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Los 793
Three Boxed Matchbox Early 1-75 Series Moko Lesney Models, comprising of No 46A Morris Minor 1000, dark green body, black base, damage to box, No 47A Trojan Bond red body 'Brooke Bond Tea', some chipping to paintwork, No 48A Meteor Sports Boat and Trailer, light brown boat, blue hull, black trailer, some rubbing/chipping to paintwork.
Los 797
Three Boxed Matchbox Early 1-75 Series Moko Lesney Models, comprising of No 28 Bedford compressor, orange body, chipping to paintwork, crushing/tears to box, No 29 Bedford milk delivery van, light brown body, white bottle load, chipping/rubbing to raised edges, tear to box end flap, No 30 Ford Prefect, grey/brown body.
Los 1
JAN MEERHOUT (DUTCH 1627 - 1677)RIVER LANDSCAPE WITH A VIEW OF LOEVESTEIN CASTLE AND THE TOWN OF GORINCHEMOil on panelSigned lower left25.5 x 38.5cm (10 x 15 in.)Condition Report: Some discolouration of the varnish. The paint layer thinning and areas of very fine horizontal craquelure, mainly visible in the sky and in the water. UV light reveals scattered retouching in those areas, as well as in the foreground lower left and along the lower edge. Condition Report Disclaimer
Los 103
JAMES STARK (BRITISH 1794-1859)NEAR NORWICHOil on canvasInscribed on a label (on the reverse)56 x 74cm (22 x 29 in.)Provenance: Heirloom of Sir Mervyn Peel, KVE, 1929Sale, Keys, 27 October 2017, lot 100 Condition Report: The canvas is relined and presented behind glass. There are minor abrasions to the edges and some cracking and paint shrinkage in the lower right quarter. Under UV light there are scattered areas of restoration in these regions and generally in the trees and foreground, but this is finely executed. It has been cleaned and revarnished. The frame has numerous chips and losses. Condition Report Disclaimer
Los 109
CIRCLE OF JEAN VICTOR BERTIN (FRENCH 1767-1842)A CLASSICAL MOUNTAINOUS LANDSCAPE WITH WATERFALLOil on canvasIndistinctly signed (lower left)29 x 42cm (11¼ x 16½ in.)Provenance: Property from the estate of the late Joe Constantine Condition Report: Canvas relined and on later stretcher. Some surface dirt and discoloured varnish. Craquelure throughout but paint layer appears stable. Canvas slightly bulging in lower right corner. A few minor areas of retouching visible under UV light. Condition Report Disclaimer
Los 110
L. FLEURY (EARLY 19TH CENTURY)AN OIL SKETCH OF ROMEOil on paper laid on canvasSigned L. Fleury (lower left) 25 x 35cm (9¾ x 13¾ in.)Provenance: Property from the estate of the late Joe Constantine Condition Report: Some slight discolouration of the varnish. Two repairs in the sky, also visible under UV light. A serpentine shaped indentation in the canvas in the sky left of centre, approx. 10 cm in length. Condition Report Disclaimer
Los 112
JEAN VICTOR LOUIS FAURE (FRENCH 1786 - 1879)MARKET DAY, THE PANTHEON, ROMEOil on canvasSigned and inscribed Roma (lower right)121 x 172cm (47½ x 67½ in.)Provenance:The collection of Major H. Mosse of Mendham Priory, Harleston Norfolk (by 8 March 1965)Thence by descent.A similar composition was sold at Christie's, London, 7 July 2009, lot 59. Faure was born in Berlin at the end of the 18th century to French parents. Once he himself had settled in Paris, he became a student of the famed historical landscape painter, Jean-Victor Bertin (1767-1842), whose extensive oeuvre is dominated by views of the Italian landscape. His depiction of the landscape and his treatment of light had a strong influence on all his students, including Jean-Baptiste-Camille Corot and Charles-François Daubigny.Faure was one of many northern artists who embarked on a Grand Tour of Italy to observe the beauty of landscape and the effects of light in order to develop their art. The present veduta shows the influence on his work by the principle exponents of the local contemporary artistic culture in Rome such as Ippolito Caffi, who in his turn was inspired by 18th century urban landscape painters such Bernardo Bellotto and his famous uncle Canaletto. The present lot depicts a view of the Pantheon in Rome. Originally built as a temple to all the gods of Ancient Rome, it has been a Roman Catholic church since the 7th century. As the best-preserved example of an Ancient Roman monumental building, the Pantheon has been enormously influential in Western Architecture from the Renaissance until well into the 20th Century.
Los 114
EDWARD PRITCHETT (BRITISH 1808-1894)TWO VIEWS OF VENICE: THE DOGE'S PALACE FROM THE DOGANA AND THE BASILICA DI SANTA MARIA DELLA SALUTEOil on board 15.8 x 21cm (6 x 8¼ in.) (2)Provenance:MacConnal-Mason & Son Ltd., LondonCondition Report: The Basilica: some light craquelure mainly visible in the sky. The picture seems to have been cleaned. UV light reveals signs of retouching, mainly in concentrated areas in the sky. The Doge's Palace: some light craquelure mainly visible in the sky. The picture seems to have been cleaned. UV light reveals signs of retouching, scattered in the sky and around the edges. Condition Report Disclaimer
Los 121
CHARLES HENRI JOSEPH LEICKERT (BELGIAN 1816-1907)A SNOWY DUTCH STREET SCENE Oil on panelSigned (lower right)36.5 x 28cm (14¼ x 11 in.)Provenance:M. Newman Ltd, LondonCondition Report: Discoloured varnish. Panel appears straight and in good condition. A few abrasions around the edges. UV light reveals scattered retouching. Condition Report Disclaimer
Los 125
THOMAS SMYTHE (BRITISH 1825-1906)SUMMER LANDSCAPE WITH FIGURES ON A BARGE BY A LOCKOil on canvas49 x 74.5cm (19¼ x 29¼ in.)Provenance:Mandell's Gallery, Norwich. Condition Report: The canvas has been lined. Fine surface cracking is visible but generally the paint layer appears to be stable. Under UV light there are some very small spots of retouching along the edges and in one areas in the upper right quarter of the sky. However these are very minor and not visible to the naked eye. It has been cleaned and varnished. Condition Report Disclaimer
Los 127
BENJAMIN WILLIAMS LEADER (BRITISH 1831-1923)FAMILY PADDLING IN A STREAM FROM THE HILLSOil on canvasSigned (lower right)44.5 x 72.5cm (17½ x 28½ in.)Condition Report: The canvas has been lined. There is a small area of paint flaking in the upper left corner. Under UV light there are some areas of retouching including several areas in the sky and trees and a larger area in the lower left corner and left edge. It has some surface dirt and discoloured varnish. Condition Report Disclaimer
Los 129
RICHARD HILDER (BRITISH 1813-1853)COTTAGES AND RUSTICS; A WOODED LANDSCAPEOil on panel (a pair)One signed lower left (underneath the frame)28.3 x 39.3cm (11 x 15¼ in.) (2)Condition Report: The panels appear to be in good stable condition. One has a very small spot of paint loss in the centre of the image. Under UV light both have some small areas of restoration in the sky but these are localized and not visible to the naked eye. They are presented in 20th century hand carved frames. Condition Report Disclaimer
Los 131
DAVID WILKIE (SCOTTISH 1785-1841)MRS MOORE, WIFE OF THE BRITISH CONSUL AT BEIRUT, IN ARAB DRESSOil on canvas Signed `D. Wilkie' (lower right)40 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Cheffins Auctioneers, Cambridge, 25th September, 2008, lot 527 (£8,200), where purchased by the present owner Condition Report: Relined. Craquelure throughout. Vertical cracking running down either edge of the work. Light surface dirt throughout. A small dent or loss, with possible retouching to the lower edge at the right side and the upper edge to the left side. Infilling visible in natural light to the shawl falling across the sitter's left arm and her chest. Inspection under UV reveals scattered retouching and infilling. Condition Report Disclaimer
Los 138
ATTRIBUTED TO THOMAS LUNY (BRITISH 1758-1837)THE BATTLE OF CAMPERDOWNOil on canvas42 x 70cm (16½ x 27½ in.)The Battle of Camperdown (known in Dutch as the Zeeslag bij Kamperduin) was a major naval action fought on 11 October 1797, between the British North Sea Fleet under Admiral Adam Duncan and a Batavian Navy (Dutch) fleet under Vice-Admiral Jan de Winter. In 1795, the Dutch Republic had been overrun by the army of the French Republic and had been reorganised into the Batavian Republic, a French client state, and under French domination naval flags were altered by the insertion of a panel containing a representation of a female figure accompanied by a lion, seated in a patch of greenery and holding a spear, on which is the Cap of Liberty. The battle was the most significant action between British and Dutch forces during the French Revolutionary Wars and resulted in a complete victory for the British, who captured eleven Dutch ships without losing any of their own.Condition Report: Relined. Surface dirt throughout. Craquelure throughout. Evidence of infilling in natural light scattered throughout. An area of very fine craquelure to the lower left corner and along the lower edge, together with evidence of old flaking and loss. Possible paint shrinkage or a reaction to the varnish along this lower edge. A small loss to the centre of the left edge. Light rubbing to the extreme framing edges. Inspection under UV reveals retouching scattered throughout with extensive retouching and infilling to the lower edge. Condition Report Disclaimer
Los 141
HENRY REDMOORE (BRITISH 1820-1887)SHIPPING OFF THE DUTCH COASTOil on canvasSigned and dated 1871 (lower left)58.5 x 99cm (23 x 38¾ in.)Provenance:Richard Green, LondonCondition Report: The canvas has been lined. Some surface dirt and discolouration of the varnish. UV light reveals signs of scattered retouching and a few repairs in the sky. Some craquelure but the paint layers appear to be stable.Condition Report Disclaimer
Los 15
ATTRIBUTED TO THE 'MAESTRO DELLA FERTILITA DELL'UOVO'THE CAGE OF FOOLSOil on canvasElaborately inscribed upper left and right66.5 x 92cm (26 x 36 in.)Provenance:Daniel Hunt Fine Art, LondonThe Master of the Fertility of the Egg is a name given to a yet to be identified painter active in the second half of the 17th and early 18th century in Brescia. The name is based on a work entitled La fertilità dell' Uovo, which depicts dwarfs, geese and lobsters hatching eggs and is in the collection of the Milwaukee Art Museum, United States. His paintings usually include a banner with a mysterious saying that purportedly explains the subject of the composition. A pair with the same theme was sold at Sotheby's, New York, 28 January 2005, lot 369A, also depicting figures in a cage and with a similar inscription: Son Capporal Dei Matti Ch osseruo beni patti (I am corporal of the fools that well observes the rules). The inscriptions on the present painting also speak of Matti (Fools), and a cage (Gabbia) which everyone eventually ends up in:O presto o tardi [ogn'un] se ne va in Gabbia chi per desio dell'oro e chi di lode Altri canta altri mai non me ne labbi[a] E n'è chi si disiran[..] e ne chi godeChi [?eci un] per Amor e chi da rabbiaChi l'affetto ritien, e chi la frodeInsomma in opre e gesti o detti o fattiIl mon[..] per il più Gelbia è da MATTICondition Report: The canvas has been lined. Surface dirt and discoloured varnish. Small tear about 1cm wide in second figure from the right in the apron. Paint thinning in some areas but paint layers are stable. Some craquelure particularly in the figure on the right. UV light reveals signs of retouching which is particularly visible around the edges. Condition Report Disclaimer
Los 153
JOHN ANSTER FITZGERALD (BRITISH 1832-1906)A TIPTOEING FAIRY QUEENWatercolour and bodycolour32.5 x 19cm (12¾ x 7¼ in.)Provenance:The artist's family and by descent.Condition Report: Unexamined out of glazed frame. On original board with evidence of backing paper visible recto. Pin holes visible to the upper corners and the lower left corner. Light surface dirt and some trapped dirt between the glaze and board, would suggest reframing. Creases and some associated loss to the very extreme corners. Condition Report Disclaimer
Los 16
ITALIAN SCHOOL (17TH CENTURY)A PAIR OF STILL LIFES WITH TULIPS, CARNATIONS AND OTHER FLOWERS IN A VASE ON A LEDGEOil on canvas63 x 48.5cm (24¾ x 19 in.) (2)Condition Report: Both canvases have been lined and mounted on a later stretcher. Both are covered in a layer of surface dirt and discoloured varnish. Areas of craquelure with related paint loss and cupping paint. There are visible stretcher marks on both canvases. UV light reveals signs of extensive overpainting. Both with areas of flaking paint, but the paint layer of the canvas with the open red tulip seem stable. Condition Report Disclaimer
Los 163
JOHN ANSTER FITZGERALD (BRITISH 1832-1906)LADY AT PRAYEROil on canvas laid on panel66.5 x 79cm (26 x 31 in.)Provenance:The artist's family and by descent. Condition Report: Oil on canvas laid to panel. Light surface dirt throughout. Evidence of creasing to the upper right corner. Patches of craquelure scattered throughout. Possible paint shrinkage to the upper left quadrant. Uneven surface along the upper edge where the canvas has been laid down to board. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer
Los 17
SPANISH SCHOOL (17TH CENTURY) A STILL LIFE OF APPLES ON A SHELFoil on canvas, unframed 40.5 x 55cm (15¾ x 21½ in.)Condition Report: The canvas has been lined and mounted on a later stretcher. Some varnish discolouration and surface dirt. Several areas of paint loss particularly around the edges and corners. The ground layer showing through in brown patches in several areas. Extensive overpainting revealed by UV light, including a pentimento above the ledge to the left of the fruit. Two old repairs, centrally above the fruit and in the lowest apple. Condition Report Disclaimer
Los 176
WALTER FOLLEN BISHOP (BRITISH 1856-1936)THE BUILDING OF SYDNEY HARBOUR Oil on panel Signed (lower right)41.8 x 73cm (16¼ x 28½ in.)Provenance:The artist's family and by descentCondition Report: Surface dirt and heavily discoloured varnish. Numerous horizontal cracks in the panel and several small areas of paint loss. UV light reveals signs of retouching. Condition Report Disclaimer
Los 192
NATHANIEL HUGHES JOHN BAIRD (BRITISH FL. 1883-1935)AWAITING THE FISHERMAN'S RETURNOil on canvasSigned and indistinctly dated (lower right)76.5 x 51cm (30 x 20 in.)Provenance:Sale, Christie's South Kensington, British and Victorian Pictures, 11 September 1997, lot 257 Condition Report: Canvas has been lined and mounted on a later stretcher. Surface dirt and discoloured and uneven varnish. Areas of craquelure but the paint layer appears stable. Some abrasions and small areas of paint loss around the edges. UV light reveals two repairs upper centre and lower centre. Condition Report Disclaimer
Los 197
ALFRED DEHODENCQ (FRENCH 1822-1882)FIGURES IN THE JARDIN DU LUXEMBOURG, PARISOil on canvasSigned and dated 1871 (lower right)51 x 79.5cm (20 x 31¼ in.)Provenance:Sale, Millon, France 18 September 2018, lot 75 A French inscription on the back: L'ami Renoir et des amis devant le Panthéon depuis les jardins du Luxembourg Paris 1871'Condition Report: The canvas has been relined but it is in its original stretcher which is giving good support. There is some fine surface cracking but the paint layer appears stable and the surface impasto is well preserved. Under UV light there is an area of restoration to the right of the steps which runs through the balustrade and is approximately 10cm long. There is also retouching on the far left figure and to the edges. It has been cleaned and revarnished and is presented behind glass. Condition Report Disclaimer
Los 199
LUIGI QUERENA (ITALIAN 1820-1887)THE INNER COURT, THE DOGE'S PALACE, VENICEOil on canvas Signed and dated '1871' (lower left)90 x 125.5cm (35¼ x 49¼ in.)Condition Report: Relined. Three areas of repair visible in raking light. One vertical repair approx. 10cm in the upper right quadrant and two smaller horizontal repairs circa. 4cm to the central fresco. Inspection under UV reveals scattered retouching and evidence of extensive retouching to the areas of repair as mentioned above. Condition Report Disclaimer
Los 20
CIRCLE OF AMBROSIUS BENSON (FLEMISH B. 1495-1550)THE BANQUET OF THE PRODIGAL SONOil on panel, unframedInscription 'FILIVS PRODIG* DISC(...) SVBSTANTIAE (...)' lower left130 x 167cm (51 x 65½ in.)This Flemish painting relates to a series of 16th century paintings by Ambrose Benson (1495-1550, b. Lombardy, a. Bruges) described by the art historian, Georges Marlier, as 'Reunions Galantes et Concerts aprés le Repas' (G. Marlier, Ambrosius Benson et la Peinture à Bruges au Temps de Charles-Quint, Damme, 1957, p. 229). The series combines the tradition of musical gatherings found in Italian art with Flemish banquet representations (ibid. p. 233). There are about ten paintings of this genre either attributed to Benson or from his workshop including: one in the Museo di Castelvecchio, Verona (ibid., cat. 120); another in the Öffentliche Kunstsammlung, Basel (ibid., cat. 114); one formerly in the collection of Paul Wallraf (ibid., cat. 117); another in the Louvre, Paris (ibid. cat. 119) and one in a private collection (cat. 120). They all depict men and women dressed in the latest fashion around a square or round table on which an extravagant meal is laid out with platters of fruit and bread together with plates, knives, flacons and drinking glasses. As the meal is in effect over, some of the figures are playing the flute and lute, others intimately drape their arms around each other, and there are playing cards on the table. The whole scene takes place in a garden with, in the foreground, a foliate screen or drapery, and, in the distance, a land- or townscape. This description of Benson's genre paintings can equally relate to the present painting, which is by another as yet unidentified artist but undoubtedly inspired by Benson's oeuvre. The indistinct inscription on the bucket in the lower left corner hints at the biblical parable of the Prodigal Son, a theme which was commonly used to dignify a genre scene with moral content. In Luke 15:11-32 the son squanders his father's fortune on a lavish life of drinking, gambling and prostitutes until he is so destitute that he is forced to take work as a swineherd, which is simultaneously depicted in the landscape in the background. Provenance: This item was inherited from the 7th Viscount Gort, deemed to be of national importance and placed into conditional exemption upon his death Condition Report: The panel is made up of at least five planks of wood which is supported by a strip of wood around each edge and a thin layer of canvas on the reverse. Generally the panel appears stable although there are old cracks which have been filled, most of theses are horizontals and visible to the naked eye. There are minor surface scratches and abrasions and a small replacement to the corner of the lover right panel. The paint surface is in remarkable fresh condition and the surface impasto is well preserved. Under UCV light there are scattered edges of planks of wood. There is also some work in the corner with the dog and the cat. There are also some fine lines of retouching in the sitters foreheads but generally they are untouched and in remarkable good condition. The varnish layer is slightly discoloured and there is some surface dirt. The picture is unframed. Condition Report Disclaimer
Los 200
HENRY JOSEPH HARPGINIES (FRENCH 1819-1916)LE RETOUR DU MARCHÉOil on canvasIndistinctly signed (lower left)40 x 30cm (15½ x 11¾ in.)Provenance:Sale, Fischer, Luzern, Switzerland, 21 November 2002, lot 1079 for £ 9,541Kozak Gallery, Valenciennes, France, 2014 Condition Report: Canvas appears cleaned. Stretcher mark visible along lower edge. UV light reveals retouches around the edges.Condition Report Disclaimer
Los 203
IVAN FEDOROVICH CHOULTSÉ (RUSSIAN 1877-1932)RAYONS DU MATIN, SNOW SCENEOil on panelSigned and dated 192153 x 65cm (20¾ x 25½ in.)Provenance:Burlington Paintings, LondonIvan Fedorovich Choultsé was born in Saint Petersburg into a family of German origin (Schultze) who had lived in Russia since the seventeenth century. Originally an electrical engineer until the age of thirty, he showed his first essays to the famous painter and member of the Russian Academy of Fine Arts, Constantin Jakovlevich Kryzhitsky (1858-1911), who then invited Choultsé to study art. In 1910 they travelled to Spitzbergen together, where Choultsé was captured by the Arctic landscapes. By 1916 he had already become a renown artist, with Carl Fabergé and members of the Tsar family acquiring his works. During the Revolutionary Years Choultsé was forced to leave Russia and travelled across Europe, painting views of Southern France, Northern Italy and particularly of the Swiss Alps. These often set the scene for his most sought after winter landscapes, which have an almost magic realist quality due to his specific handling of light. Nowadays, his radiant depictions of water and snow are particularly collected in the United States and Canada (Hillwood Museum in Washington D.C., Indianapolis Museum of Art, Montreal Museum of Fine Arts), ever since his works were exhibited in New York in the early 1930's. Condition Report: The canvas appears cleaned and the colours are fresh. UV light reveals very minor scattered retouching. The surface impasto also fluoresces under UV, but we believe this is the artist's technique rather than signs of retouching. One small area of paint loss measuring approx. 1 cm lower left. Condition Report Disclaimer
Los 205
λ ANTOINE BOUVARD (FRENCH 1870-1956)THE DOGE'S PALACE AND CAMPANILE, VENICEOil on canvasSigned (lower right)48.5 x 64cm (19 x 25 in.)Provenance:Eaton Gallery, London Condition Report: Not relined. Light surface dirt throughout. A patch of fine craquelure to the facade of the Doge's Palace. There is also a vertical crack approx. 5cm starting in the sky travelling down towards the facade of the palace. Inspection under UV reveals a thick green varnish, scattered retouching mostly notable to the sky and an area of extenstive retouching to the right hand wall of the palace. Condition Report Disclaimer
Los 206
λ ANTOINE BOUVARD (FRENCH 1870-1956)THE DOGE'S PALACE AND CAMPANILE, VENICE Oil on canvasSigned (lower right)48 x 64cm (18¾ x 25 in.)Provenance:Burlington Paintings, London. Condition Report: Not relined. Light surface dirt throughout. A splash of liquid visible down the right edge. Inspection under UV reveals light retouching throughout the sky. Condition Report Disclaimer
Los 207
λ ANTOINE BOUVARD (FRENCH 1870-1956)VENETIAN CANAL WITH A GONDOLAOil on canvasSigned (lower right)63 x 90cm (24¾ x 35¼ in.)Condition Report: Relined. A very small dent visible to the upper right corner. Inspection under UV reveals light scattered retouching throughout. Condition Report Disclaimer
Los 208
λ ANTOINE BOUVARD (FRENCH 1870-1956)VENETIAN CANAL WITH A GONDOLA BY A BRIDGEOil on canvasSigned (lower left)49 x 64cm (19¼ x 25 in.)Condition Report: Not relined. Light surface dirt throughout. Inspection under UV reveals scattered retouching most notable to the sky. Condition Report Disclaimer
Los 209
λ ANTOINE BOUVARD (FRENCH 1870-1956)VENETIAN CANALOil on canvasSigned (lower right)49 x 63cm (19¼ x 24¾ in.)Provenance:Burlington Paintings, London Condition Report: Relined. Light surface dirt throughout. Inspection under UV reveals a green varnish and scattered retouching most notable to the sky. Condition Report Disclaimer
Los 21
ENGLISH SCHOOL, 18TH CENTURYTHE OLD TYNE BRIDGE, NEWCASTLE Oil on canvas44 x 75cm (17¼ x 29½ in.)The Medieval Old Tyne Bridge linking Newcastle and Gateshead was built in the 13th Century, replacing the Roman crossing Pons Aelius. It was destroyed by a great flood in 1771. A replica of the bridge later became one of the main attractions at an 1887 exhibition in Exhibition Park in Newcastle at the occasion of Queen Victoria's Golden Jubilee. Condition Report: The canvas has been lined. Surface dirt and discoloured varnish. UV light reveals signs of extensive scattered overpainting. Condition Report Disclaimer
Los 210
λ ANTOINE BOUVARD (FRENCH 1870-1956)EVENING LIGHT, VENICEOil on canvasSigned with pseudonym Marc Aldine (lower left)64 x 49cm (25 x 19¼ in.)Provenance:Eaton Gallery, London Condition Report: Not relined. Light surface dirt throughout. Inspection under UV reveals light scattered retouching. Overall in good original condition. Condition Report Disclaimer
Los 234
JOHN JAMES HILL (BRITISH 1811-1882)SUMMER, MOTHER AND CHILDOil on canvasSigned and dated 1861 (lower right)87 x 70cm (34¼ x 27½ in.)Provenance:Thomas Pemberton, Heathfield Hall, Handsworth, BirminghamHis sale, Christie's, London, 30 April 1874, lot 96 (54gns to James Watson)Berwick House, Shropshire Condition Report: The canvas has not been relined. There is craquelure throughout, mainly visible in a raking light. Some minor surface dirt and some very slight rubbing to the framed edges in places. There is evidence of very light infilling and general retouching throughout, visible under ultraviolet light. In generally good restored condition.Condition Report Disclaimer
Los 235
JOHN JAMES HILL (BRITISH 1811-1882)THE GLEANEROil on canvasSigned and dated 1863 (lower left)87 x 70.5cm (34¼ x 27¾ in.)Provenance:Thomas Pemberton, Heathfield Hall, Handsworth, BirminghamHis sale, Christie's, 30 April 1874, lot 95 (69gns to James Watson)Berwick House, Shropshire Condition Report: The canvas is not relined. There is some craquelure, mainly to the sitter's neckline. There are some light stretcher marks and unevenness to the paint surface in areas. Ultraviolet light reveals scattered patches of retouching throughout. In generally good restored condition. Condition Report Disclaimer
Los 237
TOM MOSTYN (BRITISH 1864-1930)A SHARED CONFIDENCEOil on canvasSigned and dated 95-96 (lower left)127 x 105cm (50 x 41¼ in.)Provenance:Sale, Bonhams, London, 29 September 2010, lot 124A private collectionCondition Report: The canvas has not been lined. There is a small puncture to the lower right quarter in the background area (approx. 1cm long). There is some very light undulation to the extreme corners but this is really only noticeable in a raking light. Inspection under UV is hard to read as the areas which fluoresce are likely to be original pigments. There is a heavy varnish throughout. Condition Report Disclaimer
Los 243
HENRI FARRÉ (FRENCH 1871-1934)THE SWAN MAIDENSOil on canvas179 x 228cm (70¼ x 89¾ in.)Provenance:Sale, Sotheby's, London, 19 March 1986, lot 119Condition Report: The canvas has been strip lined and is on a later stretcher which is providing good support. There is some fine surface cracking but paint layers seems stable. There is a small puncture in the canvas which is approximately 5mm square and on the hem of the girls white dress. Under UV light there are some scattered areas of retouching on the nude figure, the red blanket and in some background areas. It has been cleaned and re-varnished. Condition Report Disclaimer
Los 248
AUGUSTUS VINCENT TACK (AMERICAN 1870-1949)THREE SISTERS SEATED IN A LOGGIA WITH A GARDEN BEYONDOil on canvas114 x 129cm (44¾ x 50¾ in.)In a Whistler type frameProvenance:Messum's Fine Art, LondonElibank House, Taplow- a Grade II Listed Queen Anne houseExhibited:Pennsylvania Academy of Fine Arts: Sixty-Fourth Annual Exhibition, 1895-1896Augustus Vincent Tack was a painter of portraits, religious murals and, latterly, of abstractions recalling the work of Georgia O' Keefe and Clyfford Still. Born in Pittsburgh, he received the highest rating and a place of honour at the Society of American Artists in 1889. Following a training with John La Farge, he travelled to France in the early 1890's, which led to a brief flirtation with a more impressionist technique than is more usually to be found in his realist portraiture. While the present painting perhaps owes something to the free brushwork of the painters he may have encountered during his visit, the composition itself sits firmly within the Anglo-American tradition of the conversation piece. His later career followed two widely divergent courses. Starting in the 1920s he painted fifteen murals for various Catholic churches and several government buildings in the United States and Canada. His landscape work, in the meantime, took on increasingly mystical overtones. Following the Second World War these increasingly abstract works were much sought after and collected particularly by Duncan Phillips, housed in the Phillips Collection, Washington D. C. Please note added line to provenance: Elibank House, Taplow- a Grade II Listed Queen Anne houseCondition Report: The canvas is unlined and on it's original stretcher which is providing good support. There are some very minor spots of paint loss in background areas and abrasions to the edges. The paint surface is quite thin on the left hand girls hair. Under UV light there is a small spot of retouching (approx 2 x 2 cm) near the edge of the rug (lower right). It has a layer of surface dirt and some uneven and discoloured varnish. There are some minor chips and abrasions to the frame. Condition Report Disclaimer
Los 25
CIRCLE OF JEAN RAOUX (FRENCH 1677-1734)THE SENSES Oil on canvas, a pair 80 x 110cm (31¼ x 43¼ in.) (2)Provenance: This item was inherited from the 7th Viscount Gort, deemed to be of national importance and placed into conditional exemption upon his death Condition Report: SoundThe canvas has been lined. Surface dirt and discolouration of the varnish. Abrasion around the edges, including some flaking paint. Paint thinning in some areas. UV light reveals signs of scattered retouching as well as a large patch running down from the tree on the left and along the edges. TouchThe canvas has been lined. Surface dirt and discoloured varnish. Paint thinning in some areas but paint layer appears to be stable. Abrasion around the edges. UV light reveals scattered retouching and larger areas retouched around the edges. Condition Report Disclaimer
Los 252
FRANÇOIS BRUNERY (ITALIAN 1849-1926)THE SPILT INK CARDINALOil on panelSigned (lower right)59 x 47cm (23 x 18½ in.)Condition Report: The panel appears cleaned. Signs of old woodworm on the reverse of the panel. A few abrasions around the signature. UV light reveals signs of minor scattered retouching, particularly around the edges and around a few areas of craquelure by the doorway. Condition Report Disclaimer
Los 255
λ GERALD A COOPER (BRITISH 1898-1975)HOLLYHOCKS, IRIS AND HONEYSUCKLEOil on boardSigned (lower right)75 x 62cm (29½ x 24¼ in.)Provenance:E. Stacy-Marks Fine Art Dealers, Helmsley, 1984Condition Report: Some abrasions around the edges resulting from contact with the frame. Inspection under UV light reveals retouches around the edges. Otherwise in good condition. Condition Report Disclaimer
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FRANCIS HAYMAN (BRITISH 1708-1776) AND STUDIOBUILDING HOUSES WITH CARDS Oil on canvas141 x 203.5cm (55½ x 80 in.)Provenance:(Possibly) W.H. Forman Collection, Dorking, and by descent in 1869 to(Possibly) Major A.S.C. Browne, Callaly Castle, NorthumberlandBell of NewcastleViscount and Viscountess Gort, Hamsterley Hall, County Durham, and by descent to the present owner(This item was inherited from the 7th Viscount Gort, deemed to be of national importance and placed into conditional exemption upon his death)Exhibited:Kenwood, Iveagh Bequest, The French Taste in English Painting during the first half of the 18th century, Summer 1968, no. 35.Literature:A Description of Vaux-Hall Gardens, London, 1762, p. 30, no. 6.The Ambulator, or the Stranger's Companion in a Tour Round London...comprehending Catalogues of the Pictures by Eminent Artists, London, 1782, p. 200, no. 6.R. Edwards, An Attribution to Highmore, Burlington Magazine, XCI, July 1949, p. 206.L. Gowing, Hogarth, Hayman and the Vauxhall Decorations, Burlington Magazine, XCV, January 1953, pp. 9-11, fig. 6 (detail).R. Edwards, Hayman or Gravelot?, Burlington Magazine, XCV, April 1953, p. 142.D. Fitzgerald, Gravelot and his influence on English Furniture, Apollo, XC, August 1969, p. 141.J. Hayes, The Landscape Paintings of Thomas Gainsborough, A Critical Text and Catalogue Raisonné, I, London, 1982, p. 33-34, pl. 33.B. Allen, Francis Hayman and the Supper-Box Paintings for Vauxhall Gardens, The Rococo in England: A Symposium, C. Hind (ed.), London, 1986, pp. 130-131.B. Allen, Francis Hayman, 1987, p. 180, no. 176.D. Coke and A. Borg, Vauxhall Gardens: A History, New Haven and London, 2011, pp. 103 and 365, no. 6, fig. 85.This picture is one of about fifteen surviving decorations for the 'arbours' or supper boxes that adorned Jonathan Tyers' pleasure gardens at Vauxhall. Situated just south of the Thames, the gardens were a highly fashionable destination for London's beau monde. With the help of some of the most creative avant-garde artists of his time, Tyers turned Vauxhall into the favourite haunt of elegant London society; a place to dine, to socialise and to admire sculptures and paintings in the open air. The original fifty supper boxes surrounded the central quadrangle, called the Grove, and all contained pictures of approximately eight feet across, portraying a variety of light-hearted subjects. Most early documenters ascribe the greater part of the Vauxhall decorations to Francis Hayman and his talented pupils, who worked on the boxes from about 1738 to 1760. Probably among them was the young Thomas Gainsborough (1727- 1788), to whose hand Professor Lawrence Gowing, in his pioneering article on the Vauxhall decorations (Burlington, 1953), tentatively attributes the head of the central, seated youth in the present picture. Hugh Belsey, however, doubts Gainsborough's involvement in this work. Hayman's fellow artists also contributed to a number of his designs and Gowing ascertains that Building Houses with Cards was a collaboration between Hayman and the French engraver, Hubert François Gravelot (1699-1773). This supposition is apparently confirmed by the inscription on a 1743 engraving by Louis Truchy: 'Gravelot Invent F. Hayman Pinxt', which can be found in the collection of the British Museum.Many of the surviving panels are currently kept in important museum collections, seven of which residing in the V&A in London. Most of them were also influenced by decorative French engravings of the 1730s; The See-Saw, currently in the collection of the Tate, was also recorded in an engraving by Truchy. With this first major decorative commission in Tyers' fashionable establishment, Hayman contributed greatly to the spread of French Rococo taste in England. Condition Report: The canvas is lined and on a later stretcher, which provides good support. Some abrasions around the edges from contact with the frame. The paint layer is stable but thin in some areas. UV light reveals scattered patches of retouching, most prominently in the figure in the yellow dress. A layer of surface dirt and discoloured varnish. Condition Report Disclaimer
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FOLLOWER OF MARMADUKE CRADDOCKA CONCERT OF BIRDS IN A LANDSCAPE Oil on canvas101.6 x 124.5cm (40 x 49 in.)Provenance:Sale, Christie's, London, 23 November 1979, lot 48 (as Marmaduke Craddock) Condition Report: The canvas has been lined and mounted on a later stretcher. A thick layer of surface dirt and discoloured varnish. Several abrasions around the etches. Thinning paint and craquelure in some areas, but paint layer appears stable. Numerous repairs visible in natural light. UV light reveals more extensive overpainting. The carved, 18th century frame has been cut at the top to fit the painting. Several losses of gilding and gesso and signs of regilding. Condition Report Disclaimer
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FOLLOWER OF JAN WEENIX A STILL LIFE WITH A PARTRIDGE; AND A STILL LIFE WITH A HAREOil on canvas, a pairEach 90 x 74cm (35¼ x 29 in.) (2)Provenance:Sale, Fechenbach, Cologne, 29 May 1889, lot 288Sale, Bukowski, Stockholm, 8 November 1977, lot 288Sale, Christie's, London, 19 April 1996, lot 22Olivia Rumens, LondonCondition Report: Both canvases are lined and on new stretchers which are providing good support. There is fine surface cracking across both images but the paint layer is stable. Under both V light there are areas of fine retouching across both images as well as some broader areas in the upper and lower left of one of the pictures. This restoration has been carried out very well and is not visible to the naked eye. Condition Report Disclaimer
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CIRCLE OF HUBERT-FRANCOIS GRAVELOT (FRENCH 1699-1773)THE EUROPEAN RACE (A SET OF THREE PAINTINGS: HEAT I, II, III)Oil on canvas93.5 x 132.5cm (36¾ x 52 in.) and smaller (3)Provenance:Collection of a noble English familyRelated Literature:The Political Club, An explanation of the first, second, and third heats of the European race, and of the hieroglyphical frontispiece thereto prefix'd, London, J. Cooper, 1740, pp. 7-40;Frederic George Stephens and Edward Hawkins. Catalogue of Prints and Drawings in the British Museum, 11 vols. (London, 1877), vol. 3, pp. 229-314This apparently unique set of three previously unpublished large oil paintings, known collectively as The European Race, charts the struggle for power between the European nations in the 1730s from an English point-of-view. The paintings present this struggle in the form of a race between the nations for a crown (a symbol of dominion over overseas territory), which hangs from a beam on the umpire's stand on the right of the first painting. These fascinating satirical pictures represent large-scale and slightly altered versions of a set of three engravings first published in London between 1737-39 by the engraver Charles Mosley (1720-1770). The overall tenor of the series is deeply critical of Robert Walpole's cautious foreign policy during the 1730s, when his Whig government held office.Tate Britain has an original design for a fan by the French artist Hubert-François Gravelot (Paris, 1699-1773), who worked in London between 1732-45, which is almost identical in composition to the first painting in the present series, entitled 'The European Race, Heat Ist' in the series of engravings by Charles Mosley. Another drawing attributed to Gravelot in the British Museum, shows the same scene as the third painting from the present set, but in reverse. Hubert-François Gravelot was a French engraver and book illustrator who trained in the studios of Jean II Restout and François Boucher, before moving to London in 1732. Here Gravelot soon became closely connected with William Hogarth and his circle, who were strongly influenced by his Rococo painterliness. Gravelot taught at the St. Martin's Lane Academy, a school for young artists in Covent Garden, which brought him into contact with the young Thomas Gainsborough and Francis Hayman (1708-76), the latter becoming Gravelot's closest student and collaborator in London. Hogarth and Gravelot also both attended a club of artists and literary men based at Old Slaughter's Coffee-House on St. Martin's Lane, which held meetings twice a week and whose membership included the painters Francis Hayman and Jonathan Richardson. It is likely that the original designs for The European Race (the second two 'Heats' of which are apparently lost) were a result of Gravelot's active participation in the political debates at Old Slaughter's and were perhaps a collaboration with other members and artists there. Charles Mosley's engravings of the original drawings, copies of which are held in the British Museum and in the National Maritime Museum at Greenwich, bear inscriptions which help to explain the complicated symbolism of The European Race series. The present paintings also bear numbers referring to a key, which can be reconstructed with the aid of the engravings. A 1740 pamphlet of the Political Club's also gives an extensive explanation of the sometimes obscure contemporary references within the series.Condition Report: The canvases on all three pictures have been lined. Fine surface cracking and stretcher marks are visible but the paint layer appears to be stable and well preserved. Under UV light they all have scattered areas of retouching across the images, but these are all very fine and well executed and not visible to the naked eye. They have been cleaned and re-varnished and are presented in eighteenth century style gilded frames. Condition Report Disclaimer
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ENGLISH SCHOOL (C. 1586)PORTRAIT OF HENRY HASTINGS, 5TH BARON AND 3RD EARL OF HUNTINGDONOil on canvasInscribed Aetatis 50 (upper centre) and dated 1586 above a coat of arms (upper left)123 x 99.5cm (48¼ x 39 in.)Henry Hastings, third earl of Huntingdon (1536?-1595) was the eldest son of Francis Hastings, second earl of Huntingdon (1513/14-1560) and his wife, Katherine Pole (d. 1576). His grandfather George Hastings, first earl of Huntingdon, a personal friend of Henry VIII, introduced him to the court at a very early age. A year or so senior to Edward VI, Lord Hastings joined the young prince at his studies at the king's invitation and the two men remained close as adults. In 1553, Hastings married Catherine Dudley, daughter of the Duke of Northumberland, whose sister-in-law was Lady Jane Grey. When Queen Mary succeeded to the throne after Jane's brief reign, this alliance caused Hastings to be imprisoned in the Tower of London. After his release he continued to be a supporter of Mary and then of Elizabeth I. In 1572 he was appointed president of the Council of the North. During the troubled period between the flight of Mary to England in 1568 and the defeat of the Spanish Armada he was frequently employed in the north of England.Apart from the present work there are at least four other known portraits of this important sitter, which can be found in the collections of the National Portrait Gallery (NPG 1574), Leicester Art Gallery (dated 1623), the collection of Auglesey Abbey (dated 1588), and the Tower of London Royal Armouries (in Greenwich Armour, dated 1588). Provenance:Rawdon Hall, YorkshireCondition Report: The canvas has been lined and is on a later stretcher. The paint layer appears stable but slightly thin in places, the areas with gold decoration appear well preserved. UV light reveals scattered retouching, particularly in the darker pigments in the sitter's cloak and trousers as well as in the face and hand. The varnish layer is uneven and heavily discoloured. Condition Report Disclaimer
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ATTRIBUTED TO AGNES JEANNETTE HOEUFFT (DUTCH 1864 - 1923)GIDEON HOEUFFT (1652-1710); SARA FANNIUS (B.? - 1683)Oil on canvas and oil on canvas laid to panel respectivelyEach 52 x 45cm (20¼ x 17½ in.)In elaborate carved gilt frames (2)These two works are listed by the RKD IB numbers 82490 and 90243Condition Report: Gideon Hoeufft: the canvas has not been lined. Some scuffing to the framed edges and stretcher marks are visible. There is a small dent to the canvas to the sitter's hair and a further small dent to the canvas with associated minor paint loss and light retouching to the centre left by the sitter's elbow. Some light craquelure. Inspection under UV reveals evidence of further light restoration aside from the aforementioned retouching. A green cloudy varnish makes reading any further retouching/restoration difficult.Sara Fannius: The edges of the canvas visible at the framing edges. There are some light scuffs to the canvas, and evidence of an old tear to the canvas (approx. 20cm long) running vertically off the centre of the upper edge. Inspection under UV reveals retouching to the old tear, plus a further patch of retouching to the lower left quadrant, as well as further scattered spots, and a green cloudy varnish.Condition Report Disclaimer
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ATTRIBUTED TO AGNES JEANNETTE HOEUFFT (DUTCH 1864 - 1923)LEONARD HOEUFFT HEER VAN BUTTINGEN (1695 - 1738); SUZANNE CATHARINA ALBINUS (1703-1741)Oil on panelEach sitter identified by inscription (to label attached verso)Each 52 x 41cm (20¼ x 16 in.)In elaborate carved gilt frames (2)The two works are listed by the RKD IB numbers 82492 and 82493.Condition Report: Leonard Hoeufft, heer van Buttingen: heavy craquelure throughout. Inspection under UV reveals extensive in-filling to the craquelure in the background, together with scattered retouching and a green cloudy varnish. Suzanne Catharina Albinus: light craquelure throughout and scuffing to the framing edges. Some thinning to the paint in the background. There is a scratch (approx. 2cm) to the right of the sitter's left arm. Inspection under UV reveals extensive retouching throughout, together with a green cloudy varnish.Condition Report Disclaimer
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CIRCLE OF SIR PETER LELY (BRITISH 1618-1680)PORTRAIT OF KING CHARLES IOil on canvas 123 x 93cm (48¼ x 36½ in.)Provenance:With Galerie Moderne, Brussels, c. 1960Private collectionThe present work relates to a double portrait by Lely of Charles I and his youngest son, James Duke of York, now at Syon House, known as the 'clouded Majestie' portrait after the poem by Richard Lovelace. Commissioned in 1647 by the Duke of Northumberland, it would be the King's last portrait sitting and one of the earliest portraits painted by Lely in England. It was painted while Charles was under house arrest at Hampton Court following the Battle of Naseby, while his children were under the protection of Northumberland at Syon House. According to Sir Oliver Millar's Notebooks from a visit to Syon in 1947 (Paul Mellon Center Archives), the Syon double portrait is made up of two joined canvases, exactly dividing the two figures. There are number of differences between the Syon portrait and the present work. In this portrait the King is standing on a balcony, on the corner of which is a column and balustrade indicating his captivity. There are pentiments in several places including the fingers of the King's right hand and drapery. The design of the backgrounds is also notably different in the sky, topography and the buildings, which in the present work resembles the Queen's House at Greenwich, perhaps a reference to Henrietta Maria from whom the King had been separated since 1644. This all suggests that rather than being a copy of one half of the Syon painting, this image was conceived as a reconfigured and independent portrait of the King by Lely. Condition Report: The canvas has been relined. The varnish is discoloured. UV light reveals extensive retouching in the darker areas of the background as well as in the sitter's garment, the face and hands only with scattered retouching. Rubbing around the edges from contact with the frame. Fine craquelure all over but the paint layer appears stable. Condition Report Disclaimer
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