Calem 1970 vintage port no volume or alc note, fill into neck, light soiling to label, capsule intact; Churchill's vintage port 1982, 75cl no alc mark, fill top shoulder, label soiled, wax capsule intact sellar soiled; Porto Calem 1983 vintage port, 75cl 21% alc/vol, fill into neck, label good, capsule intact; Calem Quinta da Foz vintage port 1984 75cl 20% alc/vol, top shoulder, label good wax capsule broken cork showing signs of seepage; Feuerheerd 1982 vintage port 75cl 20% alc/vol, fill into neck, label torn, wax capsule broken; Berry's Own Selection vintage port 1994 75cl 20% alc/vol, fill into neck, label lightly soiled, capsule intact; Marks & Spencer fine ruby port, fill into neck, label and capsule badly torn; and Fortnum & Mason presentation box of LBV 2009 bottled by niepoort 75cl 20% alc/vol, fill high, label good, capsule intact and Grand Cru champagne 75cl 12% alc/vol, high fill, label good, capsule and musette intact. (9)
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Three bottle of Sake: Gekkeikann Genzo-Tokkuri Black & Gold, 72cl 16% to 17% alc/vol, opaque bottle label good metal cap, paper and string seal intact; Deluxe Kinpai 72cl no proof mark, opaque bottle, light scuffing to label, capsule intact; Special Suishin 100cl 16% to 16.9% alc/vol, into neck label dog-eared, capsule intact. (3)
Louisa J Davies for Doulton Lambeth, a bowl of flattened sphere form and cover with acorn shaped finial. Decorated with blue flowers and green and brown stylised foliage on a light brown ground textured with imprinted stars. The covere with alternating bands of browns, blues and greens and a blue-green finial. Impressed Doulton Lambeth mark and incised monogram to base.
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)Iona signed 'F.C.B. Cadell' (lower left), titled, inscribed and signed 'IONA/by F.C.B. Cadell/Absorbent ground. NEVER varnish./F.C.B. Cadell' (verso)oil on panel38.1 x 45cm (15 x 17 11/16in).Footnotes:ProvenanceWith Portland Gallery, London.Private collection, UK.Sale, Bonhams, London, 11 November 1998, lot 40.Private Collection, Netherlands (acquired at the above sale).Cadell first travelled to Iona in 1912 and from then he would visit almost every summer to paint its distinctive scenery, seascapes and beaches. Perhaps most distinctive in Cadell's work from the island is his ability to render the subtleties of changing light across its landscape. In the present work, there are areas of intense brightness where the sun reflects off the sand and rocks, and other more gentle areas, perhaps muted by passing cloud cover. This skill in his work creates a patchwork of colour and tone which bring the scene to life.His paintings from Iona perfectly express the spirit of what could be described as the Colourist philosophy of painting, and TJ Honeyman, biographer of the Scottish Colourists and the man who coined the term, considered Cadell's Iona series to be the 'archetypal Colourist pictures'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
John Duncan Fergusson RBA (British, 1874-1961)Portrait of an actor, c. 1900 conté29.5 x 24cm (11 5/8 x 9 7/16in).Footnotes:ProvenancePrivate collection, UK.The identity of the sitter here is known to be an actor as two other studies of him were made, one of which shows him in full costume for stage. Fergusson here is clearly drawn to the sitter's striking profile and big hair. The strong lighting, shown by the contrasts between light and dark, are suggestive of the spotlighting found on stage.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)The House by the Sea, Sound of Iona signed 'F.C.B. Cadell' (lower left)oil on canvas, laid to board37.5 x 44.5cm (14 3/4 x 17 1/2in).Footnotes:ProvenanceWith Cyril Gerber Fine Art, Glasgow.Sale, Christie's, Glasgow, 12 November 1998, lot 21.Private collection, Netherlands.Less sun-soaked than other examples of his Iona views, the present work instead focusses on the island's verdant green landscape and more subtle blue-greys that the Sound of Iona could take on when the weather was less predictable. The cloudy conditions can be seen in the sky, but also in the dappling of light on the Mull hills - a few bright sparks of green to the left indicating bursts of sunlight through the clouds.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Samuel John Peploe RSA (British, 1871-1935)North Berwick signed in pencil 'Peploe' (lower right), signed and inscribed 'North Berwick/S J Peploe' (verso)oil on panel15.9 x 23.6cm (6 1/4 x 9 5/16in).Footnotes:ProvenancePrivate collection, UK.Peploe began to paint en plein air in around 1896, in North Berwick, an elegant coastal town in East Lothian. He was attracted by the quality of light. This small, loosely handled work dates to circa 1903. The grey northern light at dusk contrasts with the bright Mediterranean light he was later to capture in France. However, the free brush strokes and rich, impasto paint become common characteristics of his later work.This is the first time this painting has appeared on the open market.For further information on this lot please visit Bonhams.com
FOLLOWER OF PHILIP JAMES DE LOUTHERBOURG LANDSCAPE WITH A STAGE COACH, SCENE ON THE DOVER ROAD Oil on canvas Bears signature (lower left) 83.5 x 114cm (32¾ x 44¾ in.) Provenance: The Parker Gallery, London Sale, Sotheby's, London, The British Sale: Paintings & Watercolours, 28 November 2002, lot 126 Condition Report: The canvas has been relined and presents a subtle craquelure most visible in the section of the sky. UV light reveals various scattered retouches along the trees, and a few dotted retouches in the lower ground, such as near the lower right corner. To concede, a few, yet minor, retouches are present in the greenery. Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS ALEXANDER POPE (1688 - 1744) Oil on canvas 76.2 x 61cm (30 x 24 in.)Provenance: Lt. Col. A Heywood-Lonsdale, Market Drayton Sale, Christie's London, 24 October 1958, lot 75, as by William Hogarth Strawberry Hill, Twickenham, where hung in the Long Gallery Sale, Christie's South Kensington, 17 February 2008, lot 65Literature: A. Chalcraft & J. Viscardi, Strawberry Hill: Horace Walpole's Gothic Castle, London, 2007, p.143 Condition Report: The canvas has been lined and is a little slack. Craquelure throughout, together with some areas where the paint surface is starting to lift. There are also some associated spots of loss scattered throughout. Rubbing and abrasions to the framing edges, together with some associated overpaint, which is visible in a natural light. Some surface dirt and scratching throughout. Inspection under UV light reveals retouching and in-filling throughout, as well as green cloudy varnish.Condition Report Disclaimer
THOMAS BEACH (BRITISH 1737-1806) PORTRAIT OF EDWARD HELYAR, AGED EIGHTEEN; AND PORTRAIT OF BRIDGET, AGED THIRTEEN. TWO OF THE CHILDREN OF WILLIAM AND ELIZABETH HELYAR OF COKER COURT, SOMERSET Oil on canvas, a pair Each 76.2 x 64.8cm (30 x 25½ in.) (2) Provenance: Commissioned by William Helyar (1720-1783), at Coker Court until the 1970s, then by family descent to a private collection, UKLiterature: `Coker Court, Somerset, the seat of Major GW Heneage', Country Life, 2nd January 1909, p.25This charming pair of paintings was commissioned circa.1768 by William Helyar (1720-1883) to adorn the new Georgian wing of his house, Coker Court, East Coker, near Yeovil in Somerset. Thomas Beach was a Dorset man born and bred who trained with Sir Joshua Reynolds and had a flourishing career painting West Country gentry families. William Helyar had ten children with his wife Elizabeth, née Weston. Edward was their fourth child and was eighteen when this portrait was painted. He is shown on the seashore with a telescope and shipping in the distance. The Helyars, like many West Country landed families, had mercantile interests and, as a younger son, Edward would probably have been brought up for involvement in one of these.Bridget is thirteen in a park landscape with a statue and a distant sunrise, which echoes her elegant, shell-pink dress. With her blonde hair wreathed with pearls and a rose in her hand, she epitomizes youthful beauty and modesty. Beach is emulating his master Joshua Reynolds, who uses 'theatrical' clothing to give a timeless quality to his sitters. . The Helyar family had lived at East Coker since 1616, when the manor was bought by William Helyar (1559-1645), Archdeacon of Barnstaple and Chaplain to Queen Elizabeth I. Staunch Royalists, the Helyars suffered under Cromwell's regime but flourished with the Restoration. The children's father William (1720-1783) married Elizabeth Weston in 1744. In 1766 he commissioned from William Chambers the elegant neoclassical addition to the fifteenth and sixteenth century buildings of Coker Court. Fourteen family portraits were commissioned from Thomas Beach to hang in the new wing, remaining there until the 1970s. Condition Report: Edward Helyar: The canvas has been lined, cleaned and re-varnished. There is craquelure throughout, some of which has been in-filled and this is visible in natural light, although largely contained to the background areas. There is a small horizontal area of possible repair above the sitter's head (approx. 10cm) which can also be seen in natural light. Stretcher marks visible. Rubbing and abrasions to the framing edges. Overall the work is in well restored condition and ready to hang.Bridget: The canvas has been lined, cleaned and re-varnished. Craquelure and paint-shrinkage throughout. Some of this has been in-filled and is partially visible in a natural light. Upper and lower stretcher marks visible. Inspection under UV light reveals scattered retouching and in-filling throughout. Overall the work is in well restored condition and ready to hang. Condition Report Disclaimer
DOMENICO ANTONIO VACCARO (ITALIAN 1678-1745) PAN AND SYRINX Oil on canvas 26.5 x 33cm (10¼ x 12 in.) Literature: R. Lattuada,'Un disegno e un dipinto inediti di Filippo Falciatore, ed un dipinto inedito di Domenico Antonio Vaccaro', in Studi dell'arte in onore di Sylvie Beguin, Naples, 2001, pp. 533-4, illustrated R. Lattuada, 'Domenico Antonio Vaccaro, pittore, scultore e decoratore, 'ornamento della sua patria', in Domenico Antonio Vaccaro: Sintesi delle arti, ed. B. Gravagnuolo and F. Adriani, Naples, 2005, p. 55, fig. 60 Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Craquelure throughout however the paint surface appears stable. Some superficial surface scratching commensurate with age. Inspection under UV light reveals very sensitive retouching and in-filling throughout, together with a green cloudy varnish.Condition Report Disclaimer
CIRLCE OF JOSEF VAN BREDAEL (FLEMISH 1688-1739) SAINT ANTHONY (RECTO); ORIGINAL DESIGN FOR ENGRAVING, FRAGMENT (VERSO) Oil on copper With red wax studio stamp to supporting panel (verso) 12 x 14cm (4½ x 5½ in.) A painting with strong similarities was sold at Dorotheum, Vienna, Old Master Paintings II, 12 May 2022, lot 273, as Attributed to Josef Van Bredael Condition Report: Scattered areas of flaking and paint loss throughout. Surface dirt and discolouration. Would benefit from a clean. Uneven varnish. Some light craquelure. The reverse of the copper plate with upper left corner of a design for an etching, with some light wear but in good condition commensurate with age. Please note Dreweatts is not responsible for damage to frames.Condition Report Disclaimer
SIR PETER LELY (BRITISH 1618-1680) AND STUDIO PORTRAIT OF A LADY, POSSIBLY A MEMBER OF THE COURT Oil on canvas 127 x 103cm (50 x 40½ in.) In a carved giltwood frame Provenance: Sale, Christie's, London, 21 November 1980, lot unknown Sale, Christie's, London, British Pictures, 20 November 1992, lot 2, as Sir Peter Lely Sudgrove House, GloucestershireLiterature: Waldershare Park Catalogue, No 171 In the current painting, as in many of Peter Lely's late portraits, the division of labour between the master and his studio assistants is evident. Lely himself would have focused on the face and expression of the sitter, while the studio on the drapery and background. Such methodology was put in place in order to cope with the high demand for portraits. Condition Report: The canvas is relined and presents a very subtle craquelure, which is most visible on the breast and arms. UV light reveals various retouches, on the breast, various dotted retouches on the blue veil of the vest, such retouches are visible also to the necked eye, and are in many areas quite extensive. The face, on the other hand, does not present visible signs of restoration. Condition Report Disclaimer
CIRCLE OF GODFREY KNELLER (BRITISH 1646-1723) PORTRAIT OF GENTLMAN WEARING A RUST COAT BESIDE A RED CURTAIN Oil on canvas 124 x 98.5cm (48¾ x 38¾ in.) Condition Report: The canvas has been relined and presents a subtle craquelure across the whole surface. UV light reveals a 12 cm long retouch, where previously, most likely, there was a tear; and various retouches in the lower right corner, the biggest of which is of about 5cm in width. To conclude, a few dotted retouches are present in the background, especially in the upper section of the painting. Condition Report Disclaimer
EDWARD PRITCHETT (BRITISH 1808-1894) VENICE Oil on canvas Signed (lower left) 42 x 63cm (16½ x 24¾ in.) Condition Report: The canvas has an old reline. Small spot (approx.. 1cm) of overpaint to the sky in the left quadrant - possibly an old repair. Some light craquelure throughout. Otherwise the work appears to be in good condition. Condition Report Disclaimer
GRAHAM GLEN (SCOTTISH 1878-1951) MEDITATION Oil on canvas Signed and dated `1908' (upper right) 50 x 40cm (19½ x 15½ in.)This picture is possibly the prime version of a less finished, but slightly larger work in The City Art Centre, Edinburgh. Glen was suggested to both the Ministry of Information and the Imperial War Museum as a possible official artist. He painted Earl Jellicoe (1859-1935) and has several works in The Imperial War Museum and Gragside, the home of Baron Armstrong, Condition Report: The canvas has not been lined and presents an unevenly applied varnish. UV light reveals no evident signs of restoration. Some sections do fluoresce but seem to be original paint. Framed measurements: 71 x 62 cm Condition Report Disclaimer
CIRCLE OF DENIS VAN ASLOOT (FLEMISH 1570-1628) A FROZEN RIVER Oil on copper 23 x 15.5cm (9 x 6 in.) Provenance: Brian L. Koetser, Fine Art Dealer, London, as Denis Van Asloot Exhibited: London, Brian L. Koetser, Fine Art Dealer, Autumn Exhibition, 1970, as Denis Van Asloot Condition Report: The copper presents a few superficial indents and scratches, especially near the borders. UV light reveals a thin layer of varnish and dirt, and a few scattered retouches, such as on the clothing of the ice skaters, a few vertical retouches on the trees, a few on the land in the bottom right corner, and a 2cm long patch on the bottom border, just right to the lake, in the area of shade. Framed measurements: 23.2 x 31 cm Condition Report Disclaimer
λ HERMENEGILDO ANGLADA CAMARASA (SPANISH 1871-1959) SOLA EN EL PALCO - 'ALONE IN THE BOX' Oil on panel Signed 'H. Anglada Camarasa' (lower right) 32 x 34cm (12½ x 13¼ in.) Painted in 1911- circa 1952. Provenance: Mir Amorós, Barcelona (by 1981) with Galeria Manel Mayoral, Barcelona where purchased by the present owner in 1997 Literature: F. Fontbona and F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 298, no. G12 as Proyecto para un retrato Exhibitions: Barcelona, La Pinoteca, H. Anglada Camarasa, June 1952, as Proyecto para un retratoAfter training in Barcelona, the Catalan painter Hermenegildo Anglada-Camarasa, moved to Paris in 1894 where he attended the Académie Julian. He painted numerous pictures of Parisian night-life, concentrating on pallet and light effects. His paintings were visibly influenced by Toulouse Lautrec, Gustav Klimt and Kees van Dongen. A significant turning point in his style came in 1909, with the arrival in Paris of impresario Sergei Diaghilev's Ballets Russes, featuring Vaslav Nijinski and Anna Pavlova. They became a social and artistic sensation that revolutionised both tastes and customs. Camarasa was deeply moved by the sets and costumes of vibrant oranges, purples and greens, to the extent that from then on the pale shades in his female portraits were replaced by brilliant multicolours. His influence also reached young artists like Pablo Picasso, ten years younger than him and with whom he was in contact during his stay in Montmartre, or María Blanchard, who was his student between 1908 and 1913.The present lot is accompanied by a certificate from F. Fontbona and F. Miralles dated 24 February 1998, no. 403. Condition Report: Some light craquelure throughout however the paint surface appears stable. Rubbing and abrasions to the framing edges with some associated paint loss and subsequent retouching along the upper edge (this is visible in a natural light). One or two superficial surface scratches and spots of surface dirt throughout. There is a black line running diagonally above the sitter's right shoulder however this appears to be original to the work rather than a condition issue. Inspection under UV light reveals some patches of retouching throughout; these are largely contained to the sitter's nose, right arm, and along the upper framing edge. Condition Report Disclaimer
MANNER OF JOSEPH MALLORD WILLIAM TURNER A VIEW OF A CITY BY A RIVER Oil on canvas 86 x 112cm (33¾ x 44 in.) Condition Report: The canvas has been lined. Surface dirt and a dirty varnish throughout. Some heavy craquelure scattered throughout which may require attention. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
FRANCIS DANBY (BRITISH 1793-1861) A SAILING SHIP IN A STORMY SEA Oil on card Signed (to mount, lower centre) 16 x 18cm (6¼ x 7 in.) Provenance: Anthony Reed, London Davis & Langdale Co. Inc., New York David Cross Gallery, Bristol Sale, Sotheby's, London, Old Master and British Works on Paper, 6 July 2022, lot 213, from the Collection 'A Way of Life: The Collection of Barbara & Ernest Kafka' Exhibited: London, The Tate Gallery, Francis Danby, 15 Feb - 9 April 1989, n. 60 Dating from circa 1855 this rapidly executed oil study was painted at a time when the artist was living on the Devon coast at Exmouth. Danby had a great love of sailing and was an amateur boat builder. He was also aware of the sea's power and survived a shipwreck off Axmouth in the last year of his life. The low viewpoint and subtle treatment of the dark tones heighten the sense of drama in this sketch. Condition Report: The work has been laid down to a mounting sheet. There is a small pin hole to the lower left corner. Some light staining along the framing edge, also with traces of a glue residue to the upper right corner. Inspection under UV light reveals very fine, scattered retouching throughout the sheet. Unexamined out of glazed frame. Condition Report Disclaimer
THOMAS DANIELL R.A. (BRITISH 1749-1840) VIEW IN THE KOAH NULLAH Oil on canvas 58 x 45cm (22¾ x 17½ in.)In August 1788, Thomas Daniell began to plan a tour up-country, passing through Cawnpore, and then on to Agra and Delhi, before heading further north to Amroha and Najibabad. The rocky valley of the Khoh river, that leads into the Garhwal hills, was the route that the Daniells followed on the final outbound leg of their journey from Kotdwara to Srinagar in April 1789. Parts of the journey were perilous because of the difficult roads, and much of the terrain was unknown to the British. The Daniels were in fact the first Europeans ever to visit Garhwal. They wrote: 'We all four were carried in our jampans [hill palanquins] by four bearers to each who seemed to take us with the greatest ease.' (Archer, p.86) However, it was often too steep to use their palanquins and they had to climb up the rocky watercourse.Described by the pair, 'The Koah Nullah [Khoh River] is a mountain stream that in the season of rain must be a furious torrent, but in the month of April was a delightful rivulet, that, sparkling in the sun, gave animation and beauty to the rude scenes through which it pursued its course' (Oriental Scenery, Part 4, Plate 15).The enthusiasm for sparkling streams was apparently not shared by the Daniells' remaining Bengali servants who, as well as being hostile to the wheat eaten in this region, these lowlanders were also prejudiced against 'beautiful transparent water' flowing in the hills: their stagnant reservoirs, and even the turbid waters of the Hooghly at Calcutta, appeared to them much more inviting' (Archer, p.87).In the autumn of 1791, the pair of artists arrived back at Calcutta, having travelled many miles since their departure in August 1788. Their arrival was noted by William Baillie, who informed Ozias Humphry (November 3rd, 1793) that 'Mr. Thomas Daniell returned to Calcutta with a collection of about 150 pictures.' On the 5th January 1792, the Calcutta Gazette announced a 'Lottery of pictures painted during the extended tour'. (Sutton, p.66-67) One hundred and fifty pictures and paintings were exhibited at the Old Harmonic Tavern, with the draw taking place on March 1st. Although no catalogue of this lottery survives, it is likely that the present, unrecorded, lot, was one of the hundred and fifty works produced for this financial venture. If this is the case, we can date the work to circa 1790-1791 when the Daniells were working on pictures for the Calcutta Lottery. Much of the works produced by the Daniells during their time in India include buildings or ruins; both a reflection of their own artistic ideals, and of the idea that India itself was the scene of ancient civilisations. However, the foothills of the Himalayas presented the pair with the opportunity to paint pure landscapes. The present lot is not completely free of buildings, but the humble dwelling at its centre is quickly dwarfed and overshadowed by the sublime rugged mountains and spirited waters which surround it. A watercolour sold at Christie's, London, The P&O Collection of Watercolours of India by Thomas and William Daniell, 24 September 1996, lot 62, entitled The Khoh River, near Diosa, Garhwal, Uttar Pradesh (Oriental Scenery vol. IV, engraving No.18) appears to offer a similar view to the present lot but from a vantage point further down the Khoh River, omitting the house, but with the same mountain range easily identifiable. In addition, the artist depicted the same view in one of a pair of drawings entitled Old Lungoor Ghur: Near Nytana, Srinagar Mountains (Sale, Christie's London 29th October 2019, lot 91).A comparable oil painting, The Koh Valley in Garhwal, Northern India, was sold at Bonhams Travel and Topographical Pictures auction on 10 May 2005, lot 67. We are grateful to Charles Greig for his assistance in preparing this catalogue entry. Condition Report: The canvas is relined and presents an unevenly applied varnish. UV light reveals few scattered retouches in the section of the sky, which, for the most part are infills for the craquelure. The most visible retouches in the sky are three dotted restorations of a bout 0.5 cm in diameter, two of which are near the right corner, while one to the left. A threaded patch of restoration is present in the bottom left corner, such restoration is about 5cm wide. To conclude, a few scattered infills a present in the mountains and foliage, and a subtle craquelure is visible across the whole surface, and most evident in the section of the sky. Framed measurements: 69.5 x 55.5 cm Condition Report Disclaimer
DUTCH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A LADY WITH LACE BONNET AND RUFF Oil on panel, laid on canvas, laid to panel Inscribed 'AETATIS SVAE, 35. Ao dni, 1620' (upper right) 90.5 x 60cm (35½ x 23½ in.) UnframedProvenance: Sudgrove House, Gloucestershire Condition Report: This work is unframed. The work has been floated to a panel backboard, however the work itself appears to be on a canvas which has been lined. It is unclear whether the work was originally on a panel (the vertical splitting to the left and right thirds would suggest this is a possibility). If this is the case, the panel as been ground down to the gesso layer which has in turn been laid to a canvas. The is noticeable overpaint to the image and this is visible in natural light. A number of vertical splits running the length of the work, with associated cracking and over-paint (see online and catalogue images). Surface dirt and some craquelure throughout. A number of losses throughout, largely concentrated to the framing edges, which also show evidence of rubbing and abrasion. Inspection under UV light reveals retouching and overpainting throughout, together with a green cloudy varnish which may be masking further restoration. Overall the work appears to have been heavily restored.Condition Report Disclaimer
JAN JOSEFSZ. VAN GOYEN (DUTCH 1596 - 1656) FISHERMEN APPROACHING A HARBOUR Pencil Signed with initials and dated '1652' (lower right) 12 x 19cm (4½ x 7¼ in.) Condition Report: The sheet has been laid down at the corners. Discolouration to the sheet throughout, as well as some additional staining to the extreme edges. In addition there are also a number of light brown spots of foxing, mainly to the sky. Undulation to the sheet under the frame. Unexamined out of glazed frame.Condition Report Disclaimer
C H S BAYBROOKE (BRITISH 19TH CENTURY) SRI DALADA MALIGAWA, KANDY, SRI LANKA, (TEMPLE OF THE SACRED TOOTH RELIC) Watercolour Signed and dated '1877' (lower left) 31 x 47cm (12 x 18½ in.)Provenance: Sale, Bellmans, Sussex, 1 January 2019, lot 1075 Condition Report: The sheet has previously been laid down and the extreme edges with some associated loss, tearing, and remnants of a previous mount (see online images). This supporting card has in turn been hinge mounted along the upper edge, to the present mount. The colours are good. Some very light fading/discolouration to the sky but this is not particularly noticeable. There is a small surface scratch (approx. 1.5cm) to the upper left corner. Condition Report Disclaimer
SIR JOSHUA REYNOLDS (BRITISH 1723-1792) PREPARITORY SKETCH FOR A PORTRAIT OF CHARLES WILLIAM HENRY SCOTT, EARL OF DALKEITH, 4TH DUKE OF BUCCLEUCH Pencil, pen, ink and wash 19.7 x 15.9cm (7¾ x 6¼ in.)Reynold's painting was probably painted in 1776, a small sketch 18.4 x 15.9cm was lent to the Grosvenor Gallery Exhibition in1883, by Lady Marian Alford. Provenance: Probably Mary, Dowager Marchioness of Thomond, Her sale Christie's, 26th May 1821 The collection of Alison Barker, 1951 - 2021, London and Chichester, London barrister and lifetime collector Facsimile label verso, Robert Thatcher Stationer, Charles Duke of Buccleuch, Sketch book 1757 Literature: Mannings, D. Sir Joshua Reynolds, A Complete Catalogue of his Works, Yale 2000, p.406, no.1582, fig.1195Pose studies such as this are rare survivals.Mary Palmer, Marchioness of Thomond (1750 -1820) was the `favourite' niece and principal heiress of Sir Joshua Reynolds. In 1792 she married Murrough O'Brien, 5th Earl of Inchiquin (d. 1808), who was created 1st Marquess of Thomond in 1800. Her sale at Christie's in 1821 included 450 Reynolds drawings and 9 sketch books which were sold in 15 lots. Most of the known sketches derive from this sale. The painting was most probably created in 1778 and a small oil sketch for it was lent to a Grosvenor Gallery in 1883 by Lady Maria Alford Condition Report: There is a small tear (approx. 1cm) to the upper left framing edge. There is a further tear to the lower left corner (approx. 2cm. There is some very light discolouration to the sheet and staining along the framed edges. One or two very small spots of foxing but these are not particularly noticeable. Undulation to the sheet under the glazed frame. Unexamined out of glazed frame. Condition Report Disclaimer
WILLIAM STRUTT (BRITISH 1825-1915) `L'ABREUVOIR,' THE WATERING PLACE Oil canvas Signed (lower left) 66 x 161cm (25 x 63¼ in.)Exhibited: Possibly Paris 189* (according to a fragmentary label on the reverse) Condition Report: The canvas has been lined. Some superficial surface scratching throughout. There is some discolouration caused by a dirty varnish, and some brown spots of surface dirt concentrated along the upper edge of the sky. The work would benefit from a clean. Rubbing and abrasions to the framing edges. Light craquelure throughout. Inspection under UV light reveals scattered retouching throughout. There is additional flaring to the darker pigment, but this all appears to be original to the work. A green varnish is also detectable. Condition Report Disclaimer
ATTRIBUTED TO SIR THOMAS LAWRENCE (BRITISH 1769 -1830) PORTRAIT OF A YOUND GIRL WITH A SHEEP, POSSIBLY LOUISA CLARA BOSANQUET (1826-1922), LATER MRS HORACE MEYER Oil on canvas 76.2 x 63.5cm (30 x 25 in.)Provenance: Probably Sir Michael Walker Private collection, UK. Recent research into the chalk inscription to the stretcher of the present lot, suggests that the picture was probably owned by the British diplomat Sir Michael Walker (1916 - 2001). One of Walker's ancestors, David Bevan (1774 - 1846) was one of the bankers who founded Barclay, Bevan and Co., which went on to become Barclays Bank. Bevan's wife, Favell Bourke Lee was painted by Lawrence (see, Bonhams, Old Master Pictures, 25 October 2017, lot 44), and it is therefore reasonable to suggest that her granddaughter Louisa Clara Bosanquet (B.1826), may also have been painted by the artist. The suggestion of Louisa as a candidate for the sitter in the present lot becomes even more compelling when we learn that, though her aunt Mrs. Thomas Mortimer, she had a link to a pet sheep which she is known to have helped to bathe in the sea. In addition to a sheep, Mortimer, who wrote some of the most educational children's books of the nineteenth century (such as The Peep of Day), had a menagerie of pets including a parrot which she took to bed, and a donkey. As Mortimer's favourite niece the pair went on to write two books together. The present lot is comparable to Sir Thomas Lawrence's portrait of Lady Alexandrina Vane, No. 785, and George Vane-Tempest, No. 512 (Garlick, Sir Thomas Lawrence - A Complete Catalogue of the Oil Paintings). Condition Report: The canvas has been lined. Some very light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. There is also a small (approx. 2cm) area of repair to the sitter's lower right cheek, and this over-painting is also visible in a natural light.Framed measurements 97 x 83cmCondition Report Disclaimer
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) THE NEWCASTLE TO YORK COACH; AND CHANGING HORSES Oil on canvas, a pair Both signed and dated '1835' and '1841' [?] (both lower left) Each 55 x 67cm (21½ x 26¼ in.) (2) Condition Report: The first painting: The canvas has been relined and presents a subtle craquelure in the upper section. UV light reveals a few retouches most evident in the section of the sky, where a few infills are present. Craquelure is most visible in the section of the sky. The second painting: The canvas is relined. UV light reveals a few infills in the sky and a couple small retouches in the background area. A subtle craquelure is visible in the section of the sky. Framed measurements: 79 x 91.5 cm Condition Report Disclaimer
FREDERIC YATES (BRITISH 1854-1919) THE JAPANESE GIRL, YOKOHAMA Oil on board Signed, inscribed and dated `Yokohama/1899' (lower right) 31 x 22cm (12 x 8½ in.)Yates lived at Rydal in Westmorland and was a founder member of the Lake Artists' Society. He painted portraits and landscapes exhbited at the Royal Academy. Like artists before him, such as George Henry and E. A. Hornel, he travelled and painted in Japan. His picture entitled Japanese Shrine is in The Lang Art Gallery in Newcastle upon Tyne. He also painted in San Francisco and Hawaii. Condition Report: The work appears to be in good original condition with no evidence of restoration or repair when inspected under UV light. Unexamined out of glazed frame. Framed measurements: 46 x 36.5 cmCondition Report Disclaimer
FOLLOWER OF MELCHIOR D'HONDECOETER FOWL BIRDS IN A LANDSCAPE Oil on canvas 92 x 121cm (36 x 47½ in.) Condition Report: The canvas is relined. UV light reveals an unevenly applied varnish across the whole surface, a few retouches in the foliage in the upper left corner, a few retouches on coq at the centre background, and, to conclude, retouching on the wings of the pigeon, and to the area to its right. Framed measurements: 137.5 x 109.5 cm Condition Report Disclaimer
THOMAS GAINSBOROUGH (BRITISH 1727-1788) PORTRAIT OF A GENTLEMAN, BUST-LENGTH, IN A GREEN COAT Oil on canvas, painted oval 74 x 61cm (29 x 24 in.) In a rococo frameProvenance: By descent to the sitter's great-grandson, Col. Hogarth, West Country, c.1900 Mrs Larson J.S. Birt, his anonymous sale, Sotheby's 12th July 1967, lot 97, where purchased by Mrs P.M. Spens (£900) With Leger Galleries, by December 1967 Where purchased by the present owner in May 1969Literature: Belsey, H. Gainsborough Portraits, Volume II, p.933, No.1026Exhibited: Leger Galleries, 1968, No.8 Gainsborough's House 1988 (short-term loan)In Hugh Belsey's Gainsborough Portraits (op. cit.) he notes that the portrait was wrongly attributed to the artists nephew Gainsborough Dupont, a view supported at the time by Ellis Waterhouse, He goes on to say `However, the sensitivity of the head and the and the relative flatness of the coat due to overpaint, firmly support an attribution to [Thomas] Gainsborough.' Condition Report: Framed measurements: 96 x 83 cm The canvas is relined and presents a subtle craquelure which is most visible on the visage go the sitter. UV light reveals no evident signs of restoration. There are a few scattered dotted stains across the canvas, but hardly noticeable. Condition Report Disclaimer
λ ETHELBERT WHITE (BRITISH 1891-1972) FIGURE IN A WOODED LANDSCAPE Pencil 18 x 14cm (7 x 5½ in.) Provenance: Hilary Chapman Moore-Gwyn Fine Art, London Sale, Christie's, London, Dramas Of Light and Land: The Martyn Gregory Collection of British Art, 24 May 2022, lot 83 Exhibited: London, Martyn Gregory, A Foray in to the 20th Century: Works by British Artists, April-May 2015, no. 83 This lot to be sold without reserve
DANIEL CLOWES (BRITISH 1774-1829) A HORSE WITH A HOUND IN A WOODED LANDSCAPE Oil on canvas Signed (lower right) 44.5 x 60.6cm (17½ x 23¾ in.) Provenance: Sale, Christie's, London, The Brian Juhos Collection, 1 May 2013, lot 453, where purchased by the present private collector Condition Report: The canvas has been lined. Stretcher marks and craquelure throughout. One or two spots of brown surface dirt to the background areas. The paint is wearing thin in some places, most noticeably the green of the trees' leaves. There is a small area of possible repair above the horse's head in the sky (approx. 3cm diameter) and this can be seen in natural light. Inspection under UV light reveals scattered retouching and infilling throughout, together with the aforementioned area of repair.Condition Report Disclaimer
HENRY GARLAND (BRITISH FL. 1854-1890) HIGHLAND CATTLE Signed and dated '1881' (lower left) 94 x 174cm (37 x 68½ in.) Condition Report: Framed measurements: 213 x 137 cm - depth 14 cm The canvas is relied and presents an uneven craquelure across. UV light reveals an unevenly applied varnish and a 60 cm long retouching to the left of the light brown highland cow. A further patch of of about 7cm retouching is present in the bottom border. Further smaller scattered retouches are present on the cattle. Condition Report Disclaimer
JAMES LYNWOOD PALMER (BRITISH 1868-1941) A BAY HORSE IN A WOODED LANDSCAPE Oil on canvas Signed and dated `1915' (lower right) 70 x 75cm (27½ x 29½ in.) Condition Report: The canvas has been lined. There is a layer of discoloured varnish, and some superficial spots of surface dirt and scratching scattered throughout. Craquelure throughout, some of which is heavy and causing pronounced white cracked lines (visible in online and catalogue illustrations). The paint surface however appears to be stable. Inspection under UV light reveals retouching and in-filling throughout. Some of this infilling is visible in natural light.Condition Report Disclaimer
GEORGE MORLAND (BRITISH 1762/3-1804) PIGS IN A STY Oil on canvas Signed (lower left); also with later signature and date (lower left); later signed and dated '1796' (verso) 46 x 58cm (18 x 22¾ in.) Condition Report: The canvas has been lined, and is a little slack. There is a dirty yellow varnish throughout. Light craquelure throughout. One or two spots of loss scattered throughout. Inspection under UV light reveals scattered retouching, together with a green cloudy varnish throughout.Condition Report Disclaimer
FRANZ DE PAULA FERG (AUSTRIAN 1689-1740) TRAVELLERS ON A COUNTRY PATH, A RIVER LANDSCAPE BEYOND Oil on copper Signed (lower right) 32 x 41cm (12½ x 16 in.) Provenance: Sale, Bonhams, London, 8 July 2015, lot 80 Condition Report: The copper presents a thickly applied varnish and scattered dirt stains. Other than a small retouch in the greenery to the right, UV light reveals no evident signs of restoration. Nevertheless, some restorations might be masked by the thick varnish. Condition Report Disclaimer
GEORGE FREDERIC WATTS (BRITISH 1817-1904) PORTRAIT OF MR RICHARD EDMONDS Oil on canvas Later signed (lower left) 25 x 20cm (9¾ x 7¾ in.)Provenance: The sitter's granddaughter Mrs Emma ShorterExhibited: London, Leighton House, August - November 1905 The 1905 exhibition of works by G.F Watts at Leighton house included a number of works which were lent by Mrs Russell Barrington (The author of The life, letters and work of Frederic Leighton Vol.I&II). In a letter to Mrs Barrington dated August 1905, Mrs Shorter writes of the present lot:I had an interview with my aunt yesterday on the subject of the little picture of her father by the late Mr Watts. She informed me that she cannot quite remember the year in which it was painted but it was certainly not later than 1834.Mr Watts' father in those days was a piano tuner and used to go to Mr Richard Edmonds' house at New Cross to tune the pianos, during that time he was always talking of his son's great talent...Mr Edmonds wishing to encourage the young artist gave him a sitting. it was not signed at the time of painting but 5 years ago Mr Watts recognised it as his work and kindly affined his signature'.The portrait was subsequently shown to Mr Richard Jeffries circa 1996/7 who confirmed the attribution.We are grateful to Richard Ormond for his help in preparing this catalogue entry. Condition Report: The canvas has been lined. Light craquelure throughout together with some associated infilling, some of which is visible in natural light. Light rubbing and abrasions to the framing edges. One or two small indentations to the lower right quadrant however these are only visible in a raking light, and even then, barely noticeable. Inspection under UV light reveals scattered retouching and infilling throughout, including a more concentrated area to the sitter's forehead. Framed measurements: 32 x 27 cm Condition Report Disclaimer
PIETRO ANTONIO ROTARI (ITALIAN 1707-1762) YOUNG BOY WEARING A TEAL GILET Oil on canvas 43 x 33cm (16¾ x 12 in.) In 1734 after studying in Rome and Naples Pietro Rotari returned to his hometown of Verona where he opened a private academy concentrating on the production of historical and religious paintings. By 1740 his success brought him the title Count of the Venetian Republic and the following year he travelled to Vienna, where he was introduced to Jean-Etiènne Liotard, the celebrated Swiss pastellist, whose work profoundly influenced him. He was in Dresden, in the service of Frederick Augustus III, when he received an invitation from the Empress Elisabeth of Russia, daughter of Peter the Great, to come to St. Petersburg as first painter of the court. He arrived in 1756 and soon amassed a large fortuneAlthough he continued to work as a history painter in Saint Petersburg, it was there that Rotari developed the genre still associated with his name: small paintings of idealized heads, delicate and studiously artless in style, depicting the emotions of young boys and girls. After Rotari's sudden death in 1762, Catherine the Great bought 340 of the artist's 'fancy pictures' for the salon of Peterhof. The pictures Catherine did not buy were returned to Rotari's family in Verona, where they remained in the possession of his descendants until the late nineteenth century.This lot is from a deceased's estate sold to benefit the Art Fund. Condition Report: The canvas has been lined. Stretcher marks and associated craquelure visible. Additional craquelure throughout. Some superficial spots of surface dirt throughout. Inspection under UV light reveals light retouching and infilling scattered throughout; however this is very sensitively done, there are also traces of a green cloudy varnish.Condition Report Disclaimer
FOLLOWER OF HENDRICK AVERCAMP WINTER SCENE Oil on panel, oval 29 x 29cm (11¼ x 11¼ in.) After the painting in the Hamburger Kunsthalle, Hamburg Condition Report: The panel presents a subtle craquelure across the whole surface, a thin layer of dirt, and a few scratches near the border. UV light reveals some slight retouching on the boats, and various infills in the sky, where the craquelure has widened. To conclude, further retouching is present near the borders, where there must have been abrasions with a past frame, such retouching is most evident on the right border. Framed measurements: 53.5 x 53.5 cm Condition Report Disclaimer
GEORGE MORLAND (BRITISH 1763-1804) PORTRAIT OF A GENTLEMAN PATRON, THREE-QUATER LENGTH, SEATED BEFORE A LANDSCAPE PAINTING Oil on canvas Signed (to painting, lower left) 62 x 40.5cm (24¼ x 15¾ in.) Provenance: A. Heywood-Lonsdale By whom sold, Christie's, London, 24 October 1958, lot 90, as a Self Portrait Fine Art Society, London, purchased from the above (when advertised in Apollo, December 1958) Sale, Sotheby's, London, 23 June 1971, lot 66, as a Self Portrait Sale, Sotheby's, London, 27 June 1973, lot 74, as a Self Portrait Literature: D. Winter, George Morland (1763-1804), doctoral diss., Stanford University, California 1977, p. 197, no. P203 (dated to 1800-1804) A similar depiction of a patron admiring an oil painting by Morland (also signed on the canvas within the picture), is known to be a portrait of Henry Wright; it was at Sotheby's, London, 13 July 1988, lot 190 Condition Report: The canvas has been lined. Craquelure throughout. Some rubbing and abrasions to the framing edges. Inspection under UV light reveals a possible old repair, running horizontally (approx. 10cm) under the sitter's hairline, as well as retouching and in-filling throughout.Condition Report Disclaimer
CHARLES TOWNE (BRITISH 1763-1840) THOMAS WORTHINGTON WITH HIS SADDLED HUNTER AND A GROOM IN FRONT OF HIS HOUSE, MAKING PLACE HALL, RIPPONDEN Oil on canvas Signed and dated '1794' (lower right) 97 x 120cm (38 x 47 in.) Provenance: Sale, possibly Christie's, 15 April 1988, lot 23 [?] Condition Report: Framed measurements: 115 x 138 cm The canvas is relined and presents a thick vanish applied across the whole surface. UV light reveals a few dotted retouches in the sky and near the bottom border. In addition, a thick layer of dirt is present. To conclude, the varnish might conceal a few retouches on the coat of the gentleman to the left. Condition Report Disclaimer
λ SIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot. Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer
CIRCLE OF JOHN LINNELL (BRITISH 1792 - 1882) A PAIR OF PORTRAITS Oil on canvas Each 31 x 25.5cm (12 x 10 in.) (2) Condition Report: Each canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges, Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
THOMAS LUNY (BRITISH 1759-1837) SHIPS BELOW OLD LONDON BRIDGE, WITH THE CHURCH OF ST. MAGNUS THE MARTYR AND WREN'S 'MONUMENT' Oil on canvas Signed (lower right) 55 x 85cm (21½ x 33¼ in.) Provenance: Arthur Ackermann & Sons Ltd, London A bigger version of this painting was auctioned at Christie's, London, Old Master Paintings and Sculpture: Online, 25 November 2022 - 9 December 2022, lot 199 (unsold) Condition Report: The canvas has been lined. Light craquelure throughout with a very small area of lifting to the paint (approx. 2mm) to the upper right edge. Stretcher marks visible, most noticeably along the upper edge. Some light craquelure scattered throughout. Areas of diagonal in-filling to the sky visible in natural light to both the upper left and right quadrants. Inspection under UV light reveals retouching and in-filling throughout together with traces of a green varnish.Condition Report Disclaimer
THOMAS SIDNEY COOPER (BRITISH 1803 - 1902) LIVESTOCK IN A LANDSCAPE Oil on canvas Signed and dated '1857' (lower right) 44.5 x 60cm (17½ x 23½ in.) Provenance: Sale, Stanworth, 3 February 1995 A Northamptonshire collection, acquired from the above Condition Report: The canvas is relined. UV light reveals various retouches: most evident near the left and right borders. On the right border the retouching covers all the section of the sky and is about 2.5cm wide. Further scattered retouching is present in the background areas, and various infills at the centre and centre right of the painting. A visible craquelure at the centre of the painting. Framed measurements: 61 x 77 cm Condition Report Disclaimer
CIRCLE OF GEORGE BARRET (IRISH CIRCA 1728-1784) FISHING SCENE AT SUNSET Oil on canvas 86 x 107.5cm (33¾ x 42¼ in.) Provenance: Sale, Sotheby's, 28 November 2002, lot 121 Condition Report: The canvas has been relined, and presents a subtle craquelure across the whole surface, most evident in the section of the sky. UV light reveals various infills in the sky, and various retouches, the most evident to left of the castle, where a patch of about 8cm in length is visible. In addition, a few retouches are present on the animals and greenery. Framed measurements 106 x 128cmCondition Report Disclaimer
AFTER RICHARD WILSON VIEW ON THE RIVER DEE NEAR EATON HALL Oil on canvas 46.5 x 62.5cm (18¼ x 24½ in.)Provenance:William Angerstein His Sale, Christie's, London, 20 June 1874, lot 5 Earl Fitzwilliam His Sale, Christie's, 11 June 1948, lot 70 Agnew & Sons, London, 1948, No. 14789 (to old label verso) Where purchased by a relative of the present owner in 1952 Wilson painted many versions of this subject, including paintings now in The Courtauld Gallery, The Barber Institute of Fine Arts and at Petworth House. The most comparable version in the National Library of Wales collection but like this picture, it is now thought to be by a follower of Wilson. We are grateful to Richard Wilson Online for their assistance with preparing this catalogue entry. Condition Report: The canvas has been lined. There is a layer of dirty varnish and surface dirt which has caused some discolouration and the work would benefit from a clean. Craquelure throughout, some of which has been in-filled. Some of this over-painting is visible in natural light. The paint wearing thin in some areas. Rubbing and abrasions to the framing edges. Inspection under UV light reveals retouching and in-filling throughout, as well as a heavy varnish. Framed measurements: 63 x 79 cm Condition Report Disclaimer
JAMES WARD (BRITISH 1759-1859) A LIVERY STABLE Oil on canvas 69 x 90cm (27 x 35¼ in.) Provenance: Sale, Sotheby's New York, 21 May 1998, lot 189, where purchased by the present private collector Condition Report: The canvas has been lined. Craquelure throughout. Stretcher marks partially visible. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout, including along the stretcher lines. Framed measurements: 85 x 105cm Condition Report Disclaimer
WILLIAM HUGGINS (BRITISH 1820-1884) THE RUINS OF ST JOHN'S CHESTER Oil on canvas Signed and dated `1873' (lower right) 51 x 45.5cm (20 x 17¾ in.) Condition Report: Unexamined out of glazed frame. There are few superficial scratches near the borders of the picture. UV light reveals no evident signs of restoration. The pictures appears in good condition. Framed measurements: 64 x 69 cm Condition Report Disclaimer
JOHN DOWNMAN (BRITISH 1750-1824) A GENTLEMAN, WEARING BROWN COAT, WITH WHITE STOCK AND CHEMISE Oil on copper, oval 20 x 16cm (7¾ x 6¼ in.) Provenance: The Collection of Timothy Clowes Sale, London, Sotheby's, Old Master and Early British Paintings, 29 October 2009, lot 128 Sale, Dreweatts, Fine Art Timed Online Auction, 25 February 2022, lot 126 Condition Report: The copper presents a sublet craquelure, most noticeable on the visage of the sitter. UV light reveals an unevenly applied varnish, but no evident signs of restoration. A few yet small dots of retouching are present near the borders. Framed measurements: 34.5 x 31.5 cm Condition Report Disclaimer
FOLLOWER OF ANTONIO JOLI THE TIBER, ROME, LOOKING TOWARDS THE PONTE SANT' ANGELO AND THE CASTEL SANT' ANGELO, SAINT PETERS BEYOND Oil on canvas 99 x 118cm (38¾ x 46¼ in.)Provenance: A European private collection (acquired circa 1963 - 65) Sale, Christie's, South Kensington, 9 July 2004, lot 197 Condition Report: The canvas has been lined. Central stretcher marks are visible with associated fine craquelure. Further craquelure throughout with a very small area (approx. 2cm) just starting to lift in the lower right quadrant. Some light surface dirt throughout, and this has caused a little bit of light discolouration to the sky. Rubbing and abrasions to the framing edges. Some light surface dirt, and superficial surface scratches throughout. Inspection under UV light reveals very light scattered retouching throughout. The presence of a green cloudy masking varnish may be concealing further retouching.Condition Report Disclaimer
GEORGE VICAT COLE (BRITISH 1833-1893) THE HARVESTERS Oil on canvas Signed and dated '1881' (lower left) 43 x 64cm (16¾ x 25 in.) Condition Report: The canvas has not been lined and is a little slack. There is a small area to the lower left corner where the stretcher support is pushing on the canvas causing some undulation. There is an uneven varnish. Stretcher marks visible. Craquelure throughout, however the paint surface appears stable. Some brown spots of surface dirt scattered throughout. There is a small patch (verso) at the centre of the upper edge which corresponds with a small area of repair (approx. 2cm) (recto). This area of repair with some over-paint which is visible in a natural light. Inspection under UV light reveals a small area of retouching to the aforementioned area of repair. Framed dimensions 63 x 82cmCondition Report Disclaimer
ALFRED DE BREANSKI SENIOR (BRITISH 1825-1928) LANDSCAPE AT SUNSET Oil on canvas Signed (lower left) 59.5 x 89cm (23¼ x 35 in.)Provenance: Harrods, circa 1958, where purchased by the present owners father Condition Report: The canvas has not been lined. There is a small tear to the canvas (approx. 2.5cm) to the centre of the sky. Inspection under UV light reveals no evidence of restoration or repair.Condition Report Disclaimer
FRANCIS SARTORIUS (BRITISH 1734-1804) A CHESTNUT HORSE AND A GROOM Oil on canvas Signed (lower right) 49.5 x 60cm (19¼ x 23½ in.) Provenance: Sale, Sotheby's, London, 12 March 1986, lot 109 Sale, Christie's, London, Sporting and Wildlife Art, 5 June 2013, lot 46 Condition Report: The canvas has been lined. There is a dirty varnish which is causing some discolouration. A prominent white surface scratch (approx. 3cm) running horizontally in the sky above the horse (visible in online and catalogue illustrations). One or two smaller surface scratches scattered throughout. There is an area of loss to the pigment and ground at the lower left corner (visible in online and catalogue illustration), as well as some minor rubbing and abrasions to the framing edges. There is a small area of over-paint (approx. 5mm) to the horse's belly which is visible in natural light. There is a small circle of uneven surface (approx. 1cm) to the sky in the upper left quadrant but it is possible this occurred during the work's conception. Inspection under UV light reveals scattered retouching and in-filling throughout.Condition Report Disclaimer
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