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534297 Los(e)/Seite
Los 131
A group of late 20th Century/early 21st Century gents clothing and vintage scarves to include an Odermark mid blue jacket, a Marks & Spencers black dinner suit 34" waist x 33" inside leg x 42" chest (long), a Jaeger light blue and grey checked jacket, 42" chest, a John Lewis Kin blue jacket, 42" regular, a Zara Man silvered beige/grey jacket, 42/44" chest . Location:Rail
Los 67
ENOCH SEEMAN (BRITISH CIRCA 1694-1744) SELF PORTRAIT AGED EIGHTEEN Signed and inscribed 'AETATIS.18.' (lower right) Oil on canvas 53.3 x 43.1cm (20 x 16¾ in.) Provenance: Denis Cowell Collection, Lewes, Sussex The self-portraits of Enoch Seeman ''in the finical manner of [Balthasar] Denner'' [1] that he painted in the early 1700s are impressive statements of the artist's virtuosity. The combination of elegance of execution, personal beauty and exceptional talent is no doubt intended to recall the early self-portraits of Van Dyck in the previous century, whilst alluding further to the intellectual inner life of the Rembrandt School. This painting, which, with the ambitious Colonel Andrew Bisset and his family, appears to be the painter's earliest datable work in this country is a striking demonstration of excellence in such a young painter. Indeed the prominence of the inscription suggests that this painting may well have acted as an advertisement for the painter as he began to build a portrait practice in London. The exceptional precocity of these self-portraits was recognised by no less a connoisseur than the Earl of Burlington. George Vertue [2] records that Seeman ''did his own picture in that finished manner extremely well, when he was about 19 years old this picture was much admired. & Sig Ricci when he was here advised Lord Burlington to give him 100 guineas for it but understanding he had a mind to make another therefore bought it not. Since that Lord bought it and is in his pose?.'' This entry of 1723 refers to events a decade previously, as Sebastiano Ricci was working for Burlington in 1713 - 1714. As a comparison with the price suggested by Ricci it is worth noting that at the same date Sir Godfrey Kneller, the most fashionable of portraitists, was charging around sixty guineas for a privately commissioned full-length.That Seeman was particularly taken with painting himself at this date is confirmed by the number of self-portraits that exist from the period. A contemporary example (Historical Portraits, exhibited Southampton City Art Gallery 2001) is of similar composition and dimensions, and the untraced three-quarter-length self-portrait engraved by J. Faber (example National Portrait Gallery) must likewise be close in date, and is a dynamic suggestion of the artist in the very moment of inspiration. The most conceptually daring of these self-portraits is the artist's placing of himself in the background of Colonel Andrew Bisset and his family. Behind the Colonel and his wife and daughters there is a further shadowy figure, which was long believed to be a posthumous depiction of Bisset's son. Comparison with this Self Portrait suggests that it is a further image of Seeman himself. In confirmation of this, the figure gestures towards a pedestal on which is inscribed Enoch Seeman. Pinx. AE. 18? 1708.The continental manner that Seeman employs in these self-portraits would, nonetheless, seem not to have been congenial to his clients for their own images. He sufficiently impressed Society to be able to pursue a career into the 1740s - in 1723 Vertue remarks that ''Enoch. for portrait painting. is in the greatest vogue'' [3] - and his aristocratic and royal patronage makes him a rival to Charles Jervas, but his portraits are painted in a solid version of the prevailing London manner, plainly more to the public taste. 1. Horace Walpole Anecdotes of Painting ed. Dallaway 1876 vol II p2942. Notebooks III p 15 - 163. ibid. Condition Report: The canvas has been relined, and presents a thin craquelure across the whole surface. UV light reveals various retouches on the background area, most visible on the bottom left, where a thin horizontal line of resonation crosses part of the shoulder; such thin retouching is of about 8 cm long. Similar thin and long retouches are also present across the upper left border, and upper border. A few dotted retouches are also visible on the background area on the right of the sitter, and at the centre of the bottom border. Also visible are retouches on the pupils of the sitter, and a patch of retouching of about 2 cm wide next to the right eye. To conclude, very thin and slight retouches are present on the nostrils and near the mouth, and a single retouch on the hair at the height of the eye. Condition Report Disclaimer
Los 210
JEAN FRANCOIS AUBERTIN (FRENCH 1866-1930) FEMME AU CYGNE Pastel and gouache Signed with monogram (lower right), further signed, titled, inscribed '5th exposition de la Societie Internationale de la peinteure a l'eau 1910, reproduit dans le No. 99 des 'ARTS' de Mars 1910' and dated '1910' (verso) 48.5 x 61.5cm (19 x 24 in.)Exhibited: Paris, 5th Exposition de la Société Internationale de la Peinture a l'Eau, 1910 Condition Report: It is behind glass and unexamined out of the frame. The painting reveals various small, dotted marks of dirt on certain areas such as on the body and swan. Furthermore, on the upper right corner there a few small holes, which are though hardly noticeable. UV light reveals no evident signs of retouching. Condition Report Disclaimer
Los 209
JOHN RILEY WILMER (BRITISH 1883-1941) DANTE BEFORE THE CITY OF DIS Watercolour Signed and dated '1918' (lower right) 22.5 x 28cm (8¾ x 11 in.) Condition Report: The watercolour presents a few dotted losses of paint, most visible at to the left centre, and upper centre, and on the upper right corner, where there is a loss of paint of about 1.5 cm. Various brushstrokes fluoresce under UV light, but rather that restorations, they should be the yellow pigments used for depicting the light coming from the clouds.Condition Report Disclaimer
Los 25
ABRAHAM VAN DEN HECKEN (DUTCH 1615-1669) SCHOLAR SEATED BESIDE AN OPEN PSALTER, GLOBE, AND A MOMENTO MORI Oil on panel Signed (lower left) 53 x 44cm (20¾ x 17¼ in.)Provenance: David Wade Fine Art Ltd, North Yorkshire Condition Report: The panel presents a very superficial surface scratch of about 2 cm in the upper left corner, and three small, dotted chips of paint loss on the left centre border, of about 1mm. UV light reveals an uneven varnish, and various retouches in the background area. The most evident ones are in the lower left corner, and at the lower centre, where some paint has been applied to cover a thin crack of the panel. Other visible retouching is evident in the right of the curtain, where there are two patches of about 3 cm wide. To conclude, scattered dots of retouches are present in the background area near the globe. There are also very small retouches on the head of the astrologer, which are though hardly noticeable.Condition Report Disclaimer
Los 7
DOMENICO TINTORETTO (ITALIAN 1560 - 1635) SAINT FRANCIS RECEIVING THE STIGMATA Oil on canvas 142 x 103cm (55¾ x 40½ in.) Provenance: With Thos. Agnews & sons, London, 1985 (as by Jacopo Tintoretto) From whom acquired by CG Hoare, CMG, CBE Thence by descent Sale, Sotheby's, London, Old Master Paintings, 24 April 2008, lot 310Exhibited: London, Agnew's Coronation Exhibition of thirty-five Masterpieces of Venetian Painting, 1953, no 34 (as by Jacopo Tintoretto) Kings Lynn, Fermor Art Gallery, The Collection made by CG Hoare MC, and family, 1970, no. 5 (as by Jacopo Tintoretto)Literature: P Rossi, Per la grafica di Domenico Tintoretto. Il Arte Veneta, 1984, XXXV111, p. 60, reproduced plate 6.Though long attributed to Jacopo Tintoretto, the attribution to his son, Domenico, was first proposed by Paola Rossi in 1984. Condition Report: The canvas has been relined. The original canvas is coming apart from the lining canvas in a small section along the lower edge (approx 10 cm long). There are minor abrasions to the edges and the canvas weave is quite apparent. Fine surface cracking is visible in places but the paint layer seems to be stable. Under UV light there are scattered areas of retouching including some small areas on the clothes of the central figure. There are some broader areas of retouching in the background, particularly in the shadows along the lower edge. It has been cleaned and re-varnished. Condition Report Disclaimer
Los 1
AFTER TITIAN SACRED AND PROFANE LOVE Oil on canvas 75 x 35cm (29½ x 13¾ in.)After the original painting commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. The work was completed in 1514, and is now housed in the Borghese Gallery, Rome. Condition Report: The canvas is relined and presents a thick varnish across the whole surface. The canvas has a few small, and hardly visible holes, of which the most visible on the pink sleeve of the woman on the left; the latter is about 1mm long. UV light reveals various retouches, most noticeable on the borders, where on each part there is a thick layer of paint, some of which up to 7 cm of width. Other smaller retouches are present in the greenery in the background, while a another retouch of about 4 cm of width is present in the sky near the right border. Condition Report Disclaimer
Los 130
THOMAS BUTTERSWORTH JUNIOR (BRITISH 1807-1842) A FIFTH RATE FRIGATE SIGNALLING TO A SHIP OF THE LINE OFF DEVON Oil on canvas Signed (lower left) 60 x 88cm (23½ x 34½ in.)Provenance: Richard Joslin Fine Art, London Condition Report: The canvas is relined and presents a subtle craquelure that was more visible in the past, as UV light reveals retouching in the cracks that have widened, mostly visible in the sky, sea, and on the coastal cliffs. UV light further reveals various retouches, some of which wide 3 cm, across the whole borders of the painting, and most visible at the bottom border. Smaller retouches are also present in the sea around the boats, with a most visible spherical retouch of about 2 cm wide diameter at the right of the left boat. Condition Report Disclaimer
Los 177
CHARLES JOSEPH FREDERIC SOULACROIX (FRENCH 1825-1900) AN OFFICER AND A LADY Oil on canvas Signed (lower right) 78 x 87cm (30½ x 34¼ in.)Provenance: Private Collection, UK Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Inspection under UV reveals light scattered retouching throughout, with the heaviest areas to the female sitter's face and chest. Condition Report Disclaimer
Los 218
λ  GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960) NUDES BATHING, EL BAÑO DE LAS NINFAS Oil on canvas Signed and dated '46' (lower right) 91 x 60cm (35¾ x 23½ in.) Condition Report: The canvas has not been lined. Some areas of undulation to the corners. Otherwise, the work appears to be in good original condition with no evidence of restoration or repair under UV light. Condition Report Disclaimer
Los 267
JOHN BOULTBEE (BRITISH 1753-1812) A HUNTER IN A LANDSCAPE Oil on canvas 70 x 90cm (27½ x 35¼ in.) Condition Report: The painting is relined and presents a general craquelure most visible in the sky above the horse. There are various brownish dots of dirt scattered across and a few small dotted losses of paint, most visible in the bottom right corner. UV light reveals a thick varnished across the whole surface, and two patches of retouches of about 3cm wide in the lower left corner. Condition Report Disclaimer
Los 184
FANNY CAILE (FRENCH 19TH CENTURY) A LADY READING Oil on canvas Signed (upper left) 43 x 41cm (16¾ x 16 in.) Provenance: Gavin Graham, LondonFanny Caile was born in Paris during the 19th century. She studied under the direction of Charles Chaplin and exhibited at the Salon from 1869. She also exhibited throughout provincial France. Condition Report: The canvas does not appear to have been lined. Stretcher marks visible. Craquelure and some surface dirt throughout. There is an area of possible repair to the upper right corner, with associated overpainting which can be seen in natural light. Rubbing and abrasions to the framing edges. Inspection under UV reveals scattered retouching and infilling throughout, together with a green cloudy varnish.Condition Report Disclaimer
Los 133
G. DEACON (BRITISH 19TH CENTURY) DIAMOND JUBILEE NAVAL REVIEW, SPITHEAD, 1897 Oil on canvas Signed and dated '97' (lower left) 15 x 53cm (5¾ x 20¾ in.) Unframed Provenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Oil on canvas, nailed to panel. A vertical tear to the lower right corner circa. 2cm. Light surface dirt throughout and possible discolouration caused by yellowing carnish. Some rubbing to the extreme edges with associated loss, most notable to the centre of the upper edge. Surface scratches and small losses to the lower left corner. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Los 212
EUGÈNE GRASSET (SWISS 1845-1917) SARAH BERNHARDT AS JEANNE D'ARC Oil on paper Signed (lower left) 119 x 75cm (46¾ x 29½ in.)Please note this is mixed media on paper laid to canvas. The sketch is likely a study for the artist's renowned lithograph of the French actress Sarah Bernhardt, which advertised her role as Jeanne D'Arc. Condition Report: Please note this is mixed media on paper laid to canvas. The colours are good. The sheet however is very fragile and has numerous rips and tears. The most substantial of these runs horizontally across the length of the sheet, and also includes the canvas below. There is an area of restoration (approx. 4cm)to the sitter's coat, which includes an area of overpainting which is visible in natural light. Overall the work would benefit from extensive conservation and restoration.Condition Report Disclaimer
Los 68
FOLLOWER OF MARY BEALE PORTRAIT OF A LADY Oil on canvas, feigned oval 74 x 62.5cm (29 x 24½ in.) Condition Report: The canvas is relined and presents a thick yellowing vanish across the whole surface. UV light reveals a few dotted retouches below the chin, and a patch of about 7 cm of length and 4 of width on the right shoulder. The thick vanish on the hair might mask some further retouches. Condition Report Disclaimer
Los 114
FOLLOWER OF GIOVANNI PAOLO PANNINI CAPRICCIO WITH ROMAN RUINS AND STATUE Oil on canvas Bears the indistinct signature 'P.P. ***' (lower left) 55 x 40cm (21½ x 15½ in.) Condition Report: The canvas is relined and presents a thin yellowing layer of dirt and varnish. UV light reveals various retouches on the bottom left corner, on the plinth where the statue rests; such retouches are of about 2 cm of width. A similar retouch is present on the right of the statue and on the arch at the centre. The most evident retouching is on the marble relief on the bottom right corer: the whole area in shade has been repainted with a few small dotted brushstrokes on the left side of the relief. Condition Report Disclaimer
Los 249
ATTRIBUTED TO EDMA MORISOT-PONTILLON (FRENCH 1839-1921) TWO FIGURES IN A RIVER LANDSCAPE Pastel on paper laid down to canvas 38 x 46cm (14¾ x 18 in.)Provenance: The Rouart Collection, Paris Rosalind de Boland Roberts, editor of Growing Up with the Impressionists: The Diary of Julie Manet (1987) (a gift from the family of the above) Thence by descent to the present ownerAn inscription on the reverse of the painting suggests that the present work is after Jean-Baptiste-Camille Corot. The work itself is very reminscent of Corot's work and it would not be surprising given that both Edma and her younger sister, Berthe Morisot were both taught by Corot. The sisters grew up in a bourgeois family just outside Paris and were artistically minded from a young age, encouraged by their mother. Having first studied under Joseph Guichard, a former student of Ingres, in 1860, they began lessons with Corot who introduced them to the art of painting en plein air. Edma in particular was strongly influenced by the Barbizon school of painting and this particular work exhibits many of the attributes associated with the movement. Unusually, the work is executed in pastel. Edma worked predominately in oils although she is noted later in life, as having produced pastel copies of Berthe's work.Edma's artistic output was curtailed by her decision to concentrate on family life after her marriage in 1869 to a naval officer, Adolphe Pontillon. The close relationship with Berthe, which had seen them traverse France painting side by side, each acting as the other's chaperone, was forever changed. The sisters corresponded throughout their lives and Edma occasionally modelled for Berthe, creating some of her most enduring images, including The Cradle, dating from 1872 and depicting Edma with her second child. Condition Report: Some light discolouration and surface dirt to the sheet. The pastel is wearing q little thin in some places. Overall the work appears to be in good condition commensurate with age. Condition Report Disclaimer
Los 238
λ EDOUARD LÉON CORTES (FRENCH 1882-1969) PLACE VENDOME SOUS LA PLUIE Oil on canvas Signed (lower left); stamped with the artist's copyright and numbered 5184 (verso) 31.5 x 44cm (12¼ x 17¼ in.)Provenance: Galerie F. Clair, Paris (acquired directly from the artist, 1950) Herbert Arnot Inc., New York (by July 1950) Sarachek, United States (by August 1950) Belnord Art Studio, New York, Private Collection (acquired circa 1955) Sale, Sotheby's, New York, Fine Old Master & 19th Century European Art, 1 February 2018, lot 799 Literature: Verdier, Nicole, Edouard Cortès Catalogue Raisonné de L'Oeuvre Peint, Volume III, No. EC001079 Place Vendome sous la Pluie, was painted by Edouard Leon Cortes, circa 1950-1960. Condition Report: The canvas has not been lined. Some light rubbing and abrasions to the framing edges. Light craquelure throughout. Traces of a dirty varnish has caused some discolouration, and the work would benefit from a clean. Inspection under UV reveals one small area of infilling (approx. 3cm) to the sky at the mid-right of the column.Condition Report Disclaimer
Los 165
PIERRE FRANCOIS BOUCHARD (FRENCH 1831-1889) YOUNG WOMAN WITH BUTTER CHURN Oil on canvas Signed (lower right) 107 x 61.5cm (42 x 24 in.) Provenance: Sale, Grogan & Company, American & European Paintings, Drawings, Sculpture, Prints, Boston, 7th April 1995, lot 95, for 13.800 USD Haynes Fine Art Broadway, Broadway, Worcestershire, England Condition Report: The canvas is relined and presents a subtle craquelure. UV light reveals a thick varnish applied unevenly, a few very small, dotted retouches in the background area, and a 3 cm patch retouch on the upper right corner. Condition Report Disclaimer
Los 204
JULES EMILE SAINTIN (FRENCH 1829-1894) AN ELEGANT LADY LOOKING AT A BOOK OF JAPANESE PRINTS Oil on canvas Signed and dated '1879' (lower left) 59 x 42cm (23 x 16½ in.)Provenance: Sale, Christie's, South Kensington, 19th Century European Art including Orientalist Pictures, 18 June 2003, lot 107 Condition Report: The canvas has been lined and cleaned. Stretcher marks visible in a raking light. Craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV reveals very light scattered retouching throughout including an area of possible L 'Shaped repair (approx. 3cm square) to the left of the sitter's right arm. Condition Report Disclaimer
Los 156
CHARLES JONES (BRITISH 1836-1892) SHEEP IN A SNOWY HIGHLAND LANDSCAPE Oil on canvas Signed with monogram and dated '65' (lower right) 54 x 95cm (21¼ x 37¼ in.) Condition Report: The canvas has been lined and there is some light craquelure throughout. No evidence of restoration or repair under UV light. There is a pigment which fluoresces in the sky, however this appears to be an original pigment confined to the clouds. Overall the work appears to be in good condition commensurate with age.Condition Report Disclaimer
Los 95
ENGLISH SCHOOL (19TH CENTURY) THE BATTLE OF ASSAYE, WESTERN INDIA Oil on canvas 53 x 89.5cm (20¾ x 35 in.) Provenance: The Parker Gallery, LondonThe Battle of Assaye took place on 23rd September 1803 near Assaye in Western India. It was fought between the Maratha Empire and the British East India Company. An outnumbered Indian and British force, under the command of Major General Arthur Wellesley (later Duke of Wellington), defeated the combined Maratha army of Daulatrao Scindia and the Bhonsle Raja of Berar. It was Wellesley's first major victory and was followed by victories at Argaon and Gawilghur which resulted in the defeat of Scindia and Berar's armies in the Deccan. Wellesley's progress was matched by Lieutenant General Lake's successful campaigns in northern India and led to the British becoming the dominant power in the heartland of India. Condition Report: The canvas is relined and presents a thin layer of varnish and dirt. UV light reveals a few spotted retouches on the borders of the painting, extensive ones on the horse at the centre, on the horse on the right, an on the clouds on the right; a few retouches on the white cloth of the Indian soldier on the right, on the red jacket of the English soldier on the right, and on the left arm of general Wellesley. There are also some, but less noticeable, retouches in background areas, such as near the man holding the hat on the left. Condition Report Disclaimer
Los 18
UTRECHT SCHOOL (17/18TH CENTURY) THE MONEY LENDER Oil on canvas 98 x 131cm (38½ x 51½ in.) Condition Report: The canvas appears not to be lined and is loose on its stretcher. Stretcher marks and fine surface cracking across the image. Abrasions and rubbing to the edges. There is an indentation (from the reverse) in the upper left corner which is visible recto. Under UV light there are scattered areas of retouching throughout, however these mostly appear to be in background areas. There is a thick layer of dirt and discoloured varnish.Condition Report Disclaimer
Los 213
GASTON LA TOUCHE (FRENCH 1854-1913) L'ARRIVÉE DE LA PRINCESSE Oil on cradled panel, painted on gold ground Signed, inscribed 'STC' and dated '1911' lower right 311.1 x 191.8cm (122¼ x 75½ in.)Provenance:Le Transatlantique 'France'. Collection Henri Cangardel, Chairman of the Compagnie Generale Transatlantique French Line. Private Collection, by descent. Private Collection, London. Exhibited:St Cloud ( Paris), Musée des Avelines, 16th October 2014 - 1st March 2015, Gaston La Touche, Les Fantaisies d'un peintre de la Belle EpoqueVersailles, Château de Versailles, Revival 1867-1937, 19th November 2019 - 15th March 2020 Literature:Henri Frantz, Gaston La Touche 1854-1913, London 1914, p. 19. Louis Rene Vian, Arts d'ecoratifs a bord des paquebots francais 1880-1960, Paris 1992, p. 48 and 49. Selina Baring Maclennan, Gaston La Touche. A Painter of the Belle Epoque, Antique Collector's Club, UK 2009, p. 71, illustrated p. 73, pl 71, illustrated in colour. Musée des Avelines, Gaston La Touche, Les Fantaisies d'un peintre de la Belle Epoque, Saint-Cloud 2014, illustrated p. 91. La Touche could not have received a more appropriate commission than this large panneau decoratif for the First Class Dining Room of the liner France. A major exhibition of 323 works at the Galeries Georges Petit had firmly established his reputation in 1908 and this commission came a few years later in 1911. The four funnel France was built in St Nazaire, France in 1911 and was the most lavishly decorated liner of the day - it accommodated 517 First Class passengers from a total of 1623. Known as the "Versailles des mers" or the "Chateau de l'Atlantique", the decor throughout was opulent gilded Louis XIV, expressed so grandly in the two tiered First Class Dining Room with its magnificent sweeping staircase ending in the centre of the salon - indeed, it was said that no self respecting woman would enter by any other way. It was for this staircase that La Touche painted this panel. Throughout his life he had had a love affair with the Palace and gardens of Versailles: painting several large canvases of beautiful women alighting from carriages and stepping into brightly coloured barges and gondolas. As early as 1895 he painted a suite of Quatre Saisons for the Salle de Mariage in the Mairie at St Cloud and it is here that La Touche used the format for this panel in his depiction of Spring. To echo the opulence of its setting, he has the viewer looking up at the central figure as she is helped from her carriage towards a waiting barge, complete with musical ensemble - she appears to be of royal standing as her entourage bow to show her status.The France was sold in 1933 and broken up by Dunkirk Breakers in 1934 - the whereabouts of this painting were unknown until its discovery 25 years ago. Photograph: French Line, S.S. "France", Interior, Dining Salon,1924. [Byron Company (New York, N.Y.)][ 93.1.1.11467] Museum of the City of New York. Condition Report: Please note that the present lot has been shot with and without the frame, but the frame has been photo shopped in place as was in pieces and was not built around the picture. This may not reflect the actual fitting of the frame, which may need building and is not guaranteed to fit properly. The painting presents a few scattered losses of paint at the borders and a generally sparse craquelure which has though been covered by restoration. UV light, in fact, reveals numerous fillings in the cracks that have widen across the whole surface, most noticeable in the background area of the sky, and on the carriage. Furthermore, there are extensive restorations on the lower centre part of the panel, such as on the back of the musician at the centre, or on the water of the fountain; such restorations can be up to 10 cm of width. Numerous restorations are also present on the vessel, in the leaves of the tree, and on the head and dress of the lady at the centre. Condition Report Disclaimer
Los 194
WILLIAM POWELL FRITH, O.M., R.A. (BRITISH 1819-1909) A CARD PARTY, THE VICAR OF WAKEFIELD Oil on panel 15 x 20cm (5¾ x 7¾ in.)Provenance: G.E. (unidentified) Sale, Christie's, London 1867, where purchased by Addington (£112,7s) Thomas Agnews & Sons, Manchester'The intervals between conversation were employed in teaching my A daughters picquet; or sometimes in setting my two little ones to box, to make them sharp as he (the Squire) called it.'-See Vicar of Wakefield, chap. xvi. This study relates to a series of pen and ink drawings for the artist's 1876 Royal Academy picture Squire Thornhill teaching the young ladies Picquet. Painted circa 1876 Condition Report: The panel has been extended around the margins, however this is original to the work's conception. Light craquelure throughout, together with some surface dirt. Inspection under UV reveals a green cloudy varnish which is making any overpaint hard to detect. There is a brown pigment which is fluorescing however this appears to be original paint. Overall the work looks to be in good condition commensurate with age.Condition Report Disclaimer
Los 168
CARL FRIEDRICH MORITZ MÜLLER (GERMAN 1807-1865) READING THE NEWS Oil on canvas Signed and dated '1848' (lower left) 39 x 42cm (15¼ x 16½ in.) Condition Report: The canvas has been relined and is on a later stretcher which is providing good support. There is some fine surface cracking but the paint layer appears to be stable. Under UV light there are lines of restoration across the image including the faces. These are all well executed and not visible to the naked eye. The varnish layer is discoloured. Condition Report Disclaimer
Los 31
FOLLOWER OF GERRIT LUNDENS THE BALL Oil on canvas 69.5 x 86cm (27¼ x 33¾ in.) Condition Report: The canvas has been lined. Surface cracking throughout as well as rubbings and abrasions. These are most notable to the framing edges. Small, scattered spots of paint loss throughout, mainly to the edges. Some of these have been overpainted which is visible in natural light. Inspection under UV reveals retouching and infilling throughout, as well as a post-code written in UV readable ink.Condition Report Disclaimer
Los 110
FOLLOWER OF PIERRE ANTOINE PATEL LANDSCAPE WITH BATHERS AND ROMAN RUINS Oil on canvas 56 x 95cm (22 x 37¼ in.) Condition Report: The canvas has been lined. There is a small pin-hole to the canvas half way up the left edge. Craquelure throughout, some of which has been filled and is visible in natural light - particularly to the upper right quadrant. Some areas of cracking are particularly heavy and the paint surface may not be stable. Indeed, there are some isolated associated areas of flaking and loss throughout. Rubbing and abrasions to the framing edges. Inspection under UV reveals light scattered retouching throughout.Condition Report Disclaimer
Los 78
CIRCLE OF JOSEPH HIGHMORE (BRITISH 1692-1780) PORTRAIT OF ANNE ELIZA, DUCHESS OF CHANDOS Oil on canvas 125 x 100cm (49 x 39¼ in.) Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Craquelure throughout. Stretcher marks visible. There are several small scuffs, surface scratches, and associated losses throughout the canvas. These are only noticeable on close inspection. There is a layer of surface dirt and dirty varnish. Some infilling is visible in natural light. Inspection under UV reveals scattered retouching and infilling throughout. Condition Report Disclaimer
Los 135
JOHN WARD OF HULL (BRITISH 1798 -1849) SHIPPING AT ANCHOR Oil on canvas Indistinctly signed (to buoy lower right) 34 x 45cm (13¼ x 17½ in.)Provenance: Michael Leslie Fine Arts, Sussex, 1992, where purchased by the present owner Condition Report: The canvas has been lined. Fine surface cracking but the paint layer is stable. Under UV light there are scattered spots of retouching across the image. These mostly seem to be covering cracks to the surface and there is a larger spots below the boats on the left. Cleaned and varnished.Condition Report Disclaimer
Los 24
GASPARD DUGHET (FRENCH 1615-1675) AN ARCADIAN LANDSCAPE Oil on canvas 47 x 63cm (18½ x 24¾ in.) Provenance: Colnaghi & Co., London Condition Report: The canvas has been lined. There is some light surface dirt and craquelure throughout. The paint layer is wearing a little thin in places, especially to the sky. Rubbing and abrasions to the framing edges. Some superficial surface scratching to the canvas. Inspection under UV reveals extensive retouching and infilling. Overall the work appears to be in good restored condition commensurate with age.Condition Report Disclaimer
Los 98
WILLIAM HODGES, R.A (BRITISH 1744-1797) A RIVER LANDSCAPE AT SUNSET Oil on canvas 43 x 71cm (16¾ x 27¾ in.) Condition Report: The canvas is relined and presents a visible craquelure scattered across, as well as a yellowish varnish. UV light reveals a few dotted retouches in the greenery on the left of about 0.5 cm each, as well as some restorations on the costal stretch of land on the left, where the largest retouch is of about 2 cm wide. Further retouching is present in the leaves on the tree on the right, although there are very few brushstrokes. Condition Report Disclaimer
Los 180
λ  MARCEL BREUNERY (FRENCH 1893-1982) A FINE VINTAGE Oil on canvas Signed (lower right) 59.5 x 75cm (23¼ x 29½ in.)Provenance: MacConnal & Mason & Sons, London (label on verso) Fine Art of Oakham Ltd, Leicestershire (label on verso) Condition Report: The canvas has been lined. Inspection under UV reveals some light retouching scattered, predominantly around the framing edges. The work appears to be in good condition commensurate with age. Condition Report Disclaimer
Los 19
CIRCLE OF CHRISTIAEN VAN COUWENBERGH (DUTCH 1604-1667) A TOPPER IN A TAVERN Oil on canvas 113 x 147cm (44¼ x 57¾ in.) Provenance: Private collection, Blaisdon Hall, Gloucestershire Condition Report: The canvas has been lined. Surface cracking throughout together with paint shrinkage. The paint surface appears stable however. There is an old canvas join running along the upper edge with some bituminisation and associated spots of flaking. Further spots of loss scattered, together with rubbing, abrasions, and surface scratching, throughout the canvas. Stretcher marks visible. Inspection under UV reveals scattered retouching and in-filling throughout, some of which can be seen in natural light. There is also a green cloudy masking varnish.Condition Report Disclaimer
Los 62
CIRCLE OF JACOB HUYSMANS (FLEMISH 1633-1696) PORTRAIT OF A YOUNG GIRL AS A SHEPHERDESS Oil on canvas 120 x 100cm (47 x 39¼ in.) Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Stretcher marks visible, together with associated cracking and overpaint which is visible in natural light. There is an area of repair (approx. 10cm) to the upper quadrant of the canvas in the background and this is visible in natural light. Specks of loss throughout. Uneven varnish throughout. Some light undulation to the canvas at the lower edge, which probably occurred during the lining process. Some light surface scratches and surface dirt throughout. Inspection under UV reveals scattered retouching throughout, including to the aforementioned area of repair. Condition Report Disclaimer
Los 264
EDWARD WALTER WEBB (BRITISH 1810-1851) COLUMBINE AND GROOM IN A STALL; NORFOLK TETHERED IN A LANDSCAPE Oil on canvas, a pair 61 x 76cm (24 x 29¾ in.) (2)Provenance: By descent through the Pulteney family Condition Report: The canvas is relined and presents a subtle craquelure. A few losses of paint are present at the borders of the painting, mostly visible on the left one. UV light reveals some small retouches in the background sky, with two of them of about 2 cm wide; a few small, dotted retouches on the horse, and a 3 cm wide retouch on the ground beneath the horse. To conclude, a thick varnish covers the whole painting.Condition Report Disclaimer
Los 203
THOMAS HEATHERLEY (BRITISH 1824 - 1914) THE GOLDEN AGE Pencil and oil on linen over millboard, oval 22.5 x 27cm (8¾ x 10½ in.) Painted circa 1862.Literature: Maas, Trimpe & Gere,Victorian Fairy Painting, (London 1997), p.136 (illustrated)Exhibited: London, Royal Academy of Arts, Victorian Fairy Painting, 13 November 1997 - 8 February 1998 Iowa, University of Iowa Museum of Art, Victorian Fairy Painting, 28 February - 24 May 1998 Toronto, The Art Gallery of Ontario, Victorian Fairy Painting, 10 June - 13 September 1998Fairy painting began in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. It reached its height of popularity between 1840 and 1870, and it was during this time that the present lot was painted (circa 1862). It is unsurprising that this subject matter was so popular during the middle of the nineteenth century. Despite fairies regularly appearing in literature from as early as the 14th century, a revived interest in the work of Shakespeare as previously mentioned, as well as contemporary works such as Kinder und Haus-marchen by the brothers Grimm (published in England in 1823), and Hans Christian Andersen's Fairy Tales (translated by Mary Howitt in 1847), provided a rich source of inspiration for artists, musicians, and other writers. Indeed, so integral to Victorian painting was the topic of fairies, that alongside the most notable artists of this genre such as John Anster Fitzgerald, Noel Paton, and Richard Dadd, other distinguished artists of the day, including Millais and Landseer, dipped their paint brushes into the world of make-believe and folklore to paint at least one notable fairy picture.Thomas Heatherley (1824 - 1913) is perhaps best known as the founder of Heatherley's Academy where many famous Victorian artists studied, including Edward Burne-Jones, Dante Gabriel Rossetti, Arthur Hughes, and Walter Crane. Heatherley himself attended the Newman Street Art School in 1850, studying under William Etty's only pupil, James Matthews Leigh. Upon Leigh's death in 1860, Heatherley took over the running of the school until 1887, when he retired to Keswick in the Lake District, leaving the school in the hands of his nephew John Crompton. An infrequent exhibitor and painter of mainly genre and figurative subjects, Heatherley's works are seldom seen at auction, with his fairly works being particularly rare.In The Golden Age the influence of Hieronymus Bosch, and Jan Bruegel on Heatherley's work can be seen in his impish figures which dance joyously and mischievously around the seated fairies whilst they play music under a leafy canopy. There is also a reference to the work of Ingres, specifically his unfinished 1862 mural of the same title (L'Age d'Or), made for the Duc de Luynes, Château de Dampierre. A reduced replica of which is now in the Fogg Art Museum, Boston. A second fairy work by Heatherley Fairy Seated on a Mushroom (painted circa 1860) was exhibited alongside The Golden Age in the 1997-98 touring Victorian Fairy Painting exhibition. Condition Report: Some fine surface cracking. With rubbing and abrasions to the framing edges. Inspection under UV reveals some light, scattered retouching, largely confined to the framing edges. Condition Report Disclaimer
Los 40
ANDRIES VERMULEN (DUTCH 1763 - 1814) FIGURES ON A FROZEN CANAL Oil on canvas Signed (lower left) 33 x 43cm (12 x 16¾ in.) Condition Report: The canvas is relined and presents various undulation of the surface most noticeable at the centre. UV light reveals various retouches: many small and scattered restorations are present in the upper left of the sky, various retouches are on the bottom border, on bottom left and right corners, on the horses neck and head, and most of the darkish tress with snow have been repainted. To conclude, a spot of about 2 cm wide is present above the figures, and an uneven varnish is spread across. Condition Report Disclaimer
Los 152
λ ALFRED FONTVILLE DE BREANSKI JUNIOR (BRITISH 1877-1955) CATTLE IN A HIGHLAND LANDSCAPE Oil on canvas 49 x 75cm (19¼ x 29½ in.) Condition Report: The canvas is relined, and presents a thick vanish scattered across, together with a visible craquelure in the sky. UV light reveals retouching on nearly all the cracks in the sky. Furthermore, there is a a 4 cm wide retouching at the centre, where the sky meets the mountain, possibly covering a previous tear. Condition Report Disclaimer
Los 270
ALEXANDER FREDERICK ROLFE (BRITISH 1815-1907) ANGLERS IN A PUNT Oil on canvas Signed (lower left) 38 x 60cm (14¾ x 23½ in.) Condition Report: The canvas is relined and presents a subtle craquelure across. UV light reveals various retouches, most evident in the figures, and in their water reflections. A few subtle retouches are present in the water on the right of the boat, while two retouches of about 3cm width are visible in the bottom left corner. To conclude, a thick varnish is applied across the whole surface. Condition Report Disclaimer
Los 266
JOHN BOULTBEE (BRITISH 1753-1812) A SADDLED HUNTER IN A LANDSCAPE Oil on canvas 90 x 116.5cm (35¼ x 45¾ in.) Condition Report: The canvas is relined and presents paint loss at the borders, most likely caused by the relining and abrasion of the frame. UV light reveals large retouches on the bottom left corner, with restorations up to 4 cm wide. There are also few retouches in the background area, such as in the sky, and greenery, but the thick varnish might mask further extensive retouches. A few retouches are also present on the horse's head; such retouches are small but around six brushstrokes; other can be seen on the saddle, with a patch of about 3cm wide, and along the forward left leg. Condition Report Disclaimer
Los 159
NICHOLAS CONDY (BRITISH 1793-1857) A PAIR OF INTERIOR SCENES Oil on panel, a pair Singed and dated '1830' (lower left) 40 x 29.5cm (15½ x 11½ in.) (2) Condition Report: Some light surface scratching and fine craquelure to both panels. Inspection under UV reveals one or two patches of retouching to each panel. Otherwise, both works appear to be in good condition commensurate with age.Condition Report Disclaimer
Los 178
EMILIO AUGUSTO LOVATTI (ITALIAN 1816 - ?) CAPRI Oil on panel Signed, inscribed and dated 'CAPRI 1887' (lower left) 27 x 17cm (10½ x 6½ in.)Provenance: Gavin Graham, London Condition Report: There is a split (approx. 10cm) to the upper left edge of the panel, and this corresponds with three slats verso, and applied overpaint recto, which is visible in natural light. One or two light surface scratches throughout. Inspection under UV reveals scattered retouching throughout, but especially to the sky.Condition Report Disclaimer
Los 222
λ  GEORGE OWEN WYNNE APPERLEY (BRITISH 1884-1960) ARCO IRIS SOBRE LA ALHAMBRA Watercolour Signed (lower right); further titled and dated '1953' (verso) 32 x 39.5cm (12½ x 15½ in.) Condition Report: Some light undulation to the sheet. There is an area of blue to the left side of the sky (visible in catalogue and online illustration) which may possibly have been added later but it is not clear whether this was part of the original work. Overall, the work appears to be in good original condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
Los 146
ANTONIETTA BRANDEIS (ITALIAN 1848-1929) VIEW OF THE GRAND CANAL Oil on board Signed (lower right) 15.5 x 23cm (6 x 9 in.) Condition Report: Some light surface dirt throughout. There is also some discolouration scattered throughout the sky; this looks like overpaint but does not flair under UV light. Light rubbing and abrasions to the framing edges. There is also a diagonal surface scratch running from the top of the roof over the river to the roofs behind the bridge on the left hand side. Inspection under UV light reveals no evidence of restoration or repair, but there are traces of a varnish which flairs bright green.Condition Report Disclaimer
Los 43
ATTRIBUTED TO PIETER WOUWERMAN (DUTCH 1623-1682) TRAVELLERS ON HORSEBACK HALTING AT THE BLACKSMITH Oil on panel Signed with initials P W to wooden trough (lower right) 37.5 x 43cm (14¾ x 16¾ in.) Condition Report: Light surface dirt throughout and an old varnish layer possibly causing some discolouration. Horizontal crack running through the centre of the panel. The panel has been strengthened on the reverse with three points along the crack. There is a number of other smaller cracks scattered across the panel. One further horizontal crack running through the panel approx. 1 inch up from the bottom edge. Light rubbing to the extreme edges. Inspection under UV reveals scattered retouching to the lower half of the panel. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer
Los 176
WILLEM JOHANNE MARTENS (DUTCH 1839-1895) THE NEW BABY Oil on canvas Signed and inscribed 'Roma' (lower right) 50 x 63cm (19½ x 24¾ in.) Condition Report: The canvas has been lined and cleaned. Craquelure throughout but the paint layer is stable. Light rubbing and abrasions to the framing edges. Inspection under UV reveals traces of a previous varnish, and light scattered retouching and infilling throughout. Condition Report Disclaimer
Los 38
CIRCLE OF PAUL BRIL (FLEMISH 1554-1626) THE RAPE OF EUROPA Oil on panel 26 x 38cm (10 x 14¾ in.) Condition Report: The panel presents a 7 cm long crack on the bottom left corner. UV light reveals a thick vanish across the whole surface and various retouches. Evident restorations are visible on the greenery in the bottom left corer, on the tree trunk, and in the branches. Furthermore, Europa has received extensive retouches, and few retouches are present on the crying women on the land, as well as on the cow in the bottom right; such restorations are small brushstrokes, expect for the ones on Europa which cover most of the figure. In the sky background, and on the sea, a wash of restoration has been added. Furthermore, on the upper right border, is present a long patch of restoration of about 6 cm. Condition Report Disclaimer
Los 189
FRANS XAVIER MANDL (AUSTRAIN 1800 - 1880) PORTRAIT OF A GIRL IN WHITE Oil on canvas Signed and dated '1828' (lower right) 29 x 25cm (11¼ x 9¾ in.) Condition Report: The canvas is relined and presents a visible craquelure. UV light reveals an uneven varnish scattered across, various retouches where the craquelure has widened, such as below and above the left eye, and on the neck. Furthermore, there a few retouches on the bottom and right border, where spots of paint have been lost, maybe caused by the abrasion of the frame. Condition Report Disclaimer
Los 242
JOHN WAINWRIGHT (BRITISH 19TH CENTURY) STILL LIFE OF FLOWERS, INSECTS AND A TERRACOTTA VASE Oil on canvas Signed and dated '1860' (lower left) 90 x 66cm (35¼ x 25 in.)Provenance: Purchased from Richard Green, London Sale, Christie's, London, British Pictures 1500 - 1850 & Victorian Pictures, 30 November 2001, lot 94 Condition Report: The canvas is relined. UV light reveals an uneven varnished across the whole surface, a small retouch on of 0.3 cm on the right of the plinth, and a few scattered retouches at the border of the painting. Condition Report Disclaimer
Los 82
ATTRIBUTED TO HUGH DOUGLAS HAMILTON (BRITISH 1739-1808) A PAIR OF PORTRAITS Pastel, oval 24.5 x 19cm (9½ x 7¼ in.) (2) Provenance: Christopher Buck Antiques, London, 2011, where purchased by the present owner Condition Report: The colours are good. Some undulation and creasing to the sheets. The portrait of the gentleman with some very light spots of white surface mould to the lower edge, but these should be easily wiped away with a soft brush. Unexamined out of glazed frames.Condition Report Disclaimer
Los 161
WILLIAM SHAYER (BRITISH 1787-1879) A MILKMAID WITH HER CATTLE Oil on panel Signed (lower left) 49 x 60cm (19¼ x 23½ in.)Provenance: Rayner MacConnal, London Condition Report: Retouching and traces of a previous varnish are visible along the framing edges - most noticeably to the upper edge. This has resulted in some discolouration. Some rubbing and abrasions to the framing edges. Light craquelure throughout however the paint surface is stable. There are a number of surface scratches throughout however these are very light and not particularly noticeable. Inspection under UV reveals light scattered retouching and infilling, particularly to the aforementioned framing edges, and also to the wooded area to the left side.Condition Report Disclaimer
Los 208
ALEXINA MACRITCHIE (SCOTTISH 1885-1932) PORTRAIT OF A RED HAIRED LADY Oil on canvas Signed (upper right) and dated '1892' with monogram (lower left) 55 x 46cm (21½ x 18 in.) Please note this lot is unframedProvenance: Sale, Jean-Marc Delvaux, Tableaux XIXeme et Modernes, Sculptures, Dessins et Tableaux Anciens, 25 April 2007, lot 41Exhibited: Salon de Paris 1893 (old label attached verso) Condition Report: The canvas has not been lined. There are three patches on the reverse which correspond with three areas of repair recto (running through the centre of the canvas, the largest approx. 4cm). There is a small hole to the lower edge (approx. 1cm). Stretcher marks visible. Rubbing and abrasions to the framing edges. Craquelure and surface dirt throughout. Inspection under UV reveals some light scattered retouching, including to the aforementioned area of repair). Please note this work is not framed.Please note this work is unframed.Condition Report Disclaimer
Los 148
ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) THE UPPER FALLS OF THE CLYDE Oil on canvas Signed (lower left) 49.5 x 75cm (19¼ x 29½ in.) Condition Report: The canvas has not been lined. Craquelure throughout. Stretcher marks are visible. Inspection under UV reveals light scattered retouching throughout. Condition Report Disclaimer
Los 125
JACOB OLIBEECK (17TH CENTURY) SHIPPING AT THE MOUTH OF THE AMSTEL Oil on canvas Signed (lower left) 76.5 x 100cm (30 x 39¼ in.) Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges, including some white scuff marks (visible in catalogue and online illustrations). Some infilling can be seen in natural light and this has caused the paint surface to look uneven in places. There is also a layer of uneven varnish. Inspection under UV light reveals extensive infilling and retouching throughout.Condition Report Disclaimer
Los 138
PIETER CORNELIS DOMMERSEN (DUTCH 1833 - 1918) ON THE ILSSLEMEER, HOORN Oil on canvas Signed (lower right) 41 x 61cm (16 x 24 in.) Provenance: The collection of Sir Peter Morrison (1944-1995) Sale, Lawrences Auctioneers, Crewkerne, 1996 Condition Report: The canvas has been relined and presents a thin yellowing varnish applied across the whole surface. There are a few dotted marks of dirt, and a thin 3 cm stain on the upper left corner in the sky. UV light reveals no visible retouching. Condition Report Disclaimer
Los 32
ATTRIBUTED TO THOMAS VAN APSHOVEN (FLEMISH 1622 - 1664) HORSEMEN BATHING THEIR ANIMALS Oil on canvas 64 x 75cm (25 1/4 x 29 1/2in.) Condition Report: The canvas has been lined. Some light scattered surface cracking, surface dirt, and surface scratches throughout. There is a repaired L-Shaped tear (approx. 5cm x 5cm) to the lower left quadrant, with some associated cracking and retouching, all of which is visible in natural light. Inspection under UV reveals some very light scattered in-filling, mainly to the lower half of the canvas, as well as the aforementioned retouching to the repaired area. Please note the measurements for this lot are 64 x 75cm without the frame, and 83 x 94cm with the frame Condition Report Disclaimer
Los 99
ENGLISH SCHOOL, AFTER THOMAS DANIELL THE JUMMAH MUSJED, DELHI Watercolour 30 x 64cm (11¾ x 25 in.) Condition Report: There is some light discoloration to the sheet and the colours are perhaps a little faded. There is evidence of previous water damage to an area in the upper left corner, which has caused some creasing as well as light staining. There is a small tear along the upper edge at the centre of the sheet (approx. 1cm). There is an old, repaired tear (approx. 2cm) along the right framing edge just above the far-right temple building. Some very light, scattered spots of foxing throughout. The extreme edges and corners of the sheet with some handling and folding creases commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
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