a broken
fence to the right, on one of the bars of which is the artist's
signature. , i
Pencil. Rectangular, 8f by 5f in. On paper.
, Signed and dated 1829. (232)

CLAUDE JOSEPH -VERNET
1714-89.
800 Probably a portrait of Christina, Queen of Sweden. Bust,
viewed in profile to the right. A fichu looped over her
bosom ; hair arranged in curls about the head and bound
with a jewelled fillet.
Plumbago. Oval, 2ff by 2^ in. On vellum.
Signed.Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
*„.* This has the appearance of being a drawing for a bas-relief. (238)

Fifth Day 262
GEORGE VERTUE
1684-1756.
801 Joseph Addison. Three-quarter length, viewed to the left,
eyes looking full. He wears a long coat, falling cravat and
puffed cuffs, a long curly wig falling to his shoulders. His
left hand is thrust in his waistcoat, his right rests on a table
beside him, on which is a folded sheet of paper ; wainscoting
and a curtain in the background.
Pencil and Indian ink. Rectangular, 11J by 9 in. On paper.
The original drawing for the engraved portrait.
From Bishop Percy's Collection. (686)
[See Illustration.]

GEORGE VERTUE
802 Jeremiah Clarke, Composer ahd Organist at St. Paul's Cathedral.
Died 1707. Half-length, viewed full, face to the right. s
Wearing a cloak about his shoulders. Long hair.
Pencil. Rectangular, 4f by 6 in. On paper.
From Dr. Cumming's Collection.
Inscribed "¦ Jeremy Clarke, Music master."
An important portrait.* (611)'

GEORGE VERTUE
803 The Rev. Dr. Derham. Bust, viewed to the right, eyes looking
to the left. He wears a cloak and tab collar, hair in curls to
the shoulders.
Plumbago. Rectangular, 5f by 8f in. On paper.
Signed, with inscription in Vertue's autograph. (167)

No. 801.

263 Fifth Day
GEORGE VERTUE
804 Queen Elizabeth. The Queen is represented head and shoulders,
-viewed to the left, eyes looking full. She wears a wide fluted
ruff and three pearls in her hair, which is confined in a jewelled
cap with veil falling behind.
Plumbago. Oval, 3f by 3f in. On vellum. (125)

GEORGE VERTUE
805 Matthew Henry, Di-vine. Bust, viewed to the left. Long robe
' and tab cottar, full sleeves, curly wig to the shoulders.
Pen and ink. Rectangular, 3\ by 3f in. On vellum.
See long inscription on the reverse.
It was probably decorated after his decease with the four
seraphs that ornament it. (583)

GEORGE VERTUE
806 The Earl of Kingston. Half-length, viewed to the right, eyes
looking full. He wears a loose doublet picked out with
embroidery ; a broad sash edged with lace across his breast
and tied over the left shoulder in a large bow, round collar
edged with lace. Short beard and moustache, short hair
brushed back from the forehead.
Plumbago. Rectangular, 3f by 4f in. On vellum.
Signed.
%* Robert Pierrepoint, first Earl of Kingston, was killed in a
tragic manner during the Civil War. This is the finished
drawing for the portrait in the " Loyalists." (133)

Fifth Day 264
GEORGE VERTUE
807 The Earl of Northampton. [Northamton on inscription.]
Half-length, viewed full, face to the right, eyes looking to the
left. In full armour, holding a baton in his left hand. SmaU
falling collar, moustache and curly wig to the shoulders.
'Plumbago. Rectangular, 4f by 2f in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue.
Signed.Spencer Compton, the second Earl and a famous Royalist,
fell at Hopton Heath in 1643. (98)

ANTOINE VESTIER
1740-1810.
808 A Lady, name unknown. Bust, viewed to the right, face to the
left, eyes looking full. Simple decollete gown ; a large bow in
her hair, which falls in curls about the neck and shoulders.
Pencil and sepia. Oval, 2\ by 2f in. On vellum. (436)

LOUISE ELISABETH VIGEE-LE-BRUN
1755-1842.
809 A Girl, name unknown. Bust, viewed to the left. Fichu and
mob-cap, hair in curls to the ears.
Pencil. Oval, 4f by 5f in. On paper.
From the Cailleux Collection. (408)

franqois Elie. vincent
1708-1790.
810 A Gentleman, name unknown. Bust, viewed in profile to the
left. High-collared coat, lace cravat, full wig in pigtail.
Pencil. Oval, 3ff- by 2-Jf in. On vellum.
Signed on the reverse.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (307)

No. 812.

/ 265 Fifth Day
CORNELIS DE VISSCHER
1629-58.
811 Jacob de Bray. Bust, viewed almost full, eyes looking to the
right. The shoulders are lightly sketched in, showing a square
coUar, hair falling in curls al)out the face.
Pencil. Rectangular, 8 by 6f in. On paper.
This vigorous drawing has also been ascribed to Michel Sweerts.
See inscription on the reverse.
Glass broken. (276)

CORNELIS DE VISSCHER
812 A^Gentleman, name unknown. Three-quarters, viewed to the
right. Standing beside a table to the right, on which rests
an open book. He wears a long coat covered with a cloak,
square falling coUar, broadTbrimmed hat, hair in curls to the
shoulders. His right hand grasps one tassel of his belt, the
other is raised in gesture.
Plumbago. Rectangular, 9f by ,8f in. On vellum.
In the original tortoise-shell frame. (315)
[See Illustration.]

CORNELIS DE VISSCHER
813 A Girl, name unknown. Half-length, viewed to the right, eyes
looking full. She wears a long-sleeved bodice with wide collar,
and cuffs. Her hair, brushed back from her forehead, is
confined in a cap set well back on her head. One of her hands,
which are folded before her, holds some roses. Curtain in the
background, to the, fight.
Plumbago, just touched with colour*
Rectangular, 7 by 9f in. On paper.
From the Arthur Kay Collection. (301)

Fifth Day. 266
CORNELIS DE VISSCHER
814 A Lady, name unknown. Three-quarter length, viewed to the
left, eyes looking full. She wears a long laced-bodice, long
sleeves with wide laced-cuffs, full skirt, broad laced-collar.
In her right hand, which rests on a pillar, she holds a lily.
Her hair, which falls in ringlets to her shoulders, is covered
,„ with a lace cap.
Plumbago. Rectangular, 7f by 5f in. On vellum.
Dated 1649. (877)

CORNELIS DE VISSCHER
815 A Lady, name unknown. Seated, three-quarter length, viewed
to the left, eyes looking to fhe right. She is dressed in striped
embroidered bodice and overskirt of dark material, with wide
cape-like coUar edged with lace and secured over the bosom
with a looped rosette, wide cuffs. She wears a triple pearl '
necklace and bracelets with clusters of pearls in her ears. Her
jewelled hands, which rest in her lap, hold a fan with both
strings ; her hair is brushed back from the forehead and con
fined in a jeweUed cap set weU back on the head. A column
with a curtain and tassel in the background to the left. The
artist's signature is on the back of the chair.
Plumbago. Rectangular, 9 by 12 in. On vellum.
Signed. a very remarkable drawing from the hodges and
Carrington Collections. (692)
[See Illustration.]"

ROBERT VAN VOERST
1579-1636.
816 Sir Kenelm Digby, after Van Dyck. Half-length, viewed to the
right, eyes looking to the left. Full cloak with sleeves. His
left hand rests on his hip, the right raised to his breast. Hair
falling in the back to the neck, pointed beard and moustache.
Pencil, heightened with Chinese white.
Rectangular, 7\ by 9\ in. . On paper.
This drawing was engraved in Van Dyck's Iconography (1636).
From Dr. Wellesley's Collection. (485)

No. 815.

267 Fifth Day
LUCAS VORSTERMAN
1595-1675.
817 Cardinal Bentivoglio, after Van Dyck. Bust, viewed to the
right. Soutane buttoned to the neck, square collar ; short
brown hair, brown beard and moustache.
Pencil and wash. Rectangular, 6f by 6f in. On vellum.
The original drawing for the engraving. (359)

LUCAS VORSTERMAN
818 Jacques Callot, the Artist. Half-length, viewed to the left.
Doublet with chain and medal, slashed cloak with wide falling
collar edged with fringe and tied with strings and tassel. Hair
to the ears, beard and moustache.
¦ Pencil and wash. Rectangular, 5f by Q\in. On vellum.
The original drawing for the engraving. (360)

THOMAS CHARLES WAGEMAN
1787-1863.
819 Archdeacon Oldershaw. Three-quarter length, aged about 70,
facing three-quarter to the left seated in a chair, his right
forearm rests on a table^-the hand holding a book, his left
arm falls by his side, a pair of folded spectacles is in the hand
which rests against his thigh. Dressed in a high-collared black
tail-coat and breeches of the period.
Pencil. Rectangular, 10 by 8 in. On paper.
Signed and dated 1831. (858)

Fifth Day 268
THOMAS CHARLES WAGEMAN
820 The Hon. Augusta Leigh. Half-length, viewed almost in
profile to the right. She is represented leaning on a balustrade,
her chin resting on her hand, dressed in a white decollete
bodice with a silk rope girdle. Head-dress, in Spanish style,
consisting of a fringe of heavy curls, half-covered with a black
lace veil, which falls over the shoulders to the waist.
Water-colour. Oval, 6f by 8£ in. On paper.
The poet Byron's half-sister. She was born in 1784, and was
married in 1807. This portrait is reproduced in " Byron's
Letters and Journals," 1900, vol. iv. (400)
[See Illustration.]

THOMAS CHARLES WAGEMAN
821 Joseph Loxdale. Three-quarter length, viewed to the right,
eyes looking.full. Wearing a College gown, a College cap in his
right hand ; white waistcoat and neck-cloth, short light brown
hair. Pencil, heightened with colour. Rectangular, 9f by 6 in. On paper.
Signed and dated 1797. (378)

P. WALTHER
822 A Lady, name unknown. Half-length, viewed in profile to the
left. Simple white dress secured at the waist with pink ribbon,
white bow at the neck. Crimpy brown hair cut short, pearl
ear-rings. 1 Oval, 2\ by 2in. On ivory.
Signed and dated 1801.
From the Falcke Collection.
Nothing seems to be known concerning the Painter of this
capital miniature. (56)

No. 820.

269 Fifth Day
JAN WANDELAAR
1690-1759.
823 Admiral Lord Anson, " ad vivum." Half-length, viewed full.
Coat with wide lapels ornamented with braid and naval
buttons, striped waistcoat, tightly curled wig.
Plumbago. Oval, 6J by 5£ in. On paper.
Signed and dated 1750.
Exhibited at the Victoria and Albert Museum, 1917-18, and
described in the special Catalogue.
This drawing was engraved by Houbraken and published at
Amsterdam. (478)

JAMES WARD, R.A.
1769-1859.
824 Teemorfait Carmborlof, Aide-de-camp to the Emperor
Alexander I. Half-length, viewed to the right, in uniform.
Two decorations are pinned to his breast. Short curly hair
and whiskers, small moustache.
Pencil. Rectangular, 11 by 15 in. On paper.
Signed and dated July, 1814.
Drawn by Ward during the visit of the Allied Sovereigns to
England in 1814. (694)

THOMAS WATSON
1743-81.
825 Warren Hastings. Half-length, viewed full, face to the left.
Open coat, lace cravat, short hair. His right arm rests on
the arm of the chair in which he sits.
Pencil. Oval, 7\ by lOf in. On paper. (124)

Fifth Day 270
ANTOINE WATTEAU
1684-1721. ^
826 An Elderly Man, name unknown. FuU length, seated on the
ground and leaning slightly to the right. He wears a peasant's
smock and trousers, broad-brimmed hat. His hands rest in
his lap.
Pencil and sanguine. Rectangular, 7 by 9 in. On bluish paper. (788)

ANTOINE WATTEAU
827 A Lady, name unknown. Seated three-quarter length, viewed
to the left. She wears a tight-fitting bodice with sleeves
frilled at the elbow. A broad fichu about her shoulders ; flat
broad-brimmed hat. Her left hand holds a book.
Sanguine. Rectangular, 8 fry 13 in. On paper.
*%* From the collections of Thomas Banks, R.A., and Baron de
Triqueti. Exhibited at the Bath Gallery, 1918. (779)

ANTOINE WATTEAU
828 A Sheet of Drawings from the Artist's Sketch-Book: This
contains twelve studies for important pictures. The Man at
full length in the centre of the sheet and a smaller drawing of
the same Man are the studies for a figure in the Bal Champetre.
The two drawings of a Man on one knee in the lower right-
hand of the sheet are the studies for a figure in the large
Watteau at Berlin, number 494 in the Berlin Gallery Catalogue.
The three drawings of a seated Man playing a mandoline are
the studies for a figure in D'Adventurine and the Man's head on
the extreme right at the top of the sheet is a study for a figure
in one of Watteau's Camp scenes.
Sanguine. Rectangular, 14f by 12 in. On paper. (869)
[See Illustration.]

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No. 828.

271 Fifth Ddy
ANTOINE WATTEAU
829 A Study for a Portrait. A lady of the period sits on the ground
facing the left. The head is turned upwards, the hair being
tied with- a bow behind the neck. Her low-cut dress is fuU
and falls away in long sloping folds behind, her right knee is
raised and her right hand rests across her breast in her lap.
She leans on her left arm and hand, which are bent slightly
backwards. The right foot points upwards from the ground,
the left foot resting on its side near it, points slightly forward,
so that the whole composition forms a triangle of folds and
drapery. Sanguine. Rectangular, 5J by 3J in. On paper.
Engraved in " L'Oeuvre D' Antoine Watteau " (par JuUenne,
1734). (855)

ANTOINE WATTEAU
830 Lady Mary Wortley-Montagu. She is represented fuU length,
viewed to the left, eyes looking to the right, and seated beneath
a tree in a wood. She wears a bodice and skirt edged with
fur. A turban is on her head, one fold of which falls to her
left shoulder ; her hands are lying in her lap and hold some
twigs.
Plumbago. Rectangular, 6f by 8f in. On vellum.
Lady Mary was famous for her " Letters " and her friendship
with Alexander Pope and his circle.
Exhibited at the Bath Gallery, 1918-19. (80)

Attributed to ANTOINE WATTEAU
831 A Lady, name unknown. Half-length, viewed in profile to the
left. She is in a simple dress open at the neck, and wears a
necklace secured by a broad ribbon. Her hair is brushed away
from her forehead and simply arranged.
Indian ink. Rectangular, 3\ by 2\ in. On paper. (825)

Fifth Day 272
Attributed to ANTOINE WATTEAU
832 A, Lady, name unknown. Half-length, viewed in profile to the
left. She is dressed in Carnival costume, and wears a small
cap on her head.
Indian ink. Rectangular, 3\ by 2f in. On paper. (826)
WALTER HENRY WATTS.
Exhibited at the Royal Academy, 1809-30.
833 A Lady, name unknown. Bust, viewed in profile to the left.
She wears a black bodice and white fichu, an elaborate black
bonnet -hat,- secured under her chin with a frilled band.
Indian ink and colour. Oval, 3 by 2\in. On paper.
Signed " W.'h. Watts, fee'*" (29)

SIR RICHARD WESTMACOTT, R.A.
1775-1856.
834 An Original Design for the Wellington Monument. A frieze,
measuring 22f by 3fin., representing a group of classic horse
men with soldiers of Wellington's Army introduced to the
left and the right.-
Pencil and wash. On paper. (597
GEORGE WHITE
1680-1732.
835 Charles II. Half-length, viewed full, face to the left, eyes
looking full. Wearing the coUar and George of the Order of the
Garter, long lace cravat, the familiar long curly wig.
Plumbago. Oval, -5J by 4^ in. On vellum.
Signed and dated 1702. - (
This magnificent portrait ,_ which is surely White's chef-d'eeuvre,

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273 Fifth Day
Lot 835 — continued.
was exhibited at the Burlington Fine Arts Club in 1889. It
was also exhibited at the Victoria and Albert Museum, 1914-18,
and is iUustrated in the special Catalogue. Described in
Foster's " Samuel Cooper and the English Miniature Painters
of the XVIIth Century. ' ' (219)
[See Illustration.]

GEORGE WHITE
836 William Dobson, Portrait-painter (see inscription). Half-length,
viewed in extreme profile to the right, face to the right, eyes
looking full. He wears a dark cloak and white falling collar.
Dark hair, parted in the centre and falling in curls to the
shoulders ; smaU moustache.
Pencil. Rectangular, 4\ by 5 in. On paper.
(715)
/
GEORGE WHITE
837 A Gentleman, name unknown. Half-length, ^ewed in profile
to the right, face to the right, eyes looking full. Loose cloak,
fritted cravat, a small turban on his head.
Plumbago. Oval, 4^ by 3^ in. On vellum.
Signed on the reverse.
Exhibited at the Victoria - and Albert Museum, 1914-18,
and descjribed in the special Catalogue. (497)

GEORGE WHITE
838 A Gentleman, name unknown. Bust, viewed in profile to the
right,' face to the right, eyes looking full. Open coat with
frilled cravat, tight-fitting curly wig!
Plumbago. Oval, 4f by 3f in. On vellum.
Signed.Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (496)

Fifth Day 274
GEORGE WHITE
839 James Francis Edward Stuart, James III of England and VIII
of Scotland. Bust, viewed to the left, eyes looking to the
right. In full armour. Long cravat, large curly wig.
Plumbago. Oval, 3f by 3& in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (495)

ROBERT WHITE
1645-1704.
840 One of Charles II. 's Bishops, name unknown. Half-length,
viewed to the right. He wears his Ecclesiastical robes and
square tab collar. Hair in curls to the ears.
Plumbago. Rectangular, 4f by 3f in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
described in the special Catalogue. (493)

ROBERT WHITE
841 One of Charles II. 's Judges, name unknown. Bust, viewed
slightly to the right, eyes looking full. Wearing judicial
robes with white hood and square falling collar. Hair in
curls to theshoulders. The famous " black cap " is on his head.
Plumbago. Oval, 4f by 3f in. On vellum.
Exhibited at the Victoria and Albert Museum, 1914-18, and
illustrated in the special Catalogue.
A fine portrait. (494)

275 Fifth Day
ROBERT WHITE
842 Catherine of Braganza, Queen of Charles II. The Queen is
represented half-length, viewed to the right. She wears a
decollete bodice ornamented with jewels, a jewelled clasp with
three pearls at her bosom, pearl necklace, pearl drops in the
ears. Her hair, parted in the centre, is disposed in two clusters
of curls over the ears, from each of which hang two tight curls.
Curtain with tassels in the background to the left. Her
Crown is placed on a table to the right.
Pen and ink. Oval, 3f by 3 in. On vellum.
(308)
ROBERT WHITE
843 Henrietta Anne, daughter of Charles I and Duchesse d'Orleans.
Half-length, viewed to the right, eyes full. Decollete bodice
with large sleeves ; hair parted in the centre and disposed in
curls, two locks falling upon each shoulder ; pearl necklace.
Indian ink. Rectangular, 5f by 4\ in. On paper.
Signed " R. White fecit." (519)

ROBERT WHITE
844 Thomas Thynne, " Tom of ten thousand." Bust, viewed to the
right, eyes looking full. He wears a cloak fastened over his
shoulder with a clasp. Long lace cravat. Long curly wig.
Pencil. Oval, 4 by 5 in. On paper.
This drawing was also engraved by White. (811)

JAN WIERIX
1549-
845 A Gentleman, name unknown. Bust, viewed to the right.
Doublet and ruff ; shorf hair, moustache and small beard.

Pen and ink. Oval, 2f by If in. On ;
Exhibited at the Victoria and Albert Museum, 1917. (594)

Fifth Day 276
* SIR DAVID WILKIE, R.A.
1785-1841.
846 Sir Walter Scott. Half-length, viewed to the left, seated in a
high-backed arm-chair. Black stock, peak collar, a plaid
across his breast, a black'smoking-cap on his head.
Coloured chalks. Rectangular, 7f by 9f in. On paper.
It has a coronet and a monogram A.T.E. stamped upon it.
An important* portrait. (372)
[See Illustration.]

SIR DAVID WILKIE, R.A.
847 Studies for two Gentlemen's Portraits, names unknown.
Pencil. Rectangular, 6f by 5f in. On paper. (266)
SIR DAVID WILKIE, R.A.
848 The Original Study for " The Waterloo Gazette," or
" Chelsea pensioners reading the ' Gazette of the Battle of
Waterloo.' " Representing an old man reading a newspaper
seated by a doorway, over which hangs a wicker bird-cage.
A baker with a tray of loaves on his head stands on the left.
Nine other figures are sketched in the background.
Pen and ink. Rectangular, 3 by 3f in. On paper.
Drawn in 1817.
The picture was sold by Wilkie to the Duke of Wellington for
1,200 guineas. (637)
[See Illustration.]

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277 Fifth Day
JOHANN WILHELM WINDER
1696-1756.
849 An Allegorical Group. Representing an angel with outspread
wings (centre) holding a book. Three figures are below, the
head of a patriarch to the left.
Plumbago. Rectangular, 7\ by 9 in. On vellum. (277)

JOHANN WILHELM WINDER
850 George II. Half-length, viewed in profile to the left, wearing
the Garter robes. The ribbon and Star of the Order of the
Garter across his breast, a curious ornament representing a
human head on his shoulder and another over his breast.
Long curly wig crowned with a laurel wreath.
Plumbago. Oval, 4f by 4 in. On vellum.
The King looks almost satanic in this portrait.
Signed. (115)

JOHANN WILHELM WINDER
851 A Lady, name unknown. Half-length, viewed to the right.
Lace-edged bodice with buttoned sleeves, a scarf over the
left shoulder. Hair dressed high en pompadour, with two curls
falling over the right shoulder.
Sepia. ' Oval, 5\ by 4\ in. On paper.
Signed. (157)

HAMLET WINSTANLEY
1698-1756.
852 The Countess of Derby (painted in 1715 [?]). Half-length,
viewed full, face to the right, eyes looking to the left. She

Fifth Day 278
Lot 852 — continued.
wears a decollete bodice with overmantle and full sleeves ;
hair en pompadour, a lock falling on each shoulder, a crescent
curl over each temple.
'Pencil. Rectangular, 7f by 12% in. On paper. (550)

HAMLET WINSTANLEY
853 Lady Stanley. Half-length, viewed full, face to the left. She
wears a loose decollete bodice with an ermine wrap over the
right shoulder. Her powdered hair, brushed up from her
forehead, faUs in a long mass of curls over her shoulders. Her
left hand is raised to her bosom.
Pencil. Oval, 7f by 6 in. On paper.
Signed. (562)

HAMLET WINSTANLEY
854 THE Original Sketch-Book used by him when living at
Knowsley, under the patronage of James, tenth Earl of Derby.
(See description in volume.) (529)

WILLIAM WOOD
1768-1809.
855 • A Lady, name unknown. Half-length, viewed to the right.
White bodice and fichu, secured at the waist with blue ribbon.
Brown hair bound with a white turban. Oval, 2f by 2f in. On ivory.
Probably an early work of this Miniaturist.
Exhibited at Brussels in 1912.
From the Dunn-Gardner Collection. (HO)

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279 Fifth Day
RICHARD WOODMAN
flourished 1770-1810.
856 George Washington. He is viewed whole-length to the right,
head to the left. In uniform, wearing a, .black stock- ..He is
advancing with his right arm upon the shoulder of the Goddess
of Liberty, his left hand holds a baton extended. 4\bove him
is the figure of Fame blowing a trumpet and holding a laurel
wreath. In the centre is drawn a map of America, and to the
left Benjamin Franklin is seated writing in an open book,
upon a page to which Minerva, helmefed, is pointing. Justice
stands next to Minerva.
This most interesting drawing was engraved in 1783, and
the engraving is described in Mr. C. H. Hart's Catalogue of
Washington Portraits, No. 89. The engraving, whichis of very
great rarity (it is not in the British Museum), differs somewhat
from this, the original, drawing.
A VERY IMPORTANT DRAWING. (768)
[See Illustration.]

THOMAS WORLIDGE
1 700-66'.
857 An Elderly Man, after Reinbrandt. Bust, viewed in profile
to the right, face to the right, eyes looking full. Fur-trimmed
cloak, fringed neck-cloth, puffed fur cap bound crosswise with
a scarf ; small moustache and beard.
Plumbago. Rectangular, 5J by Q\in. On vellum.
Signed and dated 1 760. (401 )

Fifth Day 280
THOMAS WORLIDGE
858 An Elderly Woman (probably after Rembrandt). Half-length,
viewed to the left and inclined slightly forward. Her hands
are in a- fur muff. White fichu, white cap covered with a veil
falling over the shoulders.
Pencil. Rectangular, 3f by 4 in. On paper.
Signed and dated 1739.
From Bishop Percy's Collection. (664)

THOMAS WORLIDGE
859 A Series of Five Female Heads.
Plumbagos. Ovals and a Rectangular, measuring about 5f by
7f in. On vellum.
We have not been able to trace the originals of these drawings.
Some, possibly, represent American Indians and South Sea
Islanders.
Unframed. (261, 261a, 261 b, 261 c, 261a").

/
THOMAS WORLIDGE
860 David Garrick in the character of Tancred (Thomson's " Tancred
and Sigismunda ").
Pencil. Rectangular, Q\ by 5 in. On paper.
Signed and dated 1752.
This drawing was also engraved by Worlidge. (831)

THOMAS WORLIDGE
861 Two Girls, names unknown. The elder Girl is viewed to
the right, standing before a stone balustrade. She wears a
V-shaped bodice with elbow sleeves, jewelled necklace, small
mob-cap, with hair simply arranged. Her left hand holds a
rose, while her right touches a small pot of flowers. A tree
in the background to the left. The younger Girl is seated

281 Fifth Day
Lot 861 — continued. \
and viewed full, dressed in similar costume but larger cap.
Her right hand holds some flowers in her lap, while her left
points to a parrot perched on a pedestal to the left. A balus
trade in the background with trees behind it, in which two
birds are sitting.
Plumbago. Rectangular, 5f by 3f in. On vellum.
Signed and dated 1740.
Both were exhibited at the Victoria and Albert Museum,
1914-18, and are described in the special Catalogue. (73 and 74)

THOMAS WORLIDGE
862 Two Illustrations for a Book. One represents the sacrifice
of Isaac, the other the god Mars, with Venus appearing to
him in a cloud with two cupids.
Plumbagos. Both rectangular , measuring 5f by 8 in. On vellum.
Signed and dated 1735. (410 and 411)

THOMAS WORLIDGE
863 Henry Jenkins. Bust, viewed to the right. Hair parted in the
centre and falling to the ears.
Plumbago. Oval, 4\ by 3\ in. On paper.
The famous centenarian, who died in 1670.
From the Collection of Samuel Lover. (146)

THOMAS WORLIDGE
864 A Man, after Rembrandt. Half-length, viewed to the left.
Buttoned coat, falling collar, a cape over the shoulders and
fastened across the breast ; high-crowned hat with a plume ;
curly hair to the ears, beard and moustache. The left hand,
raised, holds a pair of gloves, the right arm is stretched forward.
Plumbago. Rectangular, 5f by 7 in. On paper.
Signed. (272)

Fifth Day 282
THOMAS WORLIDGE
865 Richard Nash, " Beau Nash." Half-length, body turned half-
left, three-quarter face, eyes looking full. In close wig, curled
at sides. The right hand rests inside his waistcoat, the left
arm rests shghtly akimbo.
Plumbago. Oval, 3f by 3f in. On vellum.
Signed and dated 1743. (854)

PHILIPS WOUVERMANS
866 Two Horsemen. One is represented having alighted from his
horse to speak to a group of peasants on the left, the other is
viewed with his back to the spectator on the right. Two
dogs are lying at his horse's feet.
Pencil and wash. Rectangular, 10 by 8 in. On paper.
Signed and apparently also dated (?).
From the Six Collection. (259)
*
[See Illustration.]

Attributed to PHILIPS WOUVERMANS
1619-68.
867 The Hawking Party. Representing a man on horseback,
viewed to the right and looking to the left, holding a falcon
on his wrist. He wears a doublet with a poignard at his side ;
plumed hat.
Red chalk. Rectangular, 6f by 9f in. On paper. (487)

" >; r™ Tr-*  "-' T VJ'

COCO CO d
z

283 Fifth Day
JOHN WRIGHT
flourished 1790-1819.
Harriet Mellon, afterwards Mrs. Coutts and Duchess of St.
Albans. Half-length, viewed to the left. She wears a simple
white bodice, powdered hair bound with a blue fillet.
Oval, 2f by 2f in. On ivory.
Signed. Exhibited at the Royal Academy in 1799.
Wright committed suicide in 1819. (356)

CHRISTIAN FRIEDRICH ZINCKE
1684-1767.
869 William, Fourth Lord Byron. Bust, viewed to the right,
looking full. He wears a blue coat, with lace cravat, long
brown wig to shoulders. Oval, If by l\in. Enamel.
«
This portrait belonged to the poet Byron, who bequeathed
it to the seventh Lord Byron, from whose descendants it was
purchased. (89)

CHRISTIAN FRIEDRICH ZINCKE
870 " Kitty " Clive, the Actress. ' Half-leng*th, viewed fuU, face to
the right, eyes looking full. DecoUete bodice with mantle ;
hair simply arranged, one curl falling over the right shoulder.
-Plumbago. Oval, If by If in. On vellum.
Exhibited at Brussels in 1912 and at the Victoria and Albert
Museum, 1914-18, and described in the Catalogues of the
Exhibitions.
Evidently the drawing for the enamel afterwards executed by
him. (94)

Fifth Day 284
CHRISTIAN FRIEDRICH ZINCKE
871 Maria Clementina, Queen of James III. Bust, viewed to the
left, face to the right, looking full. Blue decollete bodice with
gold embroidery at the bosom, magenta scarf thrown back
from the shoulders, powdered hair falling in a long curl over
the right shoulder. Oval, If by l\in. Enamel.
From the Collection of the Princess Charlotte.
Exhibited at the South" Kensington Museum in 1865, and at
Glasgow in 1888. (396)

CHRISTIAN FRIEDRICH ZINCKE
872 Mrs. Morgan. Half-length, viewed full, face to the left. She
wears a white lace decollete bodice with a pink bow over the
bosom, a pink wrap edged with brown fur about her shoulders.
Brown hair brushed back from the forehead, and ornaments
with small pink feather. Oval, If by l\in. On ivory.
This is probably a study for an enamel portrait. (353)

JOHN ZOFFANY, R.A.
1733-1810.
873 Miss Montague. Half-length, viewed to the left. She wears a
white V-shaped bodice decorated with a pattern of green
embroidery, a thin lawn fichu about her shoulders secured at
her bosom with a large dull rose bow. Her hair, brushed up
from her forehead, is confined in an elaborate lace mob-cap
decorated with small rose bows ; a thin jet chain and cross
round her neck.
Painted in oils. Oval, 7f by 9f in. On panel. (760)

285 Fifth Day
Attributed to JOHN ZOFFANY, R.A.
1733-1810.
874 A Lady, name unknown. Bust, viewed to the right, eyes looking
full. Decollete bodice faintly indicated. She wears a lace
cap decorated in the centre with a rosette, a pearl necklace
secured at the back in a loose bow.
Pencil. Rectangular, 2f by 2f in. On paper.
A slight but very charming sketch. (772)

* *
*

BOOKS ON MINIATURE PAINTING.
Quarto
875 Williamson (George C). Life and Works of Ozias Humphry,
R.A., limited to 400 copies ; plates, etc., half vellum
John Lane, 1918.
Inserted are ' an A.L. s., l£pp., 4to., from Samuel Johnson to
Humphry, dated Bolt Court, Fleet Street, April 5th, 1784.
This letter is printed on p. 89 of the above work ; and an
A.L. s., lp. 4to., from Richard Brinsley Sheridan to Humphry,
dated Friday, Aug. 18th, 1780, in which he mentions C. Fox.

876 WiUiamson (G. C.) Andrew and Nathaniel Plimer, Miniature
Painters. Their Lives and their Works. Limited Edition,
bound in hand-loom linen. George Bell, 1903

877 WiUiamson (G. C.) Richard Cosway, R.A., and his Wife and Pupils,
portrait (loose) and plates, cloth ; G. Bell, 1897, etc. (4)

878 Arundel Society. A Series of Portrait Miniatures selected from>
the Loan Exhibition at the South Kensington Museum in
1865, photographed by C. Thurston Thompson, half morocco,
n. d. — Catalogue of Portrait Miniatures, 1865 (2)

Fifth Day 286
879 Pinkerton (John) The Scotish GaUery ; or Portraits of Eminent
Persons of Scotland, plates, Russia, gilt.
Printed for E. Harding, 1799,

880 Foster (J. J.) Samuel Cooper and The English Miniature Painters
of the XVII Century. Edition de Luxe, signed, by the author,
plates, etc., and Supplement, 2 vol. half vellum Dickinsons, 1914

Folio
881 Williamson (G. C.) The History of Portrait Miniatures. Limited
Edition, plates, 2 vol. original cloth, gilt G. Bell, 1904

882 L'Exposition de la Miniature a Bruxelles eh 1912. No. 28 o/30
copies printed on " Papier de J apon," numerous plates, some
coloured, half vellum . Bruxelles, 1913"

Riddle, Smith & Duffus, Windsor House, Kingsway, W.C 2, and Forest Hill, S.E. 23.

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