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Dreweatts 1759
Los 92

BRITISH SCHOOL (19TH CENTURY) PORTRAIT OF A LADY IN A WHITE DRESS Oil on canvas, feigned oval 72 x 58cm (28¼ x 22¾ in.) Condition Report: The canvas is relined and presents a few superficial scratches near the borders of the oval. UV light reveals a thin uneven varnish applied, two small dotted retouches near the nose and next to the right eye. In addition, larger retouching is present on the neck, on the right arm and on the dress, at the right of the sleave; such retouches are of about 5 to 6 cm wide. Condition Report Disclaimer

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Dreweatts 1759
Los 9

MANNER OF UGOLINO DA SIENA MADONNA AND CHILD Mixed media on panel 45.5 x 27.5cm (17¾ x 10¾ in.) Condition Report: The panel presents extensive craquelure across the whole surface and various damages at the borders, such as to the acute angle of the upper borers, and on the halo of Christ. UV light reveals a thick varnish applied across the whole surface and no evident signs of restauration, which though might be masked by the thick yellowing varnish. Condition Report Disclaimer

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Dreweatts 1759
Los 248

GEORGE COLE (BRITISH 1810 - 1883) PARROT ON A PERCH Oil on panel Signed (lower left), inscribed and dated 'To Mrs Basterbale with Mr Cole's compliments Aug 4th 1858' (verso) 29 x 19cm (11¼ x 7¼ in.) Condition Report: The panel is signed 'George Cole' (lower left). Horizontal craquelure throughout but predominantly emitting from the left hand side edge, which has caused a small area of flaking (see online images) and also at the foot of the bird's perch. Area of possible water damage can be seen in raking light at the lower left corner. Rubbing and abrasions to the framing edges. Inspection under UV light reveals very light spots of scattered retouching throughout. Condition Report Disclaimer

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Dreweatts 1759
Los 238

λ&nbspLIONEL DALHOUSIE ROBERTSON EDWARDS (BRITISH 1878-1966) AN EQUESTRIAN PORTRAIT Oil on canvas Signed and indistinctly dated (lower right) 48 x 74cm (18¾ x 29 in.) Provenance: By descent through the family of the sitter Condition Report: The canvas has not been lined. Some light surface throughout, as well as traces of a dirty varnish. Canvas is a little loose. Stretcher marks visible. Inspection under UV reveals traces of the aforementioned varnish, as well as some very fine infilling corresponding to the stretcher marks.Condition Report Disclaimer

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Dreweatts 1759
Los 89

CIRCLE OF JOSHUA REYNOLDS (BRITISH 1723-1792) EDWIN: STUDY OF A YOUNG BOY Oil on canvas 43 x 35.5cm (16¾ x 13¾ in.) Provenance: William Wels, Readleaf, Kent His Sale, Christie's, 10 May 1890 Thomas Agnew, acquired from the above sale Bruce Ismay of Thurstaston, Birkenhead, acquired from the above on the 2 June 1892 Thomas H. Ismay His Sale, Christie's, 4 April 1908 Thomas Agnew, acquired from the above sale for Bruce Ismay Thence by descent to the present owner Literature: A. Graves & W.V. Cronin, A History of the Works of Sir Joshua Reynolds, London, 1899-1901, p. 1151 (incorrectly as a 'half length' canvas) D. Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings, New Haven and London, 2000, I, p. 528, no. 2067; II, p. 591, pl. 1608 In the catalogue raisonné David Mannings notes that Ellis Waterhouse considered this picture to be a possible studio version after the prime version which sold at Christie's, London, on the 3rd December 2013, lot 43 (£602,500).The lot offered here was sold and reacquired twice by members of the Ismay family. The provenance listed in the catalogue raisonné by Mannings is confused with a similar version of close dimensions, which was sold by Ehrich Galleries, New York. Contrary to this, the present work has remained in the Ismay family since it was acquired in 1892. The identification of Edwin as the boy portrayed dates to the 1796 sale of Reynold's original painting, where the sitter was depicted as the hero from The Minstrel, a poem published in 1771, by Reynold's friend, James Beattie. An inventory of the original painting carried the following lines from Bettie's poem under the catalogue entry: 'A soul that knew no art,/ And from whose eye serenely mild/ Shone forth the feeling heart'. Although Edwin is the traditional title for the boy portrayed, Dr. Martin Postle has questioned whether Reynolds had the poem in mind when executing the painting and noted that the protagonist is shown without his 'short pipe' (see Mannings, op. cit.).   Condition Report: The canvas is relined and presents a vanish scattered across the whole surface. UV light reveals no evident signs of restoration. A few dotted stains of dirt, but hardly noticeable, are present near the borders, and there is some paint loss near the borders of the canvas, most visible on the higher corner of the border. Condition Report Disclaimer

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Dreweatts 1759
Los 220

EDWARD WILLIAM COOKE (BRITISH 1811-1880) THE EUGANEAN HILLS FROM THE LAGUNE [sic] OF VENICE Oil on panel Signed (lower left) and dated '1875' (lower right); further signed, inscribed and dated (verso) 13 x 29cm (5 x 11¼ in.) Provenance: The collection of A.W Thorold, Bishop of Rochester Literature: Probably, Munday, John, E.W.Cooke, A Man of his Time, p.356, Reference No. 75/6 Condition Report: There are a number of very fine hairline cracks to the left and right framing edges of the panel, but these are really only noticeable under a UV light. There are two small areas of paint loss to the upper right edge (approx. 1mm and 2mm respectively) running along one of the aforementioned cracks. Light rubbing and abrasions to the framing edges. Inspection under UV light suggests some very fine infilling along the previously mentioned cracks but this is very light. Otherwise there is no evidence of restoration or repair.Unexamined out of glazed frame.Condition Report Disclaimer

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Dreweatts 1759
Los 203

HENRY HERBERT LA THANGUE (BRITISH 1859-1929) A SPANISH MILL Oil on canvas Signed (lower left); further signed and inscribed 'A Spanish Mill' (on the stretcher) 96.5 x 110cm (37 x 43¼ in.) Provenance: Sale, Christie's, London, Victorian & British Impressionist Art, 13 December 2012, lot 54 The Collection of The Bowerman Charitable TrustHenry La Thangue was a founder member of the New English Art Club and like many of his fellow artists spent time painting in mainland Europe. He is most associated with Provence and the Liguria coast of Italy. He also sailed down the coast of Spain a far as Andalusia and the Balearic Islands. He worked almost exclusively on the spot, and it is likely that he blocked in the present composition by the roadside in the Mallorcan hills, close to the village of Buger, where the fast-flowing Torrent de Buger irrigated the cereal crops produced in the area, giving rise to the construction of windmills hundreds of years earlier. At least one other work, the smaller Moonrise in Spain (Christie's, 16 December 2009), is known to have been completed at this location. The figure with the heavily laden donkey is a miller setting off for the coast or the local bake-house. Observers noted that the meagre wealth of small island population depended on corn production that fed the expansion of Barcelona, even later in the twenties when the islands were colonized by artists such as Robert Graves, the native Spanish reliant on an agrarian existence. Condition Report: The canvas appears to be lined, however a Perspex backing-board verso, prevents a full inspection. Some scattered surface cracking, and light surface dirt throughout. Light rubbing and abrasions to the framing edges. Inspection under UV reveals some flaring to one of the pigments, but this appears to be original to the work, and there is no evidence of restoration or repair. Overall, appears to be in good condition commensurate with age. Condition Report Disclaimer

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Dreweatts 1759
Los 204

JOHN TERRICK WILLIAMS (BRITISH 1860-1936) BELLAGIO FROM CADENABBIA, LAKE COMO Oil on canvas Signed and dated '1902' (lower left); further signed, titled, and dated (verso) 25.5 x 39cm (10 x 15¼ in.) Provenance: Art Club Studio's, Blackheath, London Condition Report: The canvas has not been lined. Isolated patches of fine craquelure throughout however the paint surface appears stable. Traces of a dirty varnish has caused some discolouration, and the work would benefit from this being removed. This is most noticeable to the lower right quadrant. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer

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Dreweatts 1759
Los 108

ALFRED DE BREANSKI (BRITISH 1852-1928) THE THAMES AT QUARRY WOOD Oil on canvas Signed (lower left) 69.5 x 105.5cm (27¼ x 41½ in.) Condition Report: The canvas is unlined. There are stretcher marks and surface cracking, but the paint layer appears to be stable. Under UV light there are some scattered spots of retouching in the water and sky and a long horizontal line which runs three inches below the upper edge. It has some surface dirt and discoloured varnish. Condition Report Disclaimer

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Dreweatts 1759
Los 228

WILLIAM GOWE FERGUSON (BRITISH 1632-1695) STILL LIFE OF HUNG GAME BIRDS Oil on panel Signed and dated '1660' (lower right) 48 x 43cm (18¾ x 16¾ in.)Exhibited: Oxford, Ashmolean Museum (according to plaque recto) Condition Report: UV light shows a thick evenly applied varnish, three dotted spots of retouching beath the centre bird, and a few on the borders. Although the varnish might mask further retouching beneath, the panel seems to be in good condition. Condition Report Disclaimer

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Dreweatts 1759
Los 169

JAMES DIGMAN WINGFIELD (BRITISH 1800-1872) THE FINISHING TOUCH Oil on canvas Titled and inscribed (verso) 34 x 29.5cm (13¼ x 11½ in.) Provenance: The Fine Art Society, London, November 1983 Condition Report: The canvas has not been lined. Stretcher marks visible. Some light craquelure but the paint surface appears stable. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout.Condition Report Disclaimer

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Dreweatts 1759
Los 122

NEAPOLITAN SCHOOL (19TH CENTURY) VILLA DEL BELVEDERE, RIVIERA DELLA CHIAIA, NAPLES Oil on board Indistinctly signed (lower left); further inscribed and titled (verso) 18.5 x 32cm (7¼ x 12½ in.) Condition Report: Unexamined out of glazed frame. UV light reveals no evident signs of restauration. The panel presents a small 0.5 cm damage in the upper left corner, and there are a few dirt stains, such as on the cloud above the costal village. Otherwise, there seems to be no other evident signs of damage. Condition Report Disclaimer

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Dreweatts 1759
Los 57

ALEXANDRE HYACINTHE DUNOUY (FRENCH 1757-1841) FIGURES IN AN ITALIANATE LANDSCAPE Oil on canvas Signed and dated '1810' (lower left) 74 x 99cm (29 x 38¾ in.) Provenance: Anonymous sale, Paris, Thierry de Maigret, 10 December 2001, lot 70, for 600,000 French francs (or approximately £56,978) With David Wade Fine Art, Yorkshire where acquiredAlexandre Hyacinthe Dunouy spent the years 1810-15 in Naples at the behest of its queen, Napoleon's sister, Caroline Bonaparte Murat (1782-1839). Consequently, numerous views of the city survive from this period of his career, including his Panoramic view of the Bay of Naples, National Gallery, London, and two examples in the Metropolitan Museum of Art, New York.1 The present canvas, signed and dated 1810, was likely painted at the beginning of this Italian sojourn, but perhaps before Dunouy had travelled that far south. Although none of the compositional elements can be identified as Neapolitan, the sun-bathed building on the right is certainly Italianate in its architecture. 1 Inv. no. L822 (dated about 1783-89 or 1810-15, the two periods during which Dunouy is thought to have travelled to Italy), oil on paper laid on canvas, 29.2 x 45.2 cm.; Accession no. 2009.400.52 (dated 1813), oil on paper, laid down on canvas, 33.3 x 50.5 cm.; and accession no. 2003.42.25 (dated about 1810-15), oil on paper, laid down on canvas, 21.2 x 29.2 cm Condition Report: The canvas presents a subtle craquelure most visible in the mid and upper section on the painting. UV light reveals few retouches, such as an 8cm long and 1cm thin diagonal restoration on the upper left corner of the sky, a few scattered retouches on the lower border section on the water, and a few dotted and minor retouches in the sky. In addition, under UV light some sections of the green pigment in the water on the bottom right corner fluoresce, possibly caused by some strengthening in the paint. Condition Report Disclaimer

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Dreweatts 1759
Los 24

FOLLOWER OF JAN ANTHONISZ VAN RAVESTEYN PORTRAIT OF A GENTLEMAN, BUST LENGTH, IN A LACED TRIMMED BLACK DOUBLET Oil on panel 36.5 x 27cm (14¼ x 10½ in.) Condition Report: UV light presents an unevenly applied varnish scattered across and various retouches. The most evident is near the left border, where a superficial crack starting from the upper left corner and continuing for about 13 cm down has been covered with paint; further retouches are present on the visage of the sitter, most noticeably on the forehead, and a few dotted retouches near the nose; in addition, further retouching is present on the right side of the head, in the hair, and scattered across the black doublet. To conclude, the panel presents a few dagames near the borders. Condition Report Disclaimer

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Dreweatts 1759
Los 217

JOHAN-BARTHOLD JONGKIND (DUTCH 1819-1891) VIEW OF DELFT: A CANAL WITH BARGES, A FIGURE WITH A DOG ON THE CANAL PATH, A TOWN BEYOND Oil on panel Signed and dated '1843' (lower right) 28 x 41cm (11 x 16 in.) Provenance: From a Private Collection Literature: A. Stein, Jongkind, Paris, 2003, No. 10  Condition Report: Some light surface scratching and surface dirt throughout with some light patches of craquelure. Inspection under UV light reveals subtle scattered infilling throughout, together with some more obvious areas of overpaint. There is a small area in the sky at the left corner of the panel which appears to flair, and is visible in natural light, but it is not obvious whether this pigment is original to the work.Condition Report Disclaimer

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Dreweatts 1759
Los 137

GEORGE JOHN PINWELL (BRITISH 1842-1875) THE WAGON MAKER Watercolour heightened with bodycolour 22 x 17.5cm (8½ x 6¾ in.) Provenance: Sale, Christie's, London, 23 April 1974, lot unknown Sale, Christie's, London, 19 July 1977, lot 234 J. Pepys-Whittley Agnews Gallery, London W.N. Fielding James Thorpe (1876-1949) Aldridge Bros. The Little Gallery, Worthing Literature: The Old Count. Wayside Posies, 1867, p.58 Picture Posies, 1874, p.231 D.P.W., Country Life, 12 October 1961, 'A Recorder of Victorian Country Scenes' Condition Report: Some of the green pigment perhaps a little discoloured but overall the colours appear to be good. Some light undulation to the sheet under the frame. The work appears to be in good original condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer

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Dreweatts 1759
Los 14

FOLLOWER OF LUCA PENNI MADONNA AND CHILD Oil on canvas 71 x 56.5cm (27¾ x 22 in.) Condition Report: The canvas has been relined and presents visible craquelure across the whole surface. UV light reveals various retouches, most visible on the veil beneath the Madonna's left cheek, where there is a patch measuring about 6cm in width of scattered renaturation; further retouching is noticeable on the neck, on the hands, a few retouches on the chin of Christ, and further scattered retouches in the background area. A thick uneven varnish covers the canvas; and to conclude, the canvas presents traces of dirt such as on the clothing of the Madonna. Condition Report Disclaimer

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Dreweatts 1759
Los 40

ATTRIBUTED TO MICHAEL DAHL (SWEDISH 1659-1743) PORTRAIT OF KATHARINE BRISTOW, AGED 17 Oil on canvas, feigned oval Bears signature 'Dahl' (lower right); with 19th century inscription 'KATHARINE BRISTOW AETAT 17, MARRIED TO GEORGE DASHWOOD OF HEVENINGHAM ESQ, 1711, AETAT 21 / BY DAHL / LINED AND RESTORED BY C. AMBROSE TAVISTOCK STREET COVENT GARDEN 1840' (verso) 76.5 x 64cm (30 x 25 in.) Provenance: From a Private Collection in NorthamptonshireGeorge Dashwood (1680 - 1758) was the Tory MP for Stockbridge. His father, Sir Samuel Dashwood (1643 - 1705) became the Mayor of London in 1702. Katharine (1690-1779), also came from a family of politicians; her father being Robert Bristow (1662 - 1706), MP for for Winchelsea. Here two brothers, Robert (1688-1737) and John (1701-1768) were also MPs. Upon his death in 1758, Katharine served as Lady of the Bedchamber to Queen Charlotte, the Queen Consort of George III. Condition Report: The canvas is relined and presents a visible craquelure at the corners of the painting, external to the feigned oval. UV light reveals a thick varnish in the background area, a few retouches on the forehead of the sitter, a small dotted retouch on the side of the mouth, a horizontal retouch of about 5cm at the height of the neck, and scattered smaller retouches on the clothing. In addition, there seems to be some strengthening at the contours of the upper section of the figure. To conclude, where there is the line of the oval, there is some superficial scratching, maybe caused by the abrasion of a previous oval frame. Condition Report Disclaimer

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Dreweatts 1759
Los 37

ALLAN RAMSAY (SCOTTISH 1713-1784) PORTRAIT OF HENRY HAWLEY (1685 - 1789) Oil on`canvas, feigned oval 74 x 61cm (29 x 24 in.)Provenance: Waddington Galleries Ltd, London Sale, Sotheby's, London, 11 July 1990, lot 44 Sale, Christie's, Horsenden Manor, 22 September 1997, lot 658Literature: Alastair Smart, Allan Ramsay; A Complete Catalogue of his Paintings, p.133, illustrated.This portrait is recorded in 1990 having a label attached to the reverse inscribed 'Henry Hawley elder brother of James Hawley/M.L. He died a Widower without issue on y [sic] 28th Augt 1756, and is buried at Bloworth Midx.' The sitter was possibly the grandson of the 1st Lord Hawley, who became a distinguished soldier, fighting campaigns in Europe, at Fontenoy and Detingen, as well as closer to home. After the 1745 Jacobite Rebellion, the Duke of Cumberland made him Commander-in-Chief in Scotland where he was renowned for his brutal behaviour. In 1748, Hawley was appointed Governor of Inverness, a position he held until 1752, the same year in which he became Governor of Portsmouth, a role he retained until his death. He died unmarried in 1759, leaving his property, West Green House near Hartley Wintney in Surrey to the son of his housekeeper. The late Professor Alastair Smart dated this portrait to circa 1747-8.      Condition Report: The canvas has been relined which is providing good support. There is fine surface cracking across the image. but the paint layer is stable. Under UV light there is a jagged vertical line running from the right of the sitters head down onto his shoulder. There is also a short horizontal line running from the centre of the left edge. The varnish layer is discoloured and has fine surface cracks which have become opaque in places and appear as white blotches on the surface. Condition Report Disclaimer

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Dreweatts 1759
Los 226

SAWREY GILPIN (BRITISH 1733-1807) A GREY HORSE AND A DOG IN A LANDSCAPE Oil on canvas Signed (lower centre) 49.5 x 60cm (19¼ x 23½ in.) Provenance: Sale, Christie's, London, The Brian Juhos Collection, 1 May 2013, lot 448, where purchased by the present private collector Condition Report: The canvas has been lined. Craquelure and some paint shrinkage throughout however the paint surface appears stable. Light rubbing and abrasions throughout. Inspection under UV reveals scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer

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Dreweatts 1759
Los 239

FREDERICK HALL (BRITISH 1860-1948) HORSES ON THE MOOR Oil on board Signed (lower right) 31 x 40cm (12 x 15½ in.) Condition Report: There are three small cracks to the panel at the upper left framing edge (largest approx. 1.5cm). Very small, light scattered spots of brown surface dirt throughout, and the varnish has discoloured slightly. There is a small loss to the back right leg of the dark horse (approx. 3mm). Rubbing and abrasions to the framing edges, with some scattered craquelure throughout. Inspection under UV light reveals some flaring in the sky but this appears to be to one specific pigment and likely original to the work. Condition Report Disclaimer

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Dreweatts 1759
Los 183

FRANK MOSS BENNETT (BRITISH 1874-1953) TAVERN INTERIOR Oil on canvas Signed (lower left) 58 x 49cm (22¾ x 19¼ in.) Condition Report: Unexamined out of glazed frame. UV light reveals no evident signs of restoration except for an unevenly applied varnish across the whole surface. The canvas is relined and presents evident and substantial cracking of the surface, which is most noticeable on the cloth table (where some sections of paint are coming off) and above the maid's head, and on the background area to her right. Condition Report Disclaimer

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Dreweatts 1759
Los 79

ROBERT HOME (BRITISH 1752-1834) PORTRAIT OF LIEUTENANT-COLONEL WILLIAM SYDENHAM AND HIS WIFE, WITH ST THOMAS'S MOUNT, MADRAS IN THE BACKGROUND Oil on canvas 77.5 x 92.1cm (30½ x 36¼ in.)Painted circa 1791.Provenance: Arthur Tooth, London, 1946-7 (advertisement in The Connoisseur, March 1946) Private collection, UK  Literature: Mildred Archer, India and British Portraiture 1770-1825, London 1979, pp.306-8, pl.212 William Sydenham (1752-1801), the son of Samuel Sydenham and Alice (née Chapman) of Minehead, came from a distinguished Devonshire family. He joined the East India Company's Madras Artillery as a Cadet in 1768. In 1776 he married Amelia Prime, niece of General Horne, who had also served with the Artillery in India. In 1786, at the time of the war with Tipu Sultan of Mysore, Sydenham was promoted to Lieutenant-Colonel in command of the First Battalion at St Thomas's Mount near Fort St George, Madras, which can be seen in the background of this painting. Home was a fine landscape painter and detailed landscape backgrounds give extra vividness to his portraits. William Sydenham was promoted to Major-General, Commandant of Artillery and AuditorGeneral of Fort St George in January 1801, but died in June of that year. Robert Home was an important recorder of British India in the late eighteenth and early nineteenth century. He studied with Angelica Kauffmann and between 1773 and 1778 worked in Italy. He exhibited twenty paintings at the Royal Academy between 1770 and 1789. His wife died in 1790 and the following year travelled to Madras to seek his fortune, just as General Cornwallis was setting off with the Grand Army for the Third Mysore War against Tipu Sultan. Home accompanied the campaign, making sketches of the forts and engagements; he later produced prints of Select Views in Mysore (1794) and paintings of Lord Cornwallis receiving the sons of Tipu Sultan as hostages and The death of Colonel Moorhouse (both c.1793-4; National Army Museum, London). Influenced by Thomas and William Daniell, who visited Madras in 1792, Home produced a number of landscapes which show exquisite attention to architecture and Indian life. In 1795 Home moved to Calcutta; he made a happy second marriage and his children joined him in India, all four sons becoming members of the East India Company's army. Home, a punctual, amiable and hardworking man, became the chief portrait painter in Calcutta. He painted the Governor-General of India, Marquis Wellesley, and his brother Major-General the Hon. Sir Arthur Wellesley (the future Duke of Wellington), as well as other generals and judges. He made a short visit to Dacca in 1799 to paint the Nawab Nasrat Jang. Home's successful portrait practice was threatened by competition from Thomas Hickey, who arrived in Calcutta in 1807, and by the dashing and eccentric George Chinnery, who arrived in 1811. In 1814 Home took up the post of Court Painter to the Nawab of Oudh at Lucknow. He worked for the Anglophile Nawab Ghazi-ud-din Haidar for thirteen years, painting portraits and court life, and designing Ghazi's crown when he was made King of Oudh in 1819, as well as carriages, boats, furniture, even an elephant goad. Home retired to a 'handsome establishment' at Cawnpore after Ghazi-ud-din's death in 1827, dispensing 'extensive hospitality to the residents of the station' until his own death at the age of eighty-two in 1834 Condition Report: The canvas has been lined. Light craquelure throughout however the paint surface appears stable. There is an old repair (approx. 5cm) running vertically through one of the soldiers to the left of the canvas, and this is visible in natural light. There is a further, very small patch of overpaint visible in natural light, to the sitter's skirt (approx. 5mm). Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout.Condition Report Disclaimer

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Dreweatts 1759
Los 225

WILLEM VAN DE VELDE II (DUTCH 1633-1707) SHIPPING AT ANCHOR Pencil with white heightening Signed in ink with initials (lower left) 21 x 27.5cm (8¼ x 10¾ in.) Condition Report: Heavy discoloration to the sheet with some staining visible to the framing edges, and also running vertically throughout the sheet (see online images). Light spots of foxing throughout. There is a small pin-sized hole to the sheet to the right of the ship in the foreground. There is an area of pronounced creasing running along the left edge culminating in a small tear (approx. 1cm) at the upper left corner. One or two scattered areas of skinning to the sheet throughout, with the most noticeable being at the lower left quadrant. Light undulation to the sheet throughout, and some handling creases commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer

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Dreweatts 1759
Los 131

JOHN DAWSON WATSON (BRITISH 1832-1892) PORTRAIT OF A CHILD WEARING A BROWN CAPE Oil on board, oval mount Signed with monogram and dated '1858' (lower right) 14 x 12cm (5½ x 4½ in.) Provenance: Sale, Rupert Toovey Auctioneers, 11 April 2002, lot 1510 Condition Report: The painting presents a few superficial scratches most evident on the sides of the oval. UV light reveals no evident retouching or varnish. Once unframed, there are some parts which are visibly damaged, where a few sections of paper have been glued on the borders. The monogram signature and date are visible once the painting has been unframed. Condition Report Disclaimer

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Dreweatts 1759
Los 31

FOLLOWER OF MICHELE MARIESCHI A VENETIAN FESTIVAL, THE GRAND CANAL WITH THE PALAZZO BELLONI BATTAGIA Oil on canvas 66 x 96cm (29¾ x 37¾ in.)Provenance: Earl Howe, Gopsall Hall Gopsall Hall was inherited by Penn Assheton Curzon, eldest son of 1st Viscount Curzon, after Charles Jennens died in 1773 unmarried and without an heir. He was an uncle on Penn Assheton Curzon's mother's side. He married Lady Sophia Howe and the house passed down through the Earls Howe until the 4th who sold the house in 1919. A large part of the collection at Gopsall were dispersed in two sales by George Trollope & Sons, October 1918 and June 1920.Charles Jennens (1700-1773) inherited Gopsall Hall a Jacobean house and 724 acre estate from his father in 1747. Three years later, in 1750, he replaced the house with a new, more grandiose building befitting his recently obtained wealth and status. The 'new' Gopsall reflected the fashionable Neo-Palladian taste inspired by contemporary pattern book designs published by such renowned and important figures as Batty Langley, William Halfpenny and William Kent at a cost of £100,000. It was considered the most impressive Georgian house in Leicestershire. The House was demolished in 1952. Condition Report: The canvas is relined and presents a subtle craquelure across the whole surface, mostly visible in the e section of the sky. UV light reveals numerous small, scattered retouches especially in the lower section of the painting, on the figures and on the water. Furthermore, some larger signs of the restauration are present in the sky, especially near the upper corners on the right and left, where there seems to be some lines of restoration which are of about 8cm long but of about 0.3 cm in width. To conclude, a yellowing varnish covers the whole surface. Condition Report Disclaimer

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Dreweatts 1759
Los 90

JEAN BAPTISTE GREUZE (FRENCH 1725-1805) THE YOUNG MATHEMATICIAN Oil on canvas 44.5 x 36.5cm (17½ x 14¼ in.) Provenance: Straganoff, Moscow Margraf, Berlin Duveen Brothers, New York Mrs. Vera Brand, New York Newhouse Galleries Inc., New York Mr. and Mrs. Kay Kimbell Collection, Forth Worth, Texas Sale, Sotheby's, New York, 9 June 1983, lot 51 P.& D. Colnaghi & Co The Young Mathematician is a quintessential example of Greuze's Tête d'expression, where visages, of mostly children, captured the essence of one or more emotions; in this case, a hint of melancholy seems to lodge in the eyes of the sitter. The painting vaunts a rich provenance, and was fully attributed by Edgar Munhall when it belonged to the collection of Mr. and Mrs. Kay Kimbell. The Young Mathematician was one of Greuze's most successful and requested pictures. Many versions are recorded in Jean Martin's Oeuvre de J.B. Greuze, catalogue raisonné, 1908, and a few are presently known, such as the one held in the Musée Fabre in Montpellier (which is the most refined version), and the one sold at Christie's New York on the 21 October 1997. We are grateful to Dr. Yuriko Jackall for her assistance with preparing the catalogue entry Condition Report: The canvas is relined and presents a subtle craquelure scattered across the whole surface. UV light reveals a few retouches in the hair of the sitter, such retouches are thin brushstrokes, one of which of about 7cm in length, and two thicker restorations on the centre right section of the hair and in the background area adjacent. More visible restorations are present on the eyelids and contours of the eyes. To conclude, further restorations are visible in the background area in the lower border and near the letter. Condition Report Disclaimer

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Dreweatts 1759
Los 215

ROBERT ANNING BELL (BRITISH 1863-1933) TWO VEILED WOMEN IN A LANDSCAPE Oil on canvas Signed and dated '1922' (lower right) 74 x 125.5cm (29 x 49¼ in.) Condition Report: The canvas has been lined. There is a small hole (approx. 5mm) with associated loss, to the original canvas. There is a vertical surface scratch (approx. 3cm) at the centre of the upper edge. Both the scratch and hole are visible in online images. There are some scattered spots of loss which are largely confined to the dark pigment and running along the lower edge. Light craquelure and surface dirt throughout. Inspection under UV light reveals no evidence of restoration or repair. Condition Report Disclaimer

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Dreweatts 1759
Los 43

JEAN-BAPTISTE LE PRINCE (FRENCH 1734-1781) FISHERFOLK LAYING NETS BY A WATERFALL Oil on canvas Signed and dated '1773' (lower right) 127 x 190.5cm (50 x 75 in.) Provenance: David Wade Fine Art, Yorkshire where purchased Exhibited: The Paris Salon, 1773, no. 56 (as Un Paysage d'après nature)This picture, signed and dated 1773, was painted in the mature phase of Jean-Baptiste Le Prince's career after the artist had returned to Paris from Russia, where he had journeyed in 1758 in order to work for Catherine the Great (1729-1796) at the Imperial Palace. Le Prince remained in Russia for five years and also travelled extensively throughout Finland, Lithuania and even Siberia, before heading back to his native France in 1763. According to Mariette, Le Prince had left France a mediocre artist, but had come home a master. Indeed, in February 1764, the artist presented himself to the Académie Royale, where he was received as a member on 23 August 1765. This composition attests to Le Prince's achievements in this regard: the flurry of activity in the foreground, where a group of fishermen can be seen laying down their nets, is masterfully balanced by the calm, powder blue tones of the sky, as well as the pale pink accents that highlight the clouds. Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. There are a number of small patches of overpaint scattered throughout the canvas which are visible in natural light, however these are quite subtle. Rubbing and abrasions to the framing edges. Stretcher marks partially visible in a natural light. Inspection under UV light reveals traces of a green cloudy varnish, some of which has been removed. Some in-filling and scattered retouching throughout, including two areas of possible repair to the sky in the upper right quadrant. Overall the work appears to be in good restored condition.Condition Report Disclaimer

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Los 107

ANDREAS SCHELFHOUT (DUTCH 1787-1870) A DISTANT VIEW OF HAARLEM Oil on panel Signed (lower left) 15 x 21cm (5¾ x 8¼ in.)Provenance: Thomas Agnews & Sons, Ltd., London From a Private Collection Condition Report: The panel presents a subtle craquelure which is most visible in the section of the sky. UV light reveals a evenly applied varnish and a few scattered retouches in the clouds; the larger of such retouches is of about 1,5cm in width. Framed dimensions: 28x34 cmCondition Report Disclaimer

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Dreweatts 1759
Los 173

λ&nbspCHARLES SPENCELAYH (BRITISH 1865-1958) A BARGAIN Signed (lower left) Oil on canvas 36 x 26cm (14 x 10 in.) Provenance: Sale, Bonhams, 19th Century Paintings, Drawings, and Watercolours, 22 April 2009, lot 133 The Collection of The Bowerman Charitable Trust Condition Report: The canvas has not been lined. Some light surface scratching throughout. Rubbing and abrasions to the framing edge. Inspection under UV reveals scattered infilling and retouching throughout, as well as traces of a green cloudy varnish. Overall, the work appears to be in good condition commensurate with age. Condition Report Disclaimer

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Los 201

λ&nbspANTOINE BLANCHARD (FRENCH 1910-1988) ARC DE TRIOMPHE, CHAMPS ELYSEES, PARIS Oil on canvas Signed (lower right); further signed and titled (verso) 31 x 44.5cm (12 x 17½ in.) Condition Report: The canvas presents no evident signs of damage, and, under UV light, no signs of restoration. To conclude, there is an unevenly applied varnish scattered across the surface. The framed measurements are: 49.5 x 62.5 cm The unframed measurements are: 31.5 x 44.5 cm So the unframes is 0.5 cm higher than what recorded Condition Report Disclaimer

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Dreweatts 1759
Los 182

HERBERT WILLIAM WEEKES (BRITISH 1841-1914) THE YOUNG VISITOR Oil on canvas Signed (lower right) 97 x 71cm (38 x 27¾ in.) Condition Report: The canvas presents a few losses of paint due to the abrasion of the frame in the upper right border. UV light shows a thick vanish spread unevenly across the surface, and a 2 cm retouch on the bottom left corner. Condition Report Disclaimer

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Los 186

RICHARD BUCKNER (BRITISH 1812-1883) PORTRAIT OF MARY SNEADE Oil on canvas Signed (lower right) 125.5 x 100cm (49¼ x 39¼ in.) Mary Sneade was the only child of Rev. John Olive and married the 9th Earl of Cavan in 1863 Condition Report: The canvas has not been lined. Light craquelure throughout, and this has started to lift in the upper right quadrant which has resulted in spots of loss. There is also an uneven varnish which can be seen in natural light. Rubbing and abrasions to the framing edges. Stretcher marks visible. Some spots of surface dirt throughout. There is a small pin-sized hole, and associated flaking (approx. 3mm) to the right sleeve of the lady's dress. There appears to be a small area of repair to the sitter's dress in the lower right corner with some associated craquelure, and overpaint which is visible in natural light. Inspection under UV light reveals scattered in-filling throughout, as well as overpaint to the aforementioned area of repair. There is also a thick varnish which may be hiding further restoration. Framed measurements 158.5 x 133 cmCondition Report Disclaimer

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Dreweatts 1759
Los 44

JULIUS CAESAR IBBETSON (BRITISH 1759-1817) ULLSWATER FROM GOWBARROW PARK Oil on canvas Signed and dated '1805' (lower left) 67 x 90cm (26¼ x 35¼ in.) Provenance: Sale, Christie's, 28 June 1980, lot 75 Exhibited: London, Royal Academy, 1806 Condition Report: The canvas is relined and presents a visible craquelure across the whole surface. UV light reveals various retouches most evident in the greenery, and in the background area close to the bottom border. Such retouches are many scatter small restorations which have been applied as infills of the surface cracking. To conclude, more scattered retouching is present in the sky.Condition Report Disclaimer

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Los 13

FOLLOWER OF RAFFAELLO SANZIO, CALLED RAPHAEL THE MADONNA AND CHILD Oil on panel Inscribed 'RAPHAEILO URBINAS' (to dress of Madonna) 31.5 x 22.5cm (12¼ x 8¾ in.) Unframed Condition Report: The panel presents an uneven varnish scattered across. UV light reveals a few retouches, especially near the borders where the panel has received damage. Such damages are visible, especially on the right border, where there has been abrasive damage and chipping. Condition Report Disclaimer

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Los 15

VENETIAN SCHOOL (16TH CENTURY) THE LAST SUPPER Oil on canvas, unframed 93.5 x 141.5cm (36¾ x 55½ in.) Unframed Condition Report: The canvas is relined and presents craquelure which is most visible in the upper right corner, in the section of the sky. UV light reveals an uneven applied varnish and various retouches scattered across, most evident on the figures and on the cloth of the table. The most significant signs of retouching are on the first figure in the foreground, where a zig zagged restoration covers what might have been a past tear. Further extensive retouching is present on the brown background area around the head of the third apostle to the right of Christ. To conclude the edges of the canvas have been cut abruptly as the painting was most definitely a much bigger canvas. Condition Report Disclaimer

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Los 219

JAMES WEBB (BRITISH 1825-1895) HAYLING ISLAND Signed and dated '1878-9' (lower left) and titled (lower right); further signed, titled, and dated (verso) 16.5 x 60cm (6¼ x 23½ in.) Provenance: Sale, Christie's, London, Fine Victorian Pictures, 15 May 1987, lot 27 Richard Green Gallery, London, F0136 Condition Report: The canvas has not been lined. Possibly traces of a signature and earlier date (?)(lower left), the later date of 1878-9 appears to have been added later, but possibly still by the artist as this corresponds with the date and monogram to the canvas verso. Several surface scratches throughout, the heaviest (approx. 3cm) to the lower left corner. Several spots of surface dirt scattered throughout. Inspection under UV light reveals one small line of infilling to the sky in the upper right quadrant.Condition Report Disclaimer

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Los 202

EDWARD WILLIAM STOTT (BRITISH 1855-1918) TREES OLD AND YOUNG, SPROUTING A SHADY BOON FOR SIMPLE SHEEP Oil on canvas Signed (lower left) 38 x 46cm (14¾ x 18 in.)Painted in 1888.Provenance: Bridgeman Images (listed as Springtime) Waterhouse and Dodd, London Private Collection Literature: Webb. V, Edward Stott, A Master of Colour and Atmosphere, Sansom & Company, 2018, p. 56, ill. No. 19William Edward Stott was a British artist born in Lancashire. He attended Manchester School of Art before furthering his studies in Paris from 1880, enrolling first at the studio of Carolus-Duran, and then between 1882 and 1884, at the Ecole des Beaux-Arts under Alexandre Cabanel.He returned to England and helped to found the New English Art Club in 1886, which at its inception had 50 members. The idea behind this new group was that it would be an exhibiting society for artists influenced by Impressionism and rustic naturalism. Among its members were Sir George Clausen, Philip Wilson Steer, Walter Sickert, and Henry Herbert La Thangue.In 1906, Stott was elected Associate of the Royal Academy of Arts. 1888 was an important year for the members of the New English Art Club as it marked the opening of the New Gallery. Founded by J. Comyns Carr and Charles Edward Hallé, it was completed in time to house the annual summer exhibition on 8th May. The theme of shepherds and their flocks played an integral part in the portraying of rural life, and proved a popular subject at the New Gallery exhibitions. Certain artists focused on shepherds herding sheep into pens, whereas others depicted the shepherd and his flock at rest, as is the case with Trees Old and Young, Sprouting a Shady Boon for Simple Sheep. The title of the work is taken from Book I of Keats' poem Endymion (1818), of which a collection of his poems was published in 1884, four years before Stott produced his work. The reference to poetry in his painting was typical of New Gallery artists who found inspiration in combining art and poems. Both Alfred East and Arthur Tomson referenced lines from poems in their 1888 exhibition pieces. Condition Report: The canvas has not been lined but it does appear to have been strengthened with a primer (probably at the time of conception), which has caused the canvas to undulate slightly in some areas. Some very light scattered craquelure throughout with a slightly heavier patch to the centre lambs, which is starting to lift. In addition there are two small areas of loss (to the centre left lamb), each approx. 5mm. There is a third area of loss (approx. 5mm) to the grass left of the same lamb's leg which has been overpainted, and this can be seen in natural light. Inspection under UV light reveals the aforementioned area of retouching, but no further evidence of restoration or repair.Condition Report Disclaimer

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Dreweatts 1759
Los 221

EDWARD WILLIAM COOKE (BRITISH 1811-1880) NAPLES FROM MARGELLINA WITH THE CASTLE DELL'OVO AND VESUVIUS BEYOND Oil on paper Signed and dated '1864' (lower left) 22.5 x 44cm (8¾ x 17¼ in.) Provenance: Sale, Bonhams, London, British and European Art, 22 September 2015, lot 14 Condition Report: The paper has been laid down and there is a small tear (approx. 1cm) to the supporting sheet at the lower right corner. There is a loss to the supporting sheet (approx. 2.5cm) at the upper right corner. There is some staining and discolouration running along the edge of the sheet and the supporting sheet where it has been stuck down. Some light spots of foxing throughout, most noticeably to the beach at the lower edge. There is a small scuff to the sky (approx. 5mm) to the upper left edge. Overall the colours appear good. Inspection under UV light reveals one brown pigment which flairs, however it would appear to be original to the work's conception. Condition Report Disclaimer

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Dreweatts 1759
Los 147

ARTHUR HUGHES (BRITISH 1832-1915) PORTRAIT OF THE ARTIST WILLIAM BELL SCOTT (1811 - 1870) Oil on canvasboard laid to board 25 x 35.5cm (9¾ x 13¾ in.)Painted in October 1886.Provenance: The collection of Eleanor Margaret Courtney-Boyd, niece of Alice Boyd Thence in 1946 to her sister Evelyn May Courtney-Boyd Gifted by her to a private collection circa 1965Literature: Fredeman 1967, pp.15, 30, 34 H. Taylor, p.2 Roberts, Leonard, Arthur Hughes, His Life and Works, A Catalogue Raisonne, p.202, No. 215A second, finished version of this portrait painted on canvas, from the same year is listed in Roberts, p. 202, No 215.2., ill. p. 105, pl. 86. Condition Report: Rubbing and abrasions to the framing edges. One or two spots of surface dirt throughout, together with some light surface scratching. There is a more concentrated area of surface dirt/staining to the side of the sitter's face and neck (see online images). Inspection under UV light reveals a green cloudy varnish throughout, but no further evidence of restoration or repair.Condition Report Disclaimer

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Los 41

SCHOOL OF SIR GODFREY KNELLER (BRITISH 1646-1723) PORTRAIT OF WILLIAM DOUGLAS, 3RD DUKE OF HAMILTON, 1ST EARL OF SELKIRK Oil on canvas 120 x 97cm (47 x 38 in.) Provenance: Sale, Christie's London, Old Pictures, 10 June 1932, lot 73 The Collection of Sir Archibald Murray Unknown sale, 11 December 1949, lot 118 The Collection of Peter Moss of Purley by 1973, who offered the picture to the National Portrait Gallery Sale, Philips, London, Fine English Paintings, 19 May 1981, lot 37 Sale, Worsfolds of Canterbury, 12 - 14 October 1982, lot ? Correspondence between Mr Purley and the National Portrait Gallery suggests that the full-length version of this portrait was on display at the Scottish National Portrait Gallery on loan from the Hamilton Gallery. At the same time, Christopher Wood suggested that the correct cataloguing for the present lot should be School of Sir Godfrey Kneller. Condition Report: The canvas has been lined. Craquelure, and light surface scratching throughout. Rubbing and abrasions to the framing edge. Some scattered spots of retouching, particularly along the left edge, which can be seen in a natural light. These are small and minimal though. Inspection under UV light suggests some retouching, however a heavy varnish makes the extent to which any overpaint has been applied hard to read.Condition Report Disclaimer

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Dreweatts 1759
Los 25

DAVID VINCKBOONS (DUTCH 1576 - 1632/33) ELEGANT COMPANY FEASTING WITH MUSICIANS BENEATH AN ARBOUR Oil on panel Signed and dated '1622' (lower centre) 38 x 65cm (14¾ x 25½ in.) Provenance: With S. Nijstad, Lochem, 1962 (according to a card at the RKD) With Leo van der Eerden, Rotterdam, 1974 (as advertised in Antiques, see Literature)Anonymous sale, Amsterdam, Christie's, 8 March 1984, lot 41 Anonymous sale, Paris, Drouot, 4 June 1984, lot 49 Anonymous sale, London, Christie's, 29 October 1999, lot 28 With Johnny Van Haeften, London, 2000 With David Wade Fine Art, Yorkshire where Literature: Antiques, April 1974, p. 780 (according to a note at the RKD) J. Briels, Peintres flamands en Hollande au début du Siècle d'Or, 1585-1630, Paris 1987, pp. 100-1, no. 108, reproduced in colour O. Koester, Flemish Paintings 1600-1800, Copenhagen 2000, p. 279, under no. KMSsp175 B. Nehlsen-Marten, Dirck Hals 1591-1656: Å’uvre und Entwicklung eines Haarlemer Genremalers, Weimar 2003, pp. 68-69, under n. 196 K. Ertz and C. Nitze-Ertz, David Vinckboons, 1576-1632. Monographie mit kritischem Katalog der Zeichnungen und Gemälde, Lingen 2016, p. 382, no. 136 C. Laffon, Banquet dans un parc (Le Fils prodigue parmi les prostituées ?) in S. Vézilier-Dussart (ed.), Fêtes et Kermesses au temps des Brueghel, exh. cat., Ghent 2019, p. 252, under no. 74 This picture is either the prototype for, or a closely comparable version of the composition attributed to David Vinckboons in the National Gallery of Denmark, Copenhagen.1 The Copenhagen painting, which is arguably less free in its handling, differs from the present work in having a greater amount of space above the lutenist's head and in portraying the woman at the far left in full, which suggests that the present panel has been reduced at the top and along its left-hand side. A copy after this composition, which last appeared on the market in 2016, further attests to its popularity.2 A merry group of nine men and women, accompanied by a dog, gather around a table laden with oysters and wine, among other delicacies. While one gentleman proffers his roemer towards the sky, another, on the right, fingers his lute beside a lady who sings from a book. The grand building in the background underscores the extravagance of the scene. Some scholars have proposed that this composition alludes to the parable of The Prodigal Son among the Harlots.3 Although this cannot be discerned with certainty, several elements support this hypothesis: the proximity between the figures, the oysters - both on the table and littered on the ground - as an aphrodisiac, and the free flowing wine.4 1 Inv. no. KMSsp175; oil on panel, 51 x 81.5 cm.; 2 Anonymous sale, Munich, Hampel, 30 June 2016, lot 806 (as Philips Vinckboons II).3 Koester 2000, pp. 279-80, no. KMSsp175; S. Heiberg, Christian IV and Europe: The 19th Art Exhibition of the Council of Europe, exh. cat., Denmark 1988, pp. 339-40, no. 1103; and Laffon in Ghent 2019, p. 252, no. 74, all discuss this theory in relation to the version in the National Gallery of Denmark, Copenhagen.4 Laffon in Ghent 2019, p. 252.  Condition Report: UV light reveals various small and precise retouches scattered across the painting. The most evident sections are on the musical instrument of the gentleman on the right corner (where multiple thin brushstrokes have been applied across), on the sky on the right centre, and a few retouches on the heads of the sitters, such as the bearded man sitting at the centre, and the two ladies sitting on his left. Furthermore, some retouches are present on the clothing and on the dog near the right border. To conclude, a thick section on the upper right corner fluoresces under UV light, but such might be caused by an applied varnish.  Condition Report Disclaimer

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Los 227

JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) THE STUDY OF CAPTAIN POWELL, FOR STEEPLECHASE CRACKS Oil on panel Signed, inscribed, and dated 'Captain Powell 1846' and 'Captn Powell Original sketch for picture 'Steeplechase Cracks' by J F Herring Sen' (upper right and lower left respectively) 42 x 30cm (16½ x 11¾ in.)This work is a study for Herring's celebrated painting The Steeplechase Cracks, 1846, which is in The Royal Collection and was formerly in the collection of the late Queen Elizabeth, The Queen Mother.The picture shows a field of twelve taking a jump in a point-to-point. The 12th Earl of Strathmore is depicted on his horse Switcher. The collection also includes preparatory portrait sketches for the picture including The Earl and also Jem Mason, the winner of the 1839 Grand National. (John Cornforth, Queen Elizabeth, The Queen Mother at Clarence House, 1996, P.81-2)The Steeplechase Cracks was engraved by J. Harris and published by Messrs. Fores in 1852 as no. 2 of the National Sports Series. A similar sketch by Herring for The Steeplechase Cracks, of the highly successful Irish amateur jockey Allan McDonough, was sold as part of the Bill Blass Collection (Sotheby's, New York, 21-23 October 2003, lot 313)Provenance: Captain Powell, and thence by descent.    Condition Report: There is an area of discolouration to the lower framing edge (see images), however it is unclear whether this is original to the conception of the work. There is a surface scratch (approx. 10cm) to the background left of the sitter's face. Inspection under UV reveals some light scattered retouching, predominantly to the pale blue pigment around the sitter. Unexamined out of glazed frame. Condition Report Disclaimer

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Los 61

CHARLES HENRY SCHWANFELDER (BRITISH 1772-1837) BOYS FISHING IN A HIGHLAND LANDSCAPE Oil on canvas Signed (lower left) 69.5 x 88cm (27¼ x 34½ in.) Provenance: Frost and Reed, London A Private Collection in Northamptonshire A Private Collection, Canada Condition Report: The canvas has been lined. Craquelure throughout. A number of pin-hole sized spots of loss throughout the work but this is only noticeable on closer inspection. Stretcher marks are visible. Scattered overpaint visible in natural light particularly to the right edge of the canvas. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout, together with traces of an old varnish. Condition Report Disclaimer

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Los 7

FOLLOWER OF GIOVANNI BELLINI PORTRAIT OF A MAN WITH BLUE EYES Oil on panel 31 x 23.5cm (12 x 9¼ in.) Unframed Condition Report: The panel presents a visible craquelure across the whole surface. UV light reveals a yellowing and uneven varnish applied across the whole panel, various retouches on the right hand cheek of the sitter, on the eyes, and on the upper section of the left cheek. Under UV light various sections fluoresce, maybe caused by the strengthening of the colour, especially the white section of the eyes, lips, and creases of the neck. Furthermore, a few scattered retouches are present on the black gown, and various surface scratches are visible near the borders, and especially in the lower bottom section of the panel: such scratches are of about 3cm wide. Condition Report Disclaimer

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Los 2

ATTRIBUTED TO HENDRIK VAN STEENWYCK II (DUTCH 1580-1649) SAINT PETER BEING RELEASED FROM PRISON Oil on panel 32 x 25cm (12½ x 9¾ in.) Provenance: Leggatt Brothers Gallery, London H.C. Gundry Esq. Brian L. Koetser Fine Art Dealer, London Condition Report: Some very fine patches of craquelure scattered throughout. There are also a number of small spots of flaking/loss throughout, but these a only noticeable on closer inspection. There is a small area of loss to the panel in the upper right corner along the framing edge. Rubbing and abrasions along the framing edges. Some light surface dirt and surface scratching throughout the panel commensurate with age. Inspection under UV light reveals some light retouching throughout however a thick, cloudy green masking varnish makes it hard to see the full extent of any overpaint.Condition Report Disclaimer

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Los 105

PHILIP JOHN OULESS (BRITISH 1817-1885) GUERNSEY FROM LA COUPÉE, SARK Oil on canvas 56 x 77.5cm (22 x 30½ in.) Provenance: St. Helier Galleries Ltd, Jersey, Channel Isles From a Private Collection Condition Report: The canvas is relined. UV light reveals a thin varnish scattered across, a few retouches in the sky, most evidently a 6cm horizonal restoration which might cover a past tear; further retouches on the coast to the right of the painting, where two horizontal retouches also might cover past tears; various retouches in the bottom right corer which seem to cover a previous craquelure, and, to conclude, a few dotted retouches on the bottom left corner. Condition Report Disclaimer

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Los 196

PAUL JEAN GERVAIS (FRENCH 1859-1944) LADY IN PINK Oil on canvas Signed (lower right) 62 x 47cm (24¼ x 18½ in.) Condition Report: The canvas has not been lined and is starting to wear thin in some scattered areas (if you hold it up to the light, light shines through. This is most noticeable to the right of the sitter's right shoulder). Craquelure throughout, and some of this is heavy and just starting to lift particularly to the sitter's hair and chest. The canvas has become a little slack and is starting to undulate slightly. Inspection under UV light reveals no evidence of restoration or repair. Condition Report Disclaimer

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Los 188

HENRY JOHN YEEND KING (BRITISH 1855-1924) A SURREY COTTAGE Oil on canvas-board Signed (lower right) 36 x 53cm (14 x 20¾ in.) Provenance: Sale, Sotheby's Belgravia, Fine Victorian Paintings, 15 June 1982, lot 38 Condition Report: Oil on canvas-board. Some discolouration caused by a dirty varnish. Light craquelure throughout. Some light spots of surface dirt throughout. Inspection under UV light reveals light scattered retouching throughout.Condition Report Disclaimer

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Los 246

JAMES WALSHAM BALDOCK (BRITISH 1822-1898) A SADDLED BAY RACEHORSE IN A STABLE Oil on canvas Signed and dated '1884' (lower right) 59 x 74.5cm (23 x 29¼ in.) Provenance: A Northamptonshire Collection Condition Report: The canvas is relined. No visible craquelure is present. UV light reveals an unevenly applied varnish across the whole surface, various retouches on the horse, most evidently above the front legs, where a retouch of about 4cm in width is present, a few retouches on the head, but smaller, and various above the back legs, and on the torso. To conclude, further retouches are evident in the shaded area in the background, such as near the upper right corer of the wall, and in the upper left corner of the painting. Condition Report Disclaimer

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Los 126

ANTONIETTA BRANDEIS (ITALIAN 1848-1926) VIEW OF SAINT MARK'S SQUARE, VENICE Oil on board 21 x 12cm (8¼ x 4½ in.) Condition Report: Craquelure throughout, with the paint just starting to lift in scattered areas. There are also some associated small spots of loss, particularly to the sky. Rubbing and abrasions to the framing edges. Inspection under UV light reveals an area of retouching and overpaint largely concentrated to the centre sky area. Other areas of the picture fluoresce green, but this seems to be limited to one specific orange pigment and is likely to be original paint. Condition Report Disclaimer

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Los 4

FOLLOWER OF PIETER NEEFS II AN INTERIOR OF A CHURCH WITH A TOMB AT THE CENTRE Oil on panel 31 x 38.5cm (12 x 15 in.) Condition Report: The panel is stable and appears to be in good condition. There are some fine surface cracks in the paint layer and minor abrasions. Under UV light there are scattered small areas of restoration which are in foreground and toward the centre of the left edge. It has a thick layer of discoloured varnish which has numerous scratches and abrasions. Condition Report Disclaimer

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Los 174

λ&nbspCHARLES SPENCELAYH (BRITISH 1865-1958) TEATIME Signed (lower left) Oil on canvas 51 x 40.5cm (20 x 15¾ in.)Painted in 1899.Provenance: Sale, Sotheby's, London, British & Irish Art, 10 December 2014, lot 59 The Collection of The Bowerman Charitable Trust Condition Report: The canvas has been lined. Some light rubbing and abrasions to the framing edges. Inspection under UV reveals some scattered retouching and infilling, together with a green cloudy varnish. Overall, the work appears to be in good, restored condition. Condition Report Disclaimer

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Los 127

GIAN GIANNI (ITALIAN 1837-?) VALETTA HARBOUR Oil on board Signed and indistinctly dated [1887?] (lower right) 22 x 16cm (8½ x 6¼ in.) Provenance: Sale, Sotheby's, 26 February 1998, lot 651 (part lot) Condition Report: UV light reveals a thick varnish applied on the surface; furthermore, a few sections in the sea and in the windows of the city behind fluoresce. To conclude, a thin layer of dirt is visible, most noticeably in the section of the sky. Condition Report Disclaimer

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Los 29

MICHELANGELO CERQUOZZI (ITALIAN 1602-1660) AND ANGELUCCIO (ITALIAN 1620-1650) ROMANTIC LANDSCAPE WITH FIGURES AND A BRIDGE Oil on canvas 122 x 153cm (48 x 60 in.)Provenance: Private collection, Trier, by the early 18th century By descent in the family By whom sold, Cologne, Van Ham Kunstauktionen, 8 April 2006, lot 1561, for €125,000 (as Michelangelo Cerquozzi and the landscape attributed to Angeluccio)With David Wade Fine Art, Yorkshire where acquired This colourful landscape is an interesting example of a collaborative work between two painters based in Rome in the mid-17th century.Michelangelo Cerquozzi was a leading member of the Bamboccianti: a group of predominantly foreign artists active in the Eternal City, who worked in the manner of Pieter van Laer (1599-1642), called il Bamboccio, producing small works that focused on contemporary Italian street-life. Cerquozzi's most accomplished pictures blend the naturalism of the Bamboccianti with strong narrative or anecdotal characteristics, exemplified here by the comedic element of the dog crouching in the foreground.Angeluccio is a more enigmatic artist by comparison, whose real name, nationality, and dates are unknown to us today. He is recorded, however, as a student of Claude Lorrain (1600-1682): the biographer Pascoli mentions him in 1730, noting that: 'Claude only had one well-known student, Angeluccio, who died young and could do little work.'1 The staffage in his pictures was usually executed by Cerquozzi, as in the present example, or else by Jan Miel (1599-1664). Interestingly, Angeluccio was also known as a draughtsman of plant studies. One of his sheets in the Kupferstichkabinett, Staatliche Museen, Berlin, may have been used as a preliminary study for the lower left quadrant of this painting.2 1 M. Roethlisberger (ed.), Im Licht von Claude Lorrain. Landschaftsmalerei aus drei Jahrhunderten, exh. cat., Munich 1983, p. 154.2 Inv. no. KdZ 14894; black pen and brush in white on blue paper, 26.3 x 41.3 cm.; M. Roethlisberger, 'Drawings by Angeluccio (= Drawings around Claude II), Master Drawings, IV, 1966, pp. 378-79, 381, no. 3 Condition Report: The canvas is relined and presents a visible craquelure across the whole surface. UV light reveals various scattered retouches, most visible on the greenery of the tree at the centre, and a few dotted restorations in the sky. Furthermore, a 8 cm L-shaped restoration is present near the river in the bottom right corner which might cover a past tear. Next the tree, near the buildings in the background, are present superficial scratchers at the layer of the varnish. To conclude, a few retouches are also visible on the figures in the foreground and there are a few dotted traces of paint loss in the bottom left corner and near the centred tree. Condition Report Disclaimer

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Dreweatts 1759
Los 69

ATTRIBUTED TO BARTHOLOMEW DANDRIDGE (BRITISH 1691- CIRCA 1755) PORTRAIT OF A GIRL WITH A BASKET OF FLOWERS Oil on canvas 76.2 x 60.3cm (30 x 23½ in.)Provenance: Believed to have belonged to Major General Henry White Hitchins (1822-1890) & Mrs Hitchins (Alice, nee Tyler, 1839-1916) of East Lodge, Brighton. In a mid-18th century English carved & gilded frame Bartholomew Dandridge was particularly accomplished when depicting children as he had an ability to capture a dignified sense of individuality, and this charming portrait of the mid-1740's exemplifies his stylistic debt to the light rococo spirit & colouring of early 18th century French painting. The distinctively polite gesture made by the sitter's right hand appears to be a direct quote taken from the portraiture of the celebrated French rococo artist Nicholas de Largilliere (1656-1746). In the self-portrait/family group that he painted circa 1710 (Louvre), his young daughter is posed in a strikingly similar way, although she holds a sheet of music rather than a basket of flowers.   Condition Report: The canvas is relined and presents a visible craquelure across the whole surface, most noticeably on the neck and breast of the sitter. UV light reveals various retouches, such on the visage, on the right of the cheek, and on the chin. Further retouching is present on the arm of the sitter, where patches of about 3cm in width are present, and various retouching in the background area, most evidently in bottom left corner, where the ground has been repainted. To conclude, an uneven applied varnish covers the canvas. Condition Report Disclaimer

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Dreweatts 1759
Los 208

ALFRED-VICTOR FOURNIER (FRENCH 1872-1924) YOUNG BRETONS KNITTING BY THE SEA Oil on canvas Signed and dated '1906' (lower right) 52 x 63.5cm (20¼ x 25 in.) Condition Report: The canvas has not been lined. Craquelure throughout however the paint surface seems to be secure. Rubbing and abrasions to the framing edges. The upper left corner with a small pin-hole at the framing edge. Inspection under UV light reveals some light scattered infilling, mainly confined to the sky and along the framing edges.Condition Report Disclaimer

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Dreweatts 1759
Los 123

FRANCIS MOLTINO (BRITISH 1818 - 1874) EXTENSIVE VIEW OF THE GRAND CANAL, VENICE Oil on canvas 76 x 126cm (29¾ x 49½ in.)Provenance: Sale, Stanworth , 13th February 1995 A Northamptonshire Collection, purchased from the above Condition Report: The canvas is relined and some sections present a visible craquelure, most noticeably in the sky. UV light reveals extensive retouching in the sky, mostly causes by the infills of the cracking, but also comprising patches of about 4cm in width. Such type of restoration is also present on the two domes of the churches in the foreground. Condition Report Disclaimer

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Dreweatts 1759
Los 19

OSIAS BEERT THE ELDER (BELGIAN CIRCA 1570 - 1624) STILL LIFE OF GRAPES IN A DISH, AND APPLES IN A TAZZA Oil on panel 51 x 71cm (20 x 27¾ in.)Provenance: Private collection, Switzerland Anonymous sale, Enghien les Bains, Hôtel des Ventes, 25 April 1982, lot 118, for €291,000 Where acquired by a private collector By whom sold, Paris, Christie's, 26 June 2002, lot 8, for €265,250 Literature: Weltkunst, 52, 1982, p. 1169, no. 8 (according to a note at the RKD) E. Greindl, Les peintres flamands de nature morte au XVIIe siecle, Sterrebeek 1983, pp. 27, 337, no. 79, reproduced in colour on p. 30, no. 8 The popularity of this composition is attested to by the existence of another version, different only in a few details, such as the colouring of the grapes in the foreground. That version sold most recently at Sotheby's New York on 26 January 2006, lot 123 (for $296,000). Dr Fred G. Meijer has dated both pictures to 1608-1612. Beert used several elements that appear in this painting across other compositions. This is particularly true of the lacquered dish containing grapes, which was studied by Sam Segal, who suggested that it might have Japanese, Thai or Javan origins.1 Despite its simple appearance, the object therefore carried significant prestige, in that its inclusion bore witness to the intensification of commercial and cultural exchanges with the East thanks to the Dutch trading companies. A similar analysis can be applied to the intricate glass filled with red wine in the upper right corner of the picture. This is most likely a Venetian inspired product made by the Flemish kilns of Antwerp and Liège, many of which employed skilled Italian glassmakers. 1 S. Segal, Flowers and Nature: Netherlandish Flower Painting of Four Centuries, Amstelveen 1990, no. 30. Condition Report: The panel presents a thick varnish which renders difficult the analysis of any restoration beneath. UV light reveals a few retouches on the fruit in the silver bowl on the upper right side, some traces of restoration on the bowl containing the grapes, and a few retouches on the borders of the panel which cover past damages, such as on the bottom left and right. To conclude, a 10cm long thin crack crosses the right side of the panel, starting at mid height and reaching the bowl of grapes, and a few damages at the borders a present, maybe caused by the abrasion with the frame.Condition Report Disclaimer

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