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283284 Los(e)/Seite
Los 270
AFTER SIR THOMAS LAWRENCE (1769-1830) A miniature portrait of Arthur Wellesley, 1st Duke of Wellington watercolour, 6cm x 5cm (oval); together with a bronze relief portrait of Napoleon styled as Augustus Caesar, 8cm diameter; and a miniature portrait of General Rowland Hill, 1st Viscount Hill , watercolur 7.25cm dia. (3)
Los 168
EDITH WILLIAMS (NEE FITZGERALD) (BRITISH 1851-1914)SELF PORTRAIT / PORTRAIT OF THOMAS WILLIAMSOil on canvas60 x 50cm (23½ x 19½ in.) (2)Provenance:The artist's family and by descent Condition Report: The lead image: canvas has been lined. Craquelure across the surface of the work, but paint layers appear stable. The lower half shows some paint retraction, presumably from exposure to a heat source. UV reveals signs of retouching the colour, lips and hair. Portrait of the man: Thick layer of surface dirt and heavily discoloured and uneven varnish. Craquelure across the work including some cupping of the paint. Abrasions around the edges and small scattered areas of paint loss. UV reveals retouching including in the sitters face. Condition Report Disclaimer
Los 28
λ FRANK MOSS BENNETT (BRITISH 1874-1952)PORTRAIT OF BESSIE, 7TH VISCOUNTESS GORTOil on canvasSigned and dated1922 (lower right)125 x 108cm (49 x 42½ in.)In a silver painted Sunderland style frame.Bessie, 7th Viscountess Gort, née Surtees (1896-1972), married Standish Robert Vereker MC (later 7th Viscount Gort) in 1921. She was the daughter of Aubone Surtees (1865-1923), one of Britain's first international Rugby players. Bessie was named after her famous cousin Bessie Surtees who, in 1772, had eloped from her father's house in Newcastle with the coal merchant's son, John Scott, the future Lord Eldon and Chancellor of England. Bessie shared her husband Robert's passion for restoration projects, working with him on the restoration of Bessie Surtees' House in Newcastle and later on Bunratty Castle in Ireland.Condition Report: The canvas is not relined. Horizontal stretcher mark visible through the centre of the work. A small patch of craquelure with associated cupping and very minor loss to the right side of the lower edge (just to the left of the signature). Inspection under UV reveals an uneven varnish which may possibly be concealing the extent of retouching. Otherwise no obvious evidence of retouching or repair. Condition Report Disclaimer
Los 29
CIRCLE OF SIR PETER LELY (BRITISH 1618-1680)PORTRAIT OF A LADY, THREE-QUARTER-LENGTH, IN A SILVER DRESSOil on canvas125 x 98cm (49 x 38½ in.)Condition Report: The canvas has been lined and the stretcher is of later date. Surface dirt and a thick layer of discoloured varnish. Several marks and abrasions. Fine craquelure with flaking paint mainly around the edges. UV reveals signs of retouching mainly around the edges and a repair to the right of the figure's neck. Condition Report Disclaimer
Los 32
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
Los 36
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
Los 39
ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A GENTLEMAN AGED 68Oil on canvasInscribed and dated Aetatis sua 68/Ano.Domi 1660 (upper right)75 x 61cm (29½ x 24 in.)Provenance: Sale, Christie's, Pitchford Hall House Sale, 29 September 1992, lot 568Sale, Dreweatts, The Collection from Plaish Hall, Church Stretton, Shropshire - The Collection of Mrs Roy Merley and Family, 15 May 2019, lot 122Condition Report: The canvas has been lined and is on a later stretcher. It appears cleaned and revarnished. A few areas of fine craquelure but paint appears stable. UV reveals signs of scattered retouching in the sitter's face and hand as well as some broader retouching in his right sleeve. Condition Report Disclaimer
Los 40
ENGLISH SCHOOL (17TH CENTURY)PORTRAIT OF A LADY WITH HER SPANIELOil on canvas73.5 x 62.5cm (28¾ x 24½ in.)Condition Report: The canvas has been relined. Discoloured varnish. Two repairs in the hand and in the garment, visible to the naked eye. UV light reveals retouches in the dog, the sitter's hair as well some smaller retouches in the face where the paint is slightly thinning. Fine craquelure throughout with a few related areas of paint loss. Scattered abrasions, including around the edges. Condition Report Disclaimer
Los 42
CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646-1723)PORTRAIT OF A LADY: PORTRAIT OF A GENTLEMAN Oil on canvas125 x 100cm (49 x 39¼ in.) (2)In 18th Century carved and gilded framesCondition Report: Both canvases have been relined. The portrait of the man has a v-shaped repaired tear on his right arm. There is some retouching in this areas as well as some small spotting in this area as well. There are other areas of retouching in the background but generally the paint surface is in good original condition,. In the portrait of the lady, there appears to be two repaired tears, one in her right arm and in in the background next to her left hand. There are retouching in these areas and in other areas including on the sitters chest but generally the paint surface is well reserved. They are presented in 17th century carved and gilded frames. Condition Report Disclaimer
Los 44
SIR GODFREY KNELLER (BRITISH 1646 - 1723)PORTRAIT OF LADY GRIFFITHOil on canvas laid to boardSigned and dated 1687 (lower left)126 x 100cm (49½ x 39¼ in.) Condition Report: The painting is covered in surface dirt and a thick layer of discoloured varnish. The board is cradled. Several marks and abrasions. Paint thinning and fine craquelure in various areas with related scattered areas of paint loss, mainly in the lower half. UV light reveals signs of retouching, predominantly in the sitter's dress and around the edges. Condition Report Disclaimer
Los 61
GEORGE STUBBS (BRITISH 1724-1806)A KING CHARLES SPANIEL IN A LANDSCAPESigned (lower right)Oil on canvas59.8 x 71cm (23½ x 27¾ in.)Provenance:Arthur Ackermann & Sons, LondonMajor P.G.G.Shuter, C.1950Arthur Ackermann & Sons, LondonLord RootesSale, Sotheby's, London, 23 November 1966, lot 84Sale, Sotheby's, New York, 26 April 1967, lot 52R.A. McAlpineArthur Ackermann & Sons, LondonLewis SchottPrivate CollectionSale, Sotheby's, New York, 31 January, 2019, lot 286 ($40-60,000 unsold)Literature:R. Fountain and A. Graves, Stubbs' Dogs, London 1984, p. 85, cat. no. 9, reproduced fig. 55Dog portraiture began in France at the court of Louis XIV, who commissioned portraits of his favourite hounds from Jean-Baptiste Oudry. In England, where the emphasis in hunting was increasingly being placed upon the performance of individual hounds, this was reflected in the paintings of contemporaries John Wootton and Peter Tillemans, the former of whom in particular started to produce portraits of dogs in the mid eighteenth century.Though dogs, particularly hounds, had featured in Stubbs's work since the mid-1760, and his skill for rendering the distinctive features of individual hounds in paint had been demonstrated in his paintings of The Charlton Hunt and The Grosvenor Hunt, it was not until the mid-1770s that portraits of single dogs begin to feature with any regularity within his repertoire. A fine example of this new emphasis in Stubbs's work can be seen in the series of seven pictures he painted for John Musters of Colwick Hall, Nottinghamshire, circa 1777. Among this groups are two portraits of Mrs Musters spaniels, both of which are lovingly commissioned portraits of adored family pets. Of all breeds spaniels were those that Stubbs painted most frequently, they appear in no less than ten portraits and twice as part of the composition in the portrait of a horse. The King Charles spaniel in particular - one of many breeds favoured by King Charles II - had been kept as a pet of the rich for many years.Condition Report: The canvas has been lined and mounted on a later stretcher. A thick layer of surface dirt and discoloured varnish. Fine craquelure across the surface of the work, but the paint layers appear stable. Extensive overpainting in scattered patches from several restoration campaigns. The canvas is slightly loose along the right hand edge. Condition Report Disclaimer
Los 63
JOHN FERNELEY SENIOR (BRITISH 1782-1860)PORTRAIT OF MR WHITE, ON A HUNTER WITH HOUNDS, A GROOM HOLDING ANOTHER MOUNTOil on canvas Signed, inscribed and dated `Melton Mowbray/1816' (lower left)87.6 x 118cm (34¼ x 46¼ in.)Provenance:Ehrich-Newhouse Galleries, New York, 1935William de Krafft, Heronden Hall, Tenterden, Kent, Christie's, London, 6 November 1959, lot 121 (900 gns. to Ackermann)Private collection and thence by descent Literature:Major Guy Paget, The Melton Mowbray of John Ferneley (1782-1860), Leicester, 1931, p. 128, no. 51, as 'Mr White, 1816, Portrait of Himself and Two Horses'Although this picture has traditionally been thought to show Captain John White, Master of the Cheshire Hunt from 1841-1855, the date of 1816 would suggest the sitter is more likely to be "Melton White", a 'patron of Ferneley during his first years at Melton' (Paget, op. cit., p. 28). This may well be the J. White Esq., for whom Ferneley painted a horse portrait the following year (ibid., p. 129, no. 78) and two further portraits in 1828 (ibid., p. 135, no. 254).Condition Report: The canvas has been lined. Thick layer of surface dirt and discoloured varnish, which makes it difficult to read under UV, but we cannot find any signs of retouching. Condition Report Disclaimer
Los 75
STUDIO OF SIR JOSHUA REYNOLDS (BRITISH 1723 - 1792)PORTRAIT OF CHARLES PRATT, 1ST EARL CAMDEN (1713-1794)Oil on canvas231 x 147.5cm (90¾ x 58 in.)UnframedProvenance:In store at Spink's, 1997Sale, Dreweatts, The Camden Sale, 14 September 2010, lot 97Elibank House, Taplow- a Grade II Listed Queen Anne houseLiterature: David Mannings and Martin Postle, Joshua Reynolds: A Complete Catalogue of his Paintings, New Haven/London, 2000, cat. no. 1476, fig. 854.Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., London, 1899-1901, I, 144-145Ellis Waterhouse, Reynolds, London 1941, 56Exhibited:Royal Academy, 1880 (13)British Institution, 1813 (7)Painted probably in 1765-66 and subsequently engraved by J. G. Haid in 1766 it depicts the Lord Chancellor Camden, in red judicial robes in front of a red curtain with a red chairback. The lawyer and statesman was an MP for Downton 1757-62, created Baron in July 1765, and Earl Camden in May 1786. It was Lord Camden who, presiding in the Court of Common Pleas, declared General Warrants illegal and awarded damages to Reynolds's friend, John Wilkes. A copy of 90 x 70 cm resides in the National Portrait Gallery (459). Condition Report: The canvas has been lined and is on a new stretcher which is providing very good support. There are numerous small spots of paint loss particularity by the sitters hand and in other background areas. There is also surface cracking. Under UV light there are scatters areas of retouching including to the light side of the sitters face and his wig as well as numerous background areas. The varnish layer is quite uneven and discoloured. Condition Report Disclaimer
Los 80
ENGLISH SCHOOL (18TH CENTURY)PORTRAIT OF A GENTLEMAN HOLDING A TRICORN HATOil on canvas, feigned oval74 x 62cm (29 x 24¼ in.)Condition Report: The canvas has been lined and is on a later stretcher which is providing good support. There is fine surface cracking across the image but the paint layer appears stable. There is a very minor abrasion in the top left side. Under UV light there are some scattered areas of retouching across the picture but these are all very finely executed and not major, although some of these are visible to the naked eye. The varnish layer is discoloured and has some surface dirt and would benefit from a light clean. Condition Report Disclaimer
Los 84
Y GEORGE ENGLEHEART (BRITISH 1750-1829)PORTRAIT OF A GENTLEMAN IN A YELLOW COATOil on ivory3.5 x 3cm (1¼ x 1 in.) Together with eighteen other late 18th and early 19th century portrait miniatures of unidentified sitters, including one after George Engleheart, one by John Turmeau, one in the manner of William Hobday, one in the manner of William Patten, one signed work by A. E. Chalon, one By Maria Chalon, and eight by Thomas Hargreaves. The largest 13,5 x 11,5 cm, the smallest 3,5 x 3 cm. (19)Framed as two groups of eight and eleven, in oval frames, the largest overall: 52,5 x 45 cm. Please note: CITES has been marked for this lotCondition Report: All the miniatures are unexamined out of their common frames. Generally they all appear to be in good original condition. The central rectangular painting has areas of discolouration and the fading of some of the pigments. The velvet mounts are slightly faded and discoloured. Several of the panels appear to be very slightly bowed but generally in very good condition. The frames have minor chips and losses to the edges. Condition Report Disclaimer
Los 85
Y FRANCOIS FERRIERE (SWISS 1752-1839)PORTRAIT MINIATURE OF HARRIET CATHERINE SCOTT (TOWNSHEND), COUNTESS OF DALKEITH AND DUCHESS OF BUCCLEUCH, TOGETHER WITH HER TWO CHILDRENOil on ivorySigned and dated 1799 (centre left)12 x 10cm (4½ x 3¾ in.)Harriet Catherine Scott Townshend was the youngest daughter of the 1st Viscount Sydney and married Charles William Henry Montagu-Douglas-Scott, 4th Duke of Buccleuch in 1795. She is depicted with her two children, Anne Elizabeth Montague and George Henry Montagu Douglas- Scott, who was to become the 5th Duke of Buccleuch. Please note: the cataloguing for the medium of this lot has been amended to oil on ivory. Please also note: CITES has been marked to this lot. Condition Report: Unexamined out of glazed frame. Cracking in the red pigment at the edge of the table. Light rubbing to the edges. Inspection under UV reveals a green varnish and light retouching scattered across the surface. Condition Report Disclaimer
Los 87
FOLLOWER OF GEORGE HENRY HARLOWPORTRAIT OF CORNET THOMAS HENRY CLARKE TERRY OF THE 15TH HUSSARS (AGED 18)Oil on canvas119.5 x 97.5cm (47 x 38¼ in.)Thomas Henry Clarke Terry (1810-1897) was gazetted Cornet in the 15th King's Hussars on 17 April 1828, around which time the present portrait was painted. He later served in the Surrey Yeomanry as Lieutenant and commanded the 3rd Royal Surrey Militia. In 1839 he married Charlotte Fellowes 1839, who was the second daughter of Henry Fellowes of Hurstbourne Park, Southampton, sometime Master of the Vine Hounds, where the Duke of Wellington hunted and with whom Charlotte was well acquainted.Condition Report: The canvas has been lined. There is evidence of a T-shaped tear in the lower left quarter on the sitters hat. The relining of the canvas is supporting this but the areas has not been filled. The canvas is slightly uneven below the sitters chin. Under UV light there is evidence of retouching under the sitters chin and in his hat as well as scattered area in the background, particularly in the lower left quarter. There is a V-shaped surface scratch to the right of the sitters head. It has just been cleaned and re-varnished. Condition Report Disclaimer
Los 88
CIRCLE OF SIR HENRY RAEBURN (SCOTTISH 1756 - 1823)PORTRAIT OF A GENTLEMANOil on canvas92 x 70cm (36 x 27½ in.)Please note: the estimates for this lot have changed to: £1500-2000 Condition Report: The canvas has been lined on a later stretcher which is providing good support. Under UV light there is scattered areas of retouching although these seem well executed and only covering cracked areas. There is no visible sign of bitumen in the artists pigments. It has been cleaned and varnished. It is presented in its original frame which had minor abrasions. Condition Report Disclaimer
Los 89
SIR THOMAS LAWRENCE (BRITISH 1769-1830)PORTRAIT OF FRANCES HAWKINS AND HER CHILDRENOil on paper laid on board, octagonal11.7 x 14cm (4½ x 5½ in.)Provenance:Phillip Mould, London.Frances Hawkins was the mistress of Lawrence's patron the Marquess of Abercorn, she is depicted in the finished picture (Abercorn Heirlooms Settlement Trustees) with their illegitimate son John James Hamilton, later known as Arthur Fitzjames. It has been suggested that the two girls in the oil sketch are from children from his previous marriage. Condition Report: show DendyCondition Report Disclaimer
Los 91
JOHN LINNELL (BRITISH 1792-1882)SELF PORTRAIT OF THE ARTIST Pencil 17 x 5.5cm (6½ x 2 in.)Provenance:Agnews, London.Condition Report: Unexamined out of frame. The sheet appears to be laid down. Generally there is discolouration, surface dirt and foxing across the image. Condition Report Disclaimer
Los 92
JOHN HOPPNER (BRITISH 1758-1810) PORTRAIT OF THE MARQUESS OF ANGLESEY Pencil 13.5 x 9.5cm (5¼ x 3½ in.) Henry Paget, 2nd Earl of Uxbridge, later the 1st Marquess of Anglesey, was a commander at the Battle of Waterloo. One of the last cannon shots fired that day hit his right leg, necessitating its amputation above the knee. According to the famous apocryphal anecdote, he was close to the Duke of Wellington when his leg was hit, and exclaimed, "By God, sir, I've lost my leg!", to which Wellington replied "By God, sir, so you have!" The amputated right limb became a tourist attraction in the village of Waterloo in Belgium, attracting an amazing range of tourists including visitors from European society of the very top drawer, from the King of Prussia to the Prince of Orange.
Los 1660
B Rogers?, oil on canvas, portrait of Reginald Barrington Darnell, signed and dated 1894, 57cm x 36cm, original textured gesso frame, overall dimensions 86cm x 65cm, together with photographs of the sitter and his family, Honourable Discharge Certificate from the Great War dated 1916 and family tree
Los 857
Folder of Classic Hollywood movie screen stills and portrait photographs of actors and actresses c1930s to 1960, presented in black folder and covering named actors from F-L to include Douglas Fairbanks, Joan Fontaine, Kay Francis, Clark Gable, Greta Garbo, Greer Garson, Cary Grant etc etc average size 25cm by 20cm (approx. 25)
Los 262
§ Frederic Whiting RP, RSW, RI (British 1874-1962) Portrait of a womansigned 'Frederic Whiting' (upper right)oil on canvas59.5 x 49.5cm Canvas is in plane, perhaps very slightly slack. The artist has left the primed canvas exposed in several areas by design. There are two very small pinholes visible just above the artist's signature in the top right-hand corner and a minor abrasion and subsequent loss of paint along the right hand edge. Otherwise in good, presentable condition.
Los 266
§ Attributed to John Flanagan (Irish 1895-1976) Portrait of Ruth Doggettoil on canvas, unframed50.5 x 40cm;together with Jane Moncur (British 1891-1993)portrait of Ruth Doggett sketchingsigned 'Jane Moncur.' (lower right)pencil25 x 16cm Provenance:By direct descent within the sitter's family Jane Moncur sketch: Not examined out of the frame. Surface is evenly toned, but with two paler margins at the top and bottom of the sheet, where the surface has previously been under a mount. There are some light handling creases throughout and appears to be a small circular abrasion to the right hand arm of the sitter.Attr. John Flanagan: Portrait is unframed, canvas has been relined. Surface quite dirty, particularly in paler passages of paint. The corners of the canvas are all knocked, the top right hand corner is lifting away from the canvas beneath with a dog ear crease and associated paint loss across the crease line the lower left hand corner is similarly damaged. The paint layer is rubbed and scuffed along all edges.
Los 413
§ Doris Clare Zinkeisen (Scottish 1898-1991) Conversation Piecesigned 'Doris Zinkeisen' (lower right) oil on canvas64 x 89.5cmProvenance:Acquired directly from the artist by the present owner Exhibited:London, The Mall Galleries, Royal Society of Portrait Painters, 1985The present lot depicts Doris' twin daughters, Janet and Anne Grahame Johnstone, on horseback.
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283284 Los(e)/Seite