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Preisdatenbank abonnierenCIRLCE OF THOMAS BUTTERSWORTH (BRITISH 1768-1842) A BRITISH MAN-O-WAR IN CHOPPY SEAS Oil on canvas 43.5 x 65cm (17 x 25½ in.) Condition Report: The canvas has been lined. Craquelure throughout. Stretcher marks visible. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout, however this has largely been very sensitively done.Condition Report Disclaimer
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) DOUBLE CHERRY, PINK Watercolour and pencil Signed with monogram, titled and dated 'AP.24.07'(lower right) 12 x 19.5cm (4½ x 7½ in.) Condition Report: Some light discolouration to the sheet, especially to the framing edges. The watercolours have faded. Some very light spots of surface dirt. Undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
FOLLOWER OF ENOCH SEEMAN PORTRAIT OF GENTLEMAN WITH TURBAN Oil on canvas 50 x 42cm (19½ x 16½ in.) Unframed Condition Report: The canvas has been lined. Craquelure throughout, with one or two very minor spots of flaking and loss. There are also some patched of paint shrinkage, most noticeably to the face. These are not particularly noticeable however. Some light surface scratching, surface dirt, rubbing and abrasions, to the canvas throughout. Further rubbing and abrasions to the extreme edges. Some areas of overpaint at the edges, also visible in natural light. Stretcher marks visible. Inspection under UV light reveals scattered retouching and in-filling throughout, together with traces of a green cloudy varnish.Condition Report Disclaimer
PIERRE EUGÉNE MAISON (FRENCH 1814 - 1879) ALLEGORIE DE LA MUSIQUE ET DE LA DANSE Oil on canvas, a pair Both signed and dated '1834' (lower centre) Each 58 x 79cm (22¾ x 31 in.) (2) Condition Report: Each canvas has been lined. The canvas with the girl playing the tambourine has a number of white surface scratches above her head and in the sky. (Visible in online and catalogue illustrations). Rubbing and abrasions to the framing edges. There are some isolated spots of retouching which are visible throughout each canvas, and in a natural light. Inspection under UV light reveals light, scattered retouching throughout.Condition Report Disclaimer
JOHN THOMAS (SEATON) SETON (SCOTTISH CIRCA 1738-1806) PORTRAIT OF A LADY, WEARING A WHITE AND GOLD EMBROIDERED DRESS, WITH A TURBAN Oil on canvas, feigned oval 75 x 63cm (29½ x 24¾ in.) Condition Report: The canvas is relined and presents a visible layer of dirt across the whole surface, as well as various dirt stains. UV light reveals a few dotted retouches on the lower right near the feigned oval, a few visible retouches on the breast near the border of the dress, a 2cm retouch on the chin, as well as a few dotted retouches on the forehead and on the turban and hair. A thin vertical 6 cm restoration is visible to the left edge, together with a 7 cm one near the upper left corner. To conclude, a few damages are present to the borders of the canvas. Condition Report Disclaimer
MATTHEW RIDLEY CORBET (BRITISH 1850 - 1902) PORTRAIT OF LADY CECILIA, DAUGHTER OF GEORGE HOWARD Oil on canvas Inscribed with the artist's address (to backboard verso) 61 x 51cm (24 x 20 in.) Provenance: By descent through the sitter's family Condition Report: The canvas appears to have been lined, however there is a backboard applied to the frame obscuring the view verso. (The canvas has not been laid down to the board). Some light surface dirt and superficial surface scratching throughout. Light rubbing and abrasions to the framing edges. Some light undulation to the canvas. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer
DUTCH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A GENTLEMAN IN ARMOUR Oil on canvas Dated and inscribed 'ANNO 1615/ AETATIS 71 4 OCTOBRIS' (upper left) 115 x 83cm (45¼ x 32½ in.) Unframed Condition Report: The canvas has been lined. Fine craquelure throughout, with some associated spots of loss. Some spots of retouching are visible in a natural light, most noticeably to the background area around the sitter's head. Stretcher marks visible. Rubbing and abrasions to the framing edges. Some superficial scuffs and scratches to the canvas surface. Inspection under UV light reveals scattered retouching throughout, together with a heavy, green, cloudy varnish.Condition Report Disclaimer
FOLLOWER OF FEDERICO BAROCCI SAINT JEROME IN PENITENCE Oil on canvas 75 x 57cm (29½ x 22¼ in.) Unframed Provenance: (Possibly), Sale, Christie's, 20 May 1966, lot unknown Literature: A. Emiliani, Federico Barocci (Urbino 1535-1612), Ancona, 2008, Vol. II, p. 18, n. 41.22, illustrated in black and white n. 41.22, catalogued as San Giovanni In Penitenza, with medium wrongly confused with n. 41.23 The painting replicates with variants the apostle in the foreground in Federico Barocci's The Calling of Saints Peter and Andrew in The Royal Museums of Fine Arts of Belgium Condition Report: The canvas has been lined. Stretcher marks visible. Craquelure throughout, however the paint surface appears stable. Spots of surface dirt and some superficial surface scratching visible. Spots of retouching are visible in a natural light. There are also some small flecks of pigment loss throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout, together with traces of a green cloudy varnish.Condition Report Disclaimer
CHARLES JAMES LEWIS (BRITISH 1830-1892) MOONLIGHT, BARMOUTH, NORTH WALES Oil on board Signed (lower left) 29 x 41cm (11¼ x 16 in.) Condition Report: There are a number of stretcher-esque type cracks running around the inside edge of the painting. Craquelure and spots of surface dirt throughout. One or two very minor spots of loss throughout. Inspection under UV light reveals minor spots of retouching, together with a green cloudy varnish, throughout.Condition Report Disclaimer
λ WALTER ERNEST WEBSTER (BRITISH 1878 - 1959) ROMANCE Oil on canvas laid to board Signed (lower right) 70 x 52cm (27½ x 20¼ in.) Provenance: Priory Gallery, Cheltenham (bought for £7,800 22 October 2000)Walter Ernest Webster was born in Manchester in 1878. He studied at the Royal College of Art and the Royal Academy. Over the course of his career he exhibited over 120 pictures at the Royal Institute and Royal Academy. Webster is best known for his paintings, such as the lot offered here, concerned with his interpretation of the Arts such as elegant young ladies at the opera, musicians, and ballet. Condition Report: Some light surface dirt. Inspection under UV light reveals no evidence of restoration or repair. Overall the work appears to be in good condition commensurate with age.Condition Report Disclaimer
HENRY RAEBURN (BRITISH 1756-1823) PORTRAIT OF LADY RAMSAY OF BALMAIN Oil on canvas 88 x 68cm (34½ x 26¾ in.) Provenance: By family descent until 1914 A. J. Sully Private Collection, New York Sale, Christie's, London, British Pictures, 20 November 1992, lot 12 Acquired at the above and thence by descent to the present owner Exhibited: London, Leggatt Brothers, An Exhibition of Paintings from the Collection of Dr D. M. McDonald, 1970, No. 30 The sitter is presumably Elizabeth, daughter and co-heiress of Sir Alexander Bannerman, 4th Bt and his wife Elizabeth Sedgewick. She married, in 1782, Alexander Burnett (1757 - 1810), second son of Sir Thomas Burnett of Leys and Catherine Ramsay of Balmain, heiress of her brother Sir Alexander Ramsay-Irvine, 6th Bt. Alexander Burnett assumed arms and name of Ramsay and was created a Baronet in 1806. They had four sons and five daughters. Condition Report: The canvas has been relined. There is some fine surface cracking and the canvas weave is visible in places but the impasto is well preserved. Under UV light there are very fine scattered spots of restoration. These are mostly in background areas but there are also small spots on the sitters face and arm, some of which are now visible to the naked eye. It has been cleaned and revarnished. Condition Report Disclaimer
FOLLOWER OF JOHN WILSON CARMICHAEL MOUNTS BAY AT HIGH TIDE Oil on canvas 70 x 98cm (27½ x 38½ in.) Condition Report: The canvas has been lined, cleaned and re-varnished. Stretcher marks visible. Craquelure and some paint shrinkage throughout, some of which has been in-filled and some of this can be seen in a raking light. An area of possible repair (approx. 10cm) running horizontally from the mast to the right framing edge. Rubbings and abrasions to the framing edges. Inspection under UV light reveals scattered retouching, and in-filling throughout, together with a cloudy varnish. Overall the work appears to be in good, restored condition.Condition Report Disclaimer
ALBERT GOODWIN (BRITISH 1845-1932) AMSTERDAM Pencil and watercolour Signed with monogram and dated `64' (lower left) 24 x 35cm (9¼ x 13¾ in.)Provenance: Chris Beetles, London From the estate of the Late David Pike, sold to benefit The Art Fund Exhibited: London, Chris Beetles, The Albert Goodwin Exhibition, 7th May-7th June 1996, (unnumbered)This lot is from a deceased's estate sold to benefit the Art Fund. Condition Report: There is some discolouration to the sheet, most notably to the sky. However, the colours are generally good. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
ALFRED DE BREANSKI (BRITISH 1852-1928) THAMES LANDSCAPE WITH SWANS Oil on canvas Signed and dated '1885' (lower right) and inscribed on a label (on the reverse) 60 x 90cm (23½ x 35¼ in.)Provenance: Sale, Sotheby's, Belgravia, 20 March 1979, lot 107 The Estate of a deceased Gentleman Condition Report: The canvas has been lined. Stretcher marks visible with some in-filling discernible in a natural light. Light craquelure throughout. Some retouching to the clouds in the sky is visible in natural light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
HENRY H. PARKER (BRITISH 1858-1930) THE RIVER WEY, RIPLEY Oil on canvas Signed (lower right); signed and titled (verso) 31 x 46.5cm (12 x 18¼ in.)Provenance: Frederick Thom Gallery, Toronto Condition Report: The canvas has not been lined. There is a small area of repair (approx. 5cm) to the sky in the upper right quadrant and this corresponds with a scar verso. Small pin hole in the upper right corner. Light craquelure. Inspection under UV light reveals no further evidence of restoration or repair.Condition Report Disclaimer
CHARLES DE SOUSY RICKETTS (BRITISH 1866 - 1931) NUDE BY A STREAM Oil on paper laid down on board 31 x 35.5cm (12 x 13¾ in.) Condition Report: There are small creases, abrasions and losses to all four corners and edges. Under UV light there are no signs of restoration. It has some surface dirt. Condition Report Disclaimer
JOHN WILLIAM NORTH (BRITISH 1842-1924) FIGURE AT THE WATER'S EDGE Watercolour Signed, dated and inscribed 'ARA April 1899' (lower left) 40 x 54cm (15½ x 21¼ in.) Condition Report: Some light discolouration to the sheet, most noticeably to the sky. Otherwise the colours are good and the work appears to be in good condition commensurate with age. Some light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
CHARLES HUNT (BRITISH 1829 - 1900) PADDY'S FAVOURITE Oil on canvas Signed and dated '89' (lower left) 50 x 75cm (19½ x 29½ in.)Provenance: Sale, Christie's, London, Victorian and British Impressionist Art, 29 June 2011, lot 131 (sold for £26,000) Condition Report: The canvas has been lined, cleaned and varnished. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer
ITALIAN SCHOOL (19TH CENTURY) PLINY'S DOVES Oil on canvas 43.5 x 63.5cm (17 x 25 in.) Condition Report: The canvas has been lined. A broad and heavy craquelure throughout which will eventually need some attention. Some superficial surface dirt throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals retouching and in-filling throughout, together with a green cloudy varnish.Condition Report Disclaimer
ABRAHAM COOPER (BRITISH 1787-1868) A SURREY HUNTER Oil on canvas Signed with monogram and dated '1850' (lower left); further inscribed 'A Surrey Hunter aged 22 years / Hunted 17 seasons by the owner M. C. Webb' (lower left) 62 x 75cm (24¼ x 29½ in.) Condition Report: The canvas has been lined. Some very light craquelure throughout. The reline is visible at the framing edges, together with some rubbing, abrasions, and associated losses. Inspection under UV light reveals some light spots of scattered retouching, as well as some sensitively executed in-filling, predominantly to the horse's hind legs. Traces of a green cloudy varnish.Condition Report Disclaimer
BENJAMIN DEAN WYATT (BRITISH 1775-1850) GEOMETRICAL ELEVATION OF THE HOUSE AND OFFICES DESIGNED FOR HIS GRACE THE DUKE OF WELLINGTON Watercolour Signed and dated '1815' (upper right), titled (upper centre), and inscribed 'N. 7' (upper left); further inscribed '05IH' (lower right) 53.5 x 96.5cm (21 x 37 in.) Provenance: Clarendon Gallery Ltd, London On the ennoblement of Arthur Wellesley as the 1st Duke Of Wellington in 1814 the government offered to buy him a residence and Wellington chose Wyatt to advise him. A few months after Wellington's victory at Waterloo, Wyatt presented various plan to him, for which this design relates. In 1817 the estate of Stratfield Saye in Hampshire was purchased for his use, but the palace was never built and instead the existing house was modified. In 1819 and again in 1828 Wyatt remodelled and extended Apsley House, Wellington's London residence. Condition Report: The sheet appears to have been partially laid down at the edges. The colours are a little down, and the inscribed text along the upper margin has partially faded. Some very light spots of surface dirt, however the sheet colour in general appears to be good. Some very light creasing to the lower right edge. Very light undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
ENGLISH SCHOOL (LATE 17TH CENTURY) PORTRAIT OF A GENTLEMAN IN ARMOUR Oil on canvas, feigned oval 74 x 61cm (29 x 24 in.) Condition Report: The canvas has been lined. There are spots of retouching/uneven varnish visible in a natural light. Very light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching throughout, including to the aforementioned areas. The frame is not original to the work. Please note Dreweatts cannot be held liable for damage to, or condition of, frames.Condition Report Disclaimer
λ LUCY KEMP-WELCH (BRITISH 1869-1958) THE TRANSIENT GOLDEN HOUR Watercolour Signed (lower left) 31.5 x 41.5cm (12¼ x 16¼ in.) Provenance: Messums, London Condition Report: Some light discolouration to the sheet, including some light staining to the framing edges. Brown spots of foxing visible, particularly to the upper half of the sheet. A number of the pigments appear to have had a reaction, and as a result there is quite a bit of paint shrinkage, which is causing the paint surface to present in an uneven manner (see online images). A small surface scratch (approx. 1cm) to the sheet at the lower right corner. Some possible, light, water damage to the upper right corner. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
WILLIAM ETTY (BRITISH 1787 - 1849) THE YOUNG ANGEL Oil on canvas 66 x 35.5cm (25 x 13¾ in.) Provenance: The Fine Art Society Ltd, London, October 1973, n. 1156 Condition Report: The canvas has been relined and presents no significant craquelure. UV light reveals an evenly applied varnish across the whole surface, and a few retouches in the background but hardly noticeable, and a 3 cm vertical retouch to the lower edge. To conclude, there is a small retouch to the border of the angel's left cheek. On a whole the painting appears to be in good condition, with no significant restorations or damages. Condition Report Disclaimer
JOHN NOST SARTORIUS (BRITISH 1759-1828) A A MATCHED RACE; AT FULL GALLOP Oil on canvas, a pair Both signed (lower right) Each 50 x 62cm (19½ x 24¼ in.) (2) Condition Report: Each canvas has been lined. There is surface dirt, and a layer of dirt surface varnish. Some patches of retouching can be seen in a natural light. Rubbing and abrasions to the framing edges. Some superficial surface scratches throughout. Inspection under UV light reveals retouching and in-filling throughout. Condition Report Disclaimer
NICOLAS BERTIN (FRENCH 1668-1736) MOSES DRAWING WATER FROM THE ROCK Oil on canvas 84 x 89.5cm (33 x 35 in.) Provenance: Purchased from Agnew's, London A copy of the previous listing from Agnew's is available upon request Bertin came from a family of sculptors and engravers. He was apprenticed to Jean Jouvenet and Bon Boullogne, and in 1685, at the age of seventeen, he won the Prix de Rome with The Construction of Noah's Ark (Lisbon, Palacio Nacional da Ajuda). He lived in Italy from 1686 to 1690, and upon his return, he was elected to the Academy in 1703. Bertin worked for Louis XIV at Versailles and at the Trianon, and also spent time in Munich working for the Elector of Bavaria. His life, spanning two centuries, serves as an important link between La Fosse and Lemoine. We are grateful to the late Alastair Laing for previously proposing the attribution of this picture to Bertin which has been confirmed from photographs by Thierry Lefrancois. Condition Report: The canvas has been lined and re-varnished. It is a little slack in its frame. Very light, and fine craquelure throughout, however the paint surface appears stable. Some very light rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout and along the stretcher marks. Overall the work is in good, restored condition.Condition Report Disclaimer
ARCHIBALD THORBURN (BRITISH 1860-1935) PHEASANT Watercolour Signed (lower right) 20.5 x 31cm (8 x 12 in.)Provenance: Sheila Hinde Fine Art, Greatham, West Sussex Acquired from the above by the late owner in 1994 Condition Report: There is some light discolouration to the sheet. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
MANNER OF JAN VAN OS STILL LIFE OF FLOWERS ON A STONE LEDGE Oil on canvas Signed (to stone ledge, lower left) 59.5 x 48.5cm (23¼ x 19 in.) Condition Report: Please note the cataloguing should read Manner of Jan Van Os.The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a very heavy, green cloudy varnish, which may be concealing retouching, but on the face of it there is no evidence of restoration or repair.Condition Report Disclaimer
FRENCH SCHOOL (LATE 17TH CENTURY) AT THE ROMAN BATHS Oil on canvas 70 x 93cm (27½ x 36½ in.) Condition Report: The canvas has been lined. Very fine craquelure throughout which some associated flecks of loss, however these are not particularly noticeable. There is a small area of damage to the upper right quadrant (approx. 1cm), where the paint has flaked off (see catalogue and online images). Some light spots of surface dirt throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout, together with traces of a green cloudy varnish.Condition Report Disclaimer
WILLIAM ETTY (BRITISH 1787-1849) PORTRAIT OF THE ACTOR WILLIAM CHARLES MACREADY APPARENTLY IN THE ROLE OF HAMLET Oil on canvas 93 x 70cm (36½ x 27½ in.) This portrait depicts the actor and theatre manager, William Charles Macready (1793-1873), known for his Shakespearian roles. Macready played Hamlet on numerous occasions during his successful and lengthy career, first performing the role in Newcastle upon Tyne in 1811, when he was just eighteen years old. It was also in Newcastle that he appeared opposite Mrs. Siddons (lot 131) when the latter offered him some parting words of advice: 'You are in the right way, but remember what I say: study, study and do not marry till you are thirty). He took on the by now established role of Hamlet again in Bath in 1814, and made his London debut at Covent Garden theatre as Hamlet in 1821. He was later to reprise the role in Paris to great acclaim in 1827 and 1844. Macready was famously hissed by his American counterpart, Edwin Forrest, whilst playing the protagonist in Edinburgh. This sparked a rivalry which came to emblematise Anglo-American social and class tensions that climaxed in the explosive 'Macready Riots' of 1849 at Astor Place, New York. Given the centrality of Macready's Hamlet to the international controversy, it was natural that the actor should want to portray himself confidently embodying the role. He had himself previously engraved as Hamlet for popular dissemination, as well as being painted by Daniel Maclise and William Etty and in his diary he recorded visiting Etty's studio where he was 'delighted with his gorgeous colours and ravishing forms'. William Etty (1787-1849) was the only important British painter before the 20th century to have dedicated his career to painting the nude and semi-nude. He was successful during his lifetime despite the censure of the press who accused him of indecency. His reputation was such that he was elected an associate of The Royal Academy (ARA) in 1824 and a full academician (RA) in 1828. He held a one-man exhibition at the Society of Arts in 1849, where he exhibited 133 of his pictures. Macready and Etty met when travelling in Italy in the 1820s and remained close friends after this chance encounter. Correspondence between the pair, now held in the Folger Shakespeare Library in Washington D.C., includes letters from Etty to Macready dated 1838-1843 congratulating him on his performances in King Lear, Comus and Much Ado About Nothing. Condition Report: The painting presents a general craquelure across the whole surface, and minor surface losses of paint on the right border. UV light reveals a thick layer of vanish across the whole surface, and there are various retouches, most evidently on the sitter's left cheek, chin, neck, left eye, and nose - such retouches are in some cases quite extensive (check, chin, and neck). Although smaller, various retouches are also present on the sitter's hand and shoulder. Two spherical retouches are also present on the right of the sitter's head, which are evident also in racking light, and extensive restorations have been applied on the chair and drapery. Condition Report Disclaimer
SIR EDWARD COLEY BURNE JONES (BRITISH 1833 - 1898) THE PASSING OF VENUS OR THE TRIUMPH OF LOVE Pencil, coloured crayon and ink on paper Inscribed 'domina Venus' and 'domina Cupido' (upper left) 36 x 62cm (14 x 24¼ in.)Drawn in 1861. Provenance: The collection of George Howard Thence by descent Literature: William Waters & Martin Harrison, Burne-Jones, 1973, ill. fig. 59, p.52 John Christian & Penelope Marcus, Burne-Jones: the paintings, graphic and decorative work of Sir Edward Burne-Jones 1833-98, Hayward Gallery, Southampton City Art Gallery, Birmingham City Museum and Art Gallery 1975-6, cat no. 68 p. 37 Richard & Hilary Myers, William Morris Tiles: The Tile Designs of Morris and His Fellow-Workers, 1996, ill. fig. 31, p. 20 Fiona MacCarthy, The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination, 2011, Illus pl. XXII between pp. 358-359 and pls. 3, 13, 14, 15, 30, 31, 32, 33 between pp. 486-487 and in the text pp. 71, 192, 203, 238, 256, 268, 329, 330, 371, 425, 439, 449, 466 pp. 1-17, 20-24, 26-44, 47-66, 68-71, 75-95, 97, 111-116, 120-122, 124-132, 134-136, 140-141, 144-145, 147-150, 153-154, 156-168, 170, 172-177, 179-203, 205, 207-214, 216-219, 220-224, 229-232, 234-235, 237-240, 242, 247-249, 251-252, 254-255, 257, 259-262, 264-276, 278-279, 281-307, 309-317, 319-321, 323-350, 353, 357-361, 363-384, 387-389, 394-395, 398-400, 402, 404-416, 418-445, 451-473, 478-481, 483, 485, 487-489, 491-501, 504-517, 522-523, 525-530, 534, 536 Dr. Philip McEvansoneya, Edward Burne-Jones, William Morris, Dante Gabriel Rossetti, Harry Ward and illuminated manuscripts, 2015, p. 599 - 601 The Burne-Jones Catalogue Raisonné Foundation (https://www.eb-j.org/browse-artwork-detail/MzA2MQ==)Exhibited: Carlisle, Tullie House Museum and Art Gallery - Carlisle Art Gallery, George Howard and his Circle, November 1968, No. 155 London, Hayward Gallery, The Paintings, Graphic and Decorative Work of Sir Edward Burne-Jones 1833-1898, November 1975 - January 1976, No. 68, p.37, touring in Southampton, Southampton City Art Gallery, January 1976 - February 1976; Birmingham, Birmingham City Museum and Art Gallery, March - April 1976 (lent by Joanna Matthews) This design for a panel of of fifteen tiles is entered on the first page of Burne-Jones's account book with Morris & Co. (no. 380), charged at £2. The composition is derived from one of the Triumphs of Petrarch. Later versions appear in the background of the painting Laus Veneris (no. 135), as an independent picture (H&W, pl. 26), and a design for tapestry. Condition Report: The colours are a little down. Some brown spots of foxing scattered throughout. Some light staining to the framing edges. There is a scuff with associated skinning to the central figure's cloak (approx. 2.5cm). Some superficial surface scratches and light handling creases throughout. There is a small pin-hole to the upper left corner. Undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
ATTRIBUTED TO HENRY PERRONET BRIGGS (BRITISH 1792-1844) PORTRAITS OF GEORGE HENRY ERRINGTON AND HIS WIFE, OF BEAUFRONT CASTLE, NORTHUMBERLAND Oil on canvas, a pair 141 x 110cm (55½ x 43¼ in.) (2) Condition Report: The canvas has been lined, cleaned, and re-varnished. Light craquelure and superficial surface scratches throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer
λ SIR FRANK BRANGWYN (BRITISH 1867 - 1956) IL PESCAIONE Pencil and watercolour, heightened with bodycolour Signed and titled (lower left and centre) 74 x 53.5cm (29 x 21 in.) Provenance: F. Lewis Collection, n. 256, acquired from the artist in 1940 Sale, Christie's, 1986, lot 74 Literature: Cyril G. E. Bunt, The Watercolours of Brangwyn, 1958 (according to label on verso) Condition Report: Some light discolouration to the sheet, with some light spots of surface dirt scattered throughout. The colours are still generally good throughout though. Some very minor scrunching/creasing and tearing to the lower framing edge but this is not particularly visible in the frame. Unexamined out of glazed frame.Condition Report Disclaimer
ALBERT GOODWIN (BRITISH 1845-1932) SUNSET THROUGH WOODLAND Watercolour heightened with bodycolour Signed with monogram and dated '65' (lower left) 34 x 48cm (13¼ x 18¾ in.) Provenance: Chris Beetles, London From the estate of the Late David Pike, sold to benefit The Art Fund Exhibited: London, Chris Beetles, The Albert Goodwin Exhibition, June 2007, No.1 Condition Report: Some light discolouration to the sheet. There are two vertical patches to the lower right corner where the sheet and pigments are lighter than the surrounding area (each approx.. 7cm), but it is unclear whether this was the artist's intention rather than later discolouration. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
WILLIAM MEADOWS (BRITISH 1825-1901) VIEW OF VENICE Oil on canvas Signed (lower left) 40 x 60cm (15½ x 23½ in.) Condition Report: The canvas has not been lined. Craquelure throughout. Light surface dirt. A small area of undulation to the upper right corner. Inspection under UV light reveals no evidence of restoration or repair. Unexamined out of glass frame. Dreweatts cannot accept any responsibility for loss or damage to, or the condition of, frames.Condition Report Disclaimer
AFTER DIEGO VELAZQUEZ PORTRAIT OF DON JUAN MATEOS Oil on canvas 52 x 42cm (20¼ x 16½ in.) After the full-length portrait in the Gemäldegalerie Alte Meister, Dresden Condition Report: The canvas has been lined. Stretcher marks visible. Craquelure throughout with a small area of heavier cracking (approx. 5cm), and associated loss (approx. 2mm). In other areas the paint is starting to lift, and there are spots of associated loss. This is most prevalent in the lower half of the canvas. Some superficial surface scratching, including one larger white scratch to the lower right quadrant (approx. 5cm). Some surface dirt visible to the sitter's face. Rubbing and abrasions to the framing edges. Inspection under UV light reveals in-filling throughout. There is also a very heavy, green, masking varnish which is making it hard to read the true extent of the overpaint.Condition Report Disclaimer
EDWARD TAYLER (BRITISH 1828-1906) GIRL IN A BLUE DRESS Watercolour 32 x 23cm (12½ x 9 in.)Provenance: From the estate of the Late David Pike, sold to benefit The Art Fund Condition Report: The colours perhaps just marginally down. A small surface scratch (approx. 1cm) to the upper right quadrant but this is not particularly noticeable. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame.Condition Report Disclaimer
MICHAELANGELO MEUCCI (ITALIAN 1840-1890) BIRDS AND NESTS Oil on panel, a pair Both signed (upper right) 42.5 x 18cm (16½ x 7 in.) (2) Condition Report: Surface dirt throughout. There are some chips/scuffs/imprints to the paint on both panels. In the case of the imprints, these presumably occurred during the works' conception as they have disrupted the wet paint. Some small flecks of paint loss to each panel. Light craquelure. Rubbing and abrasions to the framing edges. In addition there are some superficial surface scratches throughout. Inspection under UV light reveals no evidence of restoration or repair. Condition Report Disclaimer
JOHANNES BARTHOLOMÄUS DUNTZE (GERMAN 1823-1895) A WINTER AFTERNOON WITH CLOUDY SKY Oil on panel Signed and dated '1876' (lower right) 25 x 38.5cm (9¾ x 15 in.) Condition Report: Rubbing and abrasions to the framing edges, with some associated loss (see online and catalogue images). Inspection under UV light reveals some very light scattered retouching scattered throughout. Condition Report Disclaimer
FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642) THE TRIUMPH OF NEPTUNE AND AMPHITRITE Oil on panel 63.5 x 89.5cm (25 x 35 in.) In a carved and gilt wood frame Provenance: The Dukes of Croÿ, Brussels, probably since the 17th century and thence by family descent to Karl Rudolf, Duke of Croÿ (1859-1906), who married in 1888, Marie-Ludmilla Princess and Duchess of Arenberg (1870-1953), Chateâu de L'Hermitage, Condé sur L'Escaut, France, until the First World War, and thereafter at Chateâu 'La Solitude', Brussels Thence by descent Sale, Sotheby's, London, Old Master Paintings, 7 July 2005, lot 1, where acquired by the present owner Beneath a tempestuous sky bathed in a silvery glow, sea creatures, mermaids, river gods, and tritons parade to celebrate the union of Neptune and Amphitrite. Amphitrite, a nereid and daughter of Nereus, initially rejected Neptune's marriage proposal and sought to avoid him, finding refuge in the farthest reaches of the ocean. However, Neptune sent dolphins to find her, convincing her to accept his proposal-a mission later honoured with the creation of the star constellation Delphinus. Born in Antwerp in 1581, Frans Francken was a Flemish painter who achieved significant success during his lifetime. The son of the renowned artist Frans Francken the Elder, he began his training in his father's workshop before becoming a master in the Antwerp Guild of Saint Luke. Francken's versatile talent allowed him to work in various genres, from religious themes to mythological subjects, inspiring artists such as Jan Bruegel the Elder and Peter Paul Rubens.The triumph of Neptune and Amphitrite was a subject treated by the artist frequently, with different variations of the composition; for which see U. Härting, Frans Francken der Jüngere, 1989, pp. 310-11, cat. nos. 279-95. The closer example is a smaller panel sold at Christie's, London, 28 November 1975, lot 34, in which the right-hand side of the composition and the distant landscape differ. In other renditions, Francken usually depicted a gathering of gods on the distant shore, but here, this is replaced by Neptune's entourage in the background.This painting's provenance is notable, likely remaining uninterrupted until its auction at Sotheby's. The Croÿ family, a prominent force in the Southern Netherlands, Burgundy, and France in the 17th century, held high positions under Spanish rule. Their patronage of the arts was equally influential. In the 15th century, they amassed an extraordinary collection of manuscripts, later acquired by Margaret of Austria. Charles III de Croÿ, Duke of Croÿ and Prince of Chimay, built a vast collection of paintings, jewels, and manuscripts, including eleven works attributed to Veronese. The family also had ties to the Arenberg family, renowned art patrons and collectors in the 18th and 19th centuries. Condition Report: Two horizontal lines of wooden supports verso, which correspond with cracks to the panel recto (see online images). The higher of the two cracks approx. 10cm and running from the upper right edge. The second crack runs the width of the panel under the feet of Neptune and Amphitrite. There is some associated overpaint here which is visible in a natural light. There is a small vertical crack (approx. 3cm) running up from the lower right corner, this then extends up the full length of the panel as a lighter crack, but no split. Light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals retouching to the aforementioned areas of cracking, as we all one or two very light spots of retouching. There is a heavy green varnish which may be obscuring further restoration.Condition Report Disclaimer
CLAUDE T STANFIELD MOORE (BRITISH 1853 - 1901) HAY BARGE ON THE THAMES BEFORE THE ROYAL MUSEUMS, GREENWICH Oil on canvas Signed (lower right) 50 x 77cm (19½ x 30¼ in.) Condition Report: The canvas has been lined. Craquelure and paint shrinkage throughout, however the paint surface appears secure. Rubbing and abrasions to the framing edges. Inspection under UV light reveals retouching and in-filling throughout. Some of this can be seen in a raking light once you know where to look for it.Framed dimensions: 76 x 102cmCondition Report Disclaimer
GEORGE HOWARD (BRITISH 1843 - 1911) SAND DUNES Oil on board 13.5 x 23cm (5¼ x 9 in.)Provenance: By descent through the artist's family Condition Report: Some light spots of surface dirt scattered throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or repair. Overall the work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer
FOLLOWER OF THOMAS JONES LAKE NEMI, GRAND TOUR LANDSCAPE Oil on canvas 98 x 131cm (38½ x 51½ in.) Condition Report: The canvas has been lined, and there is a dirty varnish which is causing some discolouration. Some spots of white surface dirt scattered throughout, most noticeably to the trees in the upper left quadrant. Craquelure throughout, as well as some paint shrinkage. Also with one or two small posts of loss throughout, but this is not particularly noticeable. Spots of brown surface dirt scattered throughout. Rubbing and abrasions to the framing edges, including some areas of associated loss. Inspection under UV light reveals a green cloudy varnish which makes retouching hard to read, but there is evidence for some in-filling, and one presumes there is also some minor retouching. Condition Report Disclaimer
CONSTANCE PHILLOTT (BRITISH 1842-1931) AMINEH Watercolour 36 x 30cm (14 x 11¾ in.) Circa 1880 Provenance: Brobury House Gallery, Herefordshire From the estate of the Late David Pike, sold to benefit The Art Fund Condition Report: This work appears to be in good condition commensurate with age. Some light undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
WILLIAM STEPHEN COLEMAN (BRITISH 1829-1904) UNDER THE LEMON TREE Oil on canvas Signed (lower left) 61 x 25cm (24 x 9¾ in.) Condition Report: The canvas does not appear to have been lined. Inspection under UV light reveals a green cloudy varnish but no obvious evidence of restoration or repair. Overall the work appears to be in good original condition commensurate with age.Condition Report Disclaimer
CIRCLE OF GUIDO RENI (ITALIAN 1575-1642) HEAD OF CHRIST CROWNED WITH THORNS Oil on canvas, feigned oval 66 x 49.5cm (25 x 19¼ in.) Condition Report: The canvas has been lined. Craquelure throughout, some of which looks as though it may have previously started to lift before being laid down. At the moment though, the paint surface appears to be stable, although there are some old spots of loss which have been re-painted. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout, as well as traces of a green cloudy varnish.Condition Report Disclaimer
CARLTON ALFRED SMITH (BRITISH 1853-1946) AFTER SUNDAY CHURCH Watercolour Signed and dated '1888' (lower left) 71 x 49cm (27¾ x 19¼ in.) Provenance: James H. D. Van den Bergh, Horsham From the estate of the Late David Pike, sold to benefit The Art Fund Condition Report: The work appears to have been re-mounted and re-framed. Some very light discolouration to the sheet. The colours on the whole though are very good. There are a number of flattened creases throughout. An old repaired tear (approx. 3cm) to the lower right corner. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
BRUSSELS MASTER (15TH CENTURY) SAINT JOSEPH AND THE MIRACLE OF THE FLOWERING ROD Oil on oak panel 79.5 x 63.5cm (31¼ x 25 in.) Provenance: Collection of the private museum van Maerlant - Damme, Bruges, Belgium According to a Christian tradition found in the apocryphal gospels, the priest Zacharias called upon all the widowers of Judea to gather at the temple in order to determine who would become Mary's husband. He instructed them to bring a rod. As Joseph prayed, his rod miraculously blossomed, signalling him as the chosen one. Condition Report: The panel has been re-varnished. The panel has split in two places, and these areas have been strengthened using wooden slats verso (visible in online illustration). Craquelure throughout, with some associated spots of loss, however the paint surface now appears to be stable. Some retouching is visible in a natural light, particularly along the vertical panel lines. Rubbing and abrasions to the framing edges, as well as scattered throughout the panel. Inspection under UV light reveals retouching and infilling throughout.Condition Report Disclaimer
λ LUCY KEMP-WELCH (BRITISH 1869-1958) THREE CALVES IN AN ORCHARD Watercolour Signed (lower left) 23 x 33cm (9 x 12 in.) Provenance: Sale, Phillips, Bath, circa 1986 (according to a label to the reverse) Trimbridge Gallery, Bath (according to a label to the reverse) Sale, Russell, Baldwin & Bright, Leominster, unknown sale, lot 1219 Messum's, 2003 Condition Report: Some light discolouration to the sheet, notably to the sky. The colours are generally good with only a little fading. One or two spots of brown foxing, although this is very slight. Light undulation to the sheet under the glazed frame. Unexamined out of glazed frame. Overall the work appears to be in good condition commensurate with age.Condition Report Disclaimer
GEORGE GOODWIN KILBURNE (BRITISH 1839-1924) EDITH AND FLORENCE Watercolour and bodycolour Signed and dated '1874' (lower left) 62 x 47cm (24¼ x 18½ in.)Provenance: From the estate of the Late David Pike, sold to benefit The Art Fund Condition Report: The blue and green pigments a little faded. Some light undulation to the sheet under the glaze. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Framed dimensions 77 x 61.5cm.Condition Report Disclaimer
ARTHUR HACKER (BRITISH 1858-1919) PORTRAIT OF A LADY IN A WHITE DRESS Oil on canvas Signed and dated '92' (lower right) 149 x 86cm (58½ x 33¾ in.) Condition Report: The canvas has been lined and re-varnished. Rubbing and abrasions to the framing edges. Inspection under UV light reveals a heavy, green varnish, as we all as some retouching to the face, as well as an area of possible repair (approx.2.5cm) to the sitter's right eye/side of face. This is very sensitively done though. Possibly with one or two further spots of retouching throughout, however the cloudy varnish makes this hard to read. Overall the work appears to be in good restored condition. Framed measurements: 163 x 101cmCondition Report Disclaimer
FOLLOWER OF SIR THOMAS LAWRENCE PORTRAIT OF VICTOR LE VISCOMTE D'ARLINCOURT (1789-1856) Oil on canvas 90 x 96cm (35¼ x 37¾ in.) Condition Report: The canvas has been lined. The work would benefit from a re-varnish and areas of the surface appear matte in a raking light. Some blooming to the lower right quadrant. Light craquelure throughout, together with some paint shrinkage/bitumen damage. Rubbing and abrasions to the framing edges. Light spots of surface dirt throughout the canvas. Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
BENJAMIN BARKER OF BATH (BRITISH 1776-1838) A WOODED RIVER LANDSCAPE WITH DROVERS Oil on canvas Signed and dated '1807' (lower right) 114 x 173cm (44¾ x 68 in.) Condition Report: The canvas has been lined. Craquelure throughout, with some isolated areas of loss, but this is not particularly noticeable. Stretcher marks visible. Rubbing and abrasions to the framing edges. Some superficial surface dirt, and surface scratching throughout. Inspection under UV light reveals some scattered retouching, and in-filling throughout, together with a green cloudy varnish.Condition Report Disclaimer
STUDIO OF MAERTEN DE VOS (FLEMISH 1532 - 1603) THE LAST SUPPER Oil on panel 56 x 67cm (22 x 26¼ in.) A dendrochronological analysis of this panel indicates that it was crafted from wood sourced from various trees in the eastern Baltic region of Europe, with a date range of approximately 1558-1590. Maerten de Vos is regarded as one of the most significant Flemish painters active between the eras of Breughel and Rubens. His work is highly eclectic, blending influences from Venetian masters like Veronese and Tintoretto - evident in the loose, swift brushstrokes used to depict drapery - with those of his Flemish contemporaries, such as Pieter Aertsen and Frans Floris. In this composition, Christ is depicted sitting among the apostles, having just announced that one of them will betray him. The painting captures their strong reactions with remarkable expression and intensity. Multiple versions of this composition exist, with the finest example held at The National Museum of Western Art in Tokyo. Condition Report: The panel has been planed flat on the reverse and is supported by a stretcher. There are fine surface cracks and frame abrasions. Under UV light there are fine scattered spots of restoration. The many of these are in a horizontal line through the centre of the image where the two planks of the panel are joined together. There are also areas of retouching in the background as well as a slightly broader area above the head of the figure on the far right. These is also retouching to the edges. It has been cleaned and revarnished. Condition Report Disclaimer
ENGLISH SCHOOL (19TH CENTURY) CLASSICAL FRIEZE WITH FIGURES ON HORSEBACK, AFTER THE PARTHENON FRIEZE Oil on canvas 33 x 180cm (12 x 70¾ in.) Condition Report: The canvas has been lined. There are two patches (verso) which correspond with areas of repair (recto). These patches are visible in the online images. Light craquelure throughout, including along the stretcher marks. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching throughout, including to the aforementioned areas of repair. Framed size: 43 x 191cmCondition Report Disclaimer
JULIUS JACOB (GERMAN 1811-1882) PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS GEORGE ELIOT Oil on canvas Signed (centre left) 41 x 31cm (16 x 12 in.)The identity of the sitter is unknown but she bears a strong resemblance the celebrated author Mary Anne Evan (1819-1880), known by her pen name George Eliot. The German painter Julius Jacob (1811-1882) painted across Europe , including London, but was in Berlin when Eliot and her partner George Henry Lewis visited Germany in the 1850's. Lewis was painted by a German painter called Hader and the German photographer Sophus Williams photographed this and a portrait of Eliot Condition Report: The canvas has been lined. Stretcher marks visible. Craquelure throughout, with some evidence that there is a risk of flaking. Some very small flecks of loss scattered around the background but these are barely noticeable. Light surface dirt throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some light, scattered retouching, as well as a green cloudy varnish. Framed measurements: 55 x 46 x 5cmCondition Report Disclaimer
λ PHILIP GILCHRIST (BRITISH 1865-1956) STREATLEY-ON-THAMES Oil on canvas Signed and dated '1898' (lower right), further signed and inscribed as titled (on the reverse) 100 x 125.5cm (39¼ x 49¼ in.)Provenance: Paravicini, Hungerford Sale, Christie's, London, 12 March 1993, lot 70 Waterhouse & Dodd, London Acquired from the above by the late owner in 1993 Condition Report: The canvas has been lined. Craquelure throughout, including along the stretcher lines, however the paint layer appears stable. Impasto is still good. There is some surface dirt throughout which has caused some discolouration to the sky. Rubbing and abrasions to the framing edges. Inspection under UV light reveals some light in-filling and scattered retouching throughout. This is very minor, and sensitively done.Condition Report Disclaimer
EDWARD LEAR (BRITISH 1812-1888) VIEW OF MOUNT MODINO, NEAR ABETONE, TUSCANY Watercolour and brown ink Titled and dated '18 "20" August 1883' (lower right) 30 x 54cm (11¾ x 21¼ in.) Condition Report: Light discolouration to the sheet, including some staining to the framing edges. Spots of brown foxing lightly scattered throughout. Some light fading to the watercolour, however the image is still strong. Unexamined out of glazed frame.Condition Report Disclaimer
GEORGE PAICE (BRITISH 1854-1925) "BILL" Oil on canvas Signed, titled and dated '02' (lower left) 34 x 44cm (13¼ x 17¼ in.)Provenance: Sale, Christie's, London, 31 March 1994, lot 83 Audley Art, London Acquired from the above by the late owner in 1994 Condition Report: The canvas has been lined. Some light spots of surface dirt throughout. Very light craquelure. Rubbing and abrasions to the framing edges. Some very light spots of scattered retouching can be seen in a natural, raking light. Inspection under UV light reveals light scattered retouching and a cloudy varnish.Condition Report Disclaimer
SCOTTISH SCHOOL (19TH CENTURY) PORTRAIT OF A SEATED GENTLEMAN IN AN INTERIOR Oil on panel 35 x 29cm (13¾ x 11¼ in.)Provenance: From the estate of the Late David Pike, sold to benefit The Art Fund Condition Report: There is a vertical crack, verso which runs the length of the panel, this corresponds with a small indentation running the length of the panel recto, but there is no solid crack visible. The panel has started to bow. Very light, and fine craquelure throughout, but the paint surface is stable. Rubbing and abrasions to the framing edges, with some associated loss. Inspection under UV light reveals fine, scattered retouching throughout, together with a green cloudy varnish.Condition Report Disclaimer
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