Attributed to John Greenhill (British 1642-1676)Portrait of Sir Matthew Dudley of Clapton (d.1721)Oil on canvas 124 x 101cm (48¾ x 39¾ in.)ProvenanceThomas Agnew, London.Sotheby's, London, 18 October 1989, lot 232Condition Report: The canvas has been relined. Fine surface cracking and paint shrinkage. The paint appears quite thin in places. Surface abrasions and small areas of paint loss. There are further minor abrasions to the edges. Inspection under UV reveals scattered areas of restoration across the image but these mostly appear to be in background areas. Condition Report Disclaimer
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English School (circa 1770)Portrait of John Thomas Ellis (1756-1836)Oil on canvas, feigned ovalIndistinctly signed and dated Van der Mijn 1764 [?] lower left77 x 63.5cm (30¼ x 25 in.)Provenance:Private CollectionThence by descent to the present owner John Thomas Ellis (1756-1836) was the son of Brabazon Ellis of Wyddial Hall and Mary Sewel. John Thomas Ellis married Marianne, daughter of John Heaton of Bedfords, Essex in 1786. (See Lot 123). John Thomas Ellis and Mary Sewel had 5 children, Charles Arthur Hill Heaton-Ellis (1789-1865) was the youngest. (See Lot 128)John Thomas Ellis was the MP for Lostwithiel between 1784 and 1790. Condition Report: Relined. Upper right edge of this reline is visible in the frame. Craquelure and surface dirt throughout. Including a small area of bird excrement, this can easily be removed. Some scattered retouching can be seen in natural light. Signed VAN DER MIJN and indistinctly dated 17[64] ? lower left . Stretcher marks visible in a raking light. One or two small flaking losses scattered throughout. Inspection under UV reveals scattered retouching throughout with a green cloudy masking varnish. Condition Report Disclaimer
English School (19th century)Portrait of Charles Arthur Hill Heaton-EllisOil on canvas130 x 105cm (51 x 41¼ in.)Provenance:Private CollectionThence by descent to the present owner Charles Arthur Hill Heaton-Ellis was the son of John Thomas Ellis and Marianne Heaton. His grandfather was John Heaton (See Lot 123). Charles' son Edward Henry Brabazon Heaton-Ellis (1834-1870) married Louisa Harriott Kingscote whose grandfather was Benjamin Bloomfield, 1st Lord Bloomfield (See Lot 127)Condition Report: The canvas has been relined. There are visible stretcher marks along with craquelure and some surface dirt throughout. Some light bitumen at the upper edge. The canvas is undulating at the corners and there are a number of small losses to the lower quadrant. Ultraviolet light reveals scattered retouching throughout.Condition Report Disclaimer
Attributed to Isaac Seeman (British ?-1751)Portrait of a gentleman traditionally identified as John Ashburnham, 1st Earl of Ashburnham (1687-1737)Oil on canvas, in a feigned oval77 x 63.5cm (30¼ x 25 in.)Provenance:Private Collection, Boston, USACondition Report: The canvas has been relined. The reline is visible at the right hand edge. Stretcher marks visible in a raking light. There is a heavy varnish throughout. Inspection under UV reveals evidence of retouching throughout but a heavy green masking varnish is present which may be hiding the true extent of retouching. Ready to hang.Condition Report Disclaimer
Maltese(?) School (18th/19th century)Portrait of a saint blessing a childOil on metalInscribed HELIS I (upper left)16.5 x 12.5cm (6¼ x 4¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The paint surface is dirty throughout with ingrained dirt and some losses. The metal sheet is dimpled and starting to oxidise on the reverse. Ultraviolet light reveals scattered retouching. Would recommend viewing.Condition Report Disclaimer
English School (circa. 1700)Portrait of a seated lady with flowersInk and washWith Collectors wax seal inscribed Christo Duce below an anchor (to backboard)9.5 x 7.5cm (3½ x 2¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Dutch School (late 17th century)Self portrait of an artist at his easelOil on canvas21.5 x 16.5cm (8¼ x 6¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year. Condition Report: The canvas has been relined. There is craquelure throughout and some surface scratches and dirt. There is no evidence of retouching under ultraviolet light although there is a heavy varnish which may conceal some restoration.Condition Report Disclaimer
Louis B**** (French 19th century)Portrait of a seated boyPencilIndistinctly signed, dedicated and dated le 24 septembre 1899 (lower left)33 x 25cm (12 x 9¾ in.)Provenance: The Estate of the late David Fyfe-JamiesonDavid Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Italian School (18th century)A Venetian capriccioOil on canvas57.5 x 90.5cm (22½ x 35½ in.)Provenance:Mrs George DrewFrom the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. There is some light surface dirt throughout, rubbing to the framing edges and light stretcher marks visible. There is a surface scratch visible to the lower left edge and some lines of faint scarring to the paint along the lower quadrant, possibly caused by the relining process. There is a slightly uneven paint surface to the upper corners. Ultraviolet light reveals some scattered retouching throughout and traces of a varnish.Condition Report Disclaimer
Follower of Johan Anton RichterSan Giorgio Maggiore from the Guidecca; The Church of the Redentore from the ZattoreOil on canvas, a pair Each 36 x 51cm (14 x 20 in.) (2)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
After William Hoare of BathSummerOil on canvas79 x 66cm (31 x 25 in.)Provenance:Sale, Christie's, South Kensington, 8 March 2001, lot 404The original pastel portrait sold at Christie's, London, 22 January 2009, lot 598 (as part of a pair with 'Autumn') from the collection of Alleyne FitzHerbert, 1st Baron St. Helens (1753-1839).Condition Report: The canvas has been relined and the stretcher replaced. Small scratches and abrasions throughout but largely to the edges /corners. Generally the paint surface appears in good condition. Inspection under UV reveals some restoration to the edges and in the darker background edges, however generally the figure appears untouched. Generally in overall good restored condition.Condition Report Disclaimer
Charles Jervas (British c.1675-1739)Portrait of General Tyrrell Oil on canvasWith later inscription General Tyrrell/Jervais (sic) Pinx. (lower left) 125 x 99cm (49 x 38¾ in.)Condition Report: The canvas has been relined and is slightly slack on the stretcher. There are visible stretcher marks and rubbing to the framed edges. Ultraviolet light reveals evidence of scattered retouching, but a green masking varnish may obscure further restoration. In generally good restored condition.Condition Report Disclaimer
Follower of George Morland Portrait of a gentleman wearing a jacket and waistcoatOil on canvas76.5 x 63cm (30 x 24¾ in.)Exhibited:Lowndes Lodge Gallery, London, May 1966Provenance:Eleanora Brinton of KidderminsterThence by descentAccording to family tradition, the present lot is reputed to have a connection to James Ward R.A (1769-1859). In 1907, the will of Eleanora Brinton refers to the painting as 'the oil painting... of my great uncle Ward' which may possibly be a reference to James Ward Senior (father of the artist).
French School (late 18th century)Portrait of a lady said to be Louise Fave de BreuilOil on canvas77.5 x 62cm (30½ x 24¼ in.)Condition Report: The canvas has been relined and there is a patch lower centre, but the repair to the corresponding area to the front is not visible with the naked eye. There is an area of retouching to the sitter's right arm (approx. 10cm) which is visible in natural light. Craquelure throughout. Stretcher marks visible Inspection under UV reveals some scattered retouching throughout.Condition Report Disclaimer
Thomas Frye (Irish 1710-1762)Portrait of a Gentleman, seated three-quarter-length, at a table Oil on canvas125 x 104cm (49 x 40¾ in.)Original 18th century carved and gilded frame. Provenance:Sale, Christie's, London, 19 June 2012, lot 100 The Irish-born Thomas Frye was one of the most original artists and designers of the 18th century. He engraved a celebrated series of life-size heads in mezzotint as well as being the founder and manager of the Bow porcelain factory in East London where he designed many of the early figures. Ill-health from the factory caused him to retire to Wales in 1759 when he took up oil painting again, from when this portrait likely dates. Condition Report: The canvas has been relined. There is surface dirt, including white blemishes and craquelure throughout. There are light stretcher marks visible. Inspection under ultraviolet light reveals scattered retouching throughout and a heavy varnish. In overall reasonable condition.Condition Report Disclaimer
Manner of Joseph Highmore (early 20th century)Portrait of a boy holding a tricorne hatOil on canvas112 x 142.5cm (44 x 56 in.)Condition Report: Canvas has not been lined but has three small punctures although these are in background areas. There is also some surface cracking and the paint is lifting in places. There is a thick layer of discoloured varnish and surface dirt. UV inspection reveals no evidence of restoration or retouching.Condition Report Disclaimer
George Romney (British 1734-1802)Portrait of Eyles Irwin (1748-1817)Oil on canvas76 x 54cm (29¾ x 21¼ in.)Provenance:Private Collection, Eyles Irwin (17481817)By descent to Julia Pringle, granddaughter -of IrwinBy descent to her son, CharlesPrivate Collection,... Ehrich by 1917Arthur[?] Tooth, c. 1920Sir Albert James Bennett American Art Association, New YorkBought from the above on 16 November 1933 by Charles Hayden Literature: Alex Kidson, George Romney: A Complete Catalogue of His Paintings, 2015, Vol. I, no. 711 Irwin was an Irish poet and writer who rose in the East India Company's ranks from civil servant to superintendent of the company's affairs in China. After being dismissed for protesting against the deposition of Lord Pigot, he made way overland, a journey he described in 'Adventures in the Red Sea'. While in London pleading his case for reinstatement he sat to Romney in March and early April 1780 likely through the introduction of his brother-in-law, Major Thomas Pearson. Irwin was successfully reinstated and returned to India and spent time in China. Condition Report: The canvas has been relined and is on a new stretcher which is providing good support. There is fine surface cracking but the paint layer appears to be stable and in good condition. Inspection under UV reveals scattered spots of restoration, mostly in background areas the face appears mostly untouched. The paint is thinning in some areas. Presented in a 19th century giltwood frame which has numerous chips and losses. Condition Report Disclaimer
English School (19th century)Portrait of a young man, head and shouldersOil on panel 30.5 x 25cm (12 x 9¾ in.)Condition Report: Vertical crack to the panel approximately 10cm starting at the upper edge of the work and finishing just above the sitter's eye. A number of smaller cracks visible to the sitter's forehead and lower face. Ingrained surface dirt abrasions and surface scratches throughout. Fine craquelure predominantly to the darker pigments and with some associated flaking. There are a number of areas of retouching visible in natural light. Inspection under UV reveals light scattered retouching throughout, would recommend viewing. Condition Report Disclaimer
French School (19th century)Portrait of a gentleman wearing a white waistcoat and black coatOil on canvas60 x 48cm (23½ x 18¾ in.)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
Attributed to James Lonsdale (British 1777-1839)Portrait of a gentleman holding an albumOil on board30.5 x 24cm (12 x 9¼ in.)Provenance:Sale, Christie's, South Kensington, 8 March 2001, lot 268Condition Report: Light craquelure throughout but also with some bitumen damage to the darker pigment areas. Small area of loss to the left of the sitter's right ear approx. 3mm. There is an uneven varnish. Some spots of retouching can be seen in a natural light. Inspection under UV reveals significant retouching and infilling together with a green cloudy varnish. Condition Report Disclaimer
John Opie (British 1761-1807)Portrait of Samuel WardOil on canvas61.5 x 51cm (24 x 20 in.)Provenance:Sale, Christie's, London, 27 May 1966, lot 87 (55 gns)Sale, Christie's, London, 15 December 1993, lot 120Purchased at the above sale by the present ownerWe are grateful to Mr Viv Hendra for his help in preparing this catalogue entry. Condition Report: The canvas has been relined. There is fine surface cracking and very minor paint shrinkage. There are several smaller abrasions to background areas and to the edges but generally the paint surface is in good original condition. Inspection under UV reveals scattered areas of retouching, mostly to the background and not particularly noticeable to the naked eye. Condition Report Disclaimer
William Moore Sr. (British 1790-1851)Portrait of Mr George Keyworth Baker of YorkOil on canvasSigned, inscribed and dated 1834 (verso)75 x 62cm (29½ x 24¼ in.)Provenance: From the private collection of Sir David and Lady Scholey Mr George Keyworth Baker of York depicted in the present lot, married Ellen Severs of Bath.Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. Faint stretcher marks visible. Craquelure predominantly to the upper left quadrant. Some minor surface dirt and blemishes, including some surface scratches and a spot of retouching visible to the naked eye (centre left). Inspection under UV reveals retouching throughout with a heavy green masking varnish. Ready to hang.Condition Report Disclaimer
George Richmond (British 1809-1896)Portrait of Lord John Beresford, Archbishop of Armagh (1773-1862)Pencil and coloured chalks on buff paper 61 x 47cm (24 x 18½ in.)Unframed This is a life-size sketch for Richmond's oil portrait of the sitter in 1853 (see Raymond Lister, George Richmond, 1981, p.151, no. 71.) Born the second son of George de La Poer Beresford, 1st Marquess of Waterford, in 1822 he became Archbishop of Armagh and Primate of All Ireland. He became a Prelate of the Order of St. Patrick and Chancellor of Dublin University when he oversaw the restoration of St. Patrick's Cathedral. Condition Report: Executed on buff coloured wove paper which has been stuck down to a new sheet of white card throughout. There is a patch of staining to the lower right corner and several other blemishes and patches of discolouration throughout. There is evidence of some old spots of retouching which may have been cleaned. Unframed.Condition Report Disclaimer
Josiah Boydell (British 1752-1817) The Captive, from Sterne Charcoal, chalk and watercolour 35.5 x 46cm (13¾ x 18 in.)Provenance: The collection of the late Dinny Cory (1919-2012) (nee Dawn Davidson)Exhibited: London, Shakespeare Gallery, Drawings After the Most Capital Pictures in England, 1790 no. 31Literature: Benedict Nicholson, Joseph Wright of Derby : Painter of Light (London: Paul Mellon Foundation for British Art :Routledge & Kegan Paul Ltd.; New York : Pantheon Books, 1968), p. 241-242, no. 216The present lot is a rediscovered drawing, once exhibited by John Boydell at the Shakespeare Gallery on Pall Mall in 1790. The drawing is a precise and exquisite drawing after The Captive, from Sterne by Joseph Wright of Derby completed in 1774, held by the Vancouver Art Gallery in Canada, currently on long term loan to the National Gallery of Canada.Wright was born in Derby in 1734 into a family of lawyers but he chose to move to London in 1751 to pursue his career as a painter, studying for two years under Thomas Hudson. Wright started his career focusing mainly on portraiture and landscape, experimenting with the effects of tenebrism in painting. Despite spending most of his career working in Derby, it is recorded that Wright took a trip to Italy setting off in 1773 with his wife Ann and fellow artists John Downman and Richard Hurleston.It is believed that by late summer 1774 the couple were in Rome. Whilst few canvases have survived from this period, it is believed that The Captive from Sterne is the only piece produced during his Rome visit. The subject of the work derives from Laurence Sterne's novel A Sentimental Journey, set in 1762 when Britain was at war with France and foreign travel risked imprisonment. The main character is a court jester named Yorick who imagines losing his passport, being held captive in the Bastille and eventually released because he is thought to be an important person.An engraving was made after the painting by Thomas Ryder in 1779, likely from this drawing by Josiah Boydell. The engraving was published in 1786 by John and Josiah Boydell (and likely available to purchase from the Shakespeare Gallery exhibition in 1790.)John Boydell & The Shakespeare Gallery John Boydell (1720-1804), Josiah's uncle, was a publisher whose contributions to the print-making industry helped Britain become one of the leading players in engravings: his entrepreneurial approach to the traditional artist/patron relationship put the dealer at the forefront of business representing and promoting both artists and patrons. Boydell saw opportunity in producing prints of highly prized paintings by esteemed artists, that had won prizes, such as that at the Society of Art; subsequently the print market boomed, under his guidance, during the 1760s to 1790s. Some of Boydell's greatest success came from prints after paintings by Richard Wilson, Joshua Reynolds and Joseph Wright of Derby.In 1770, Boydell rented large premises in Cheapside for his latest project producing prints based on paintings of Shakespearian subject matter, where he employed many engravers. Original paintings were exhibited in the gallery, with individual engravings and volumes of engravings together with text plates from the plays for sale. By 1789 he had to expand into a second gallery, the Shakespeare Gallery at 52 Pall Mall. However, financial pressures of the project started to prove too difficult to manage. This was caused by artists such as Joshua Reynolds demanding high prices. In 1786, Reynolds charged £500 for his painting of Macbeth and the Witches and when Joseph Wright's painting of Romeo and Juliet was rejected, Wright accused Boydell of favouritism and of prioritising artists such as Benjamin West Over others.'Has it not equal, nay much more work in it ? It is not as highly finished ? And has not the public spoke as well of it ? Then why should you attempt to make any difference in our prices?' To which Boydell responded 'Had I ever presum'd to have classed the historical painters of this country perhaps Mr Wright's name would not have stood exactly where [he] has been pleased to place himself.'This correspondence illustrates the fractured relationship between Boydell and Wright. Joseph Wright is known to have presented several works to the Shakespeare Gallery. In 1790 according to 'A Catalogue of Pictures &c. In the Shakespeare Gallery' Wright submitted Prospero's Cell, from the Tempest.John Boydell started to exhibit other works for sale, stating in the 1790 exhibition catalogue 'the following miscellaneous pictures are placed in the middle compartment of the gallery'. These works included 'The Murder of James the Fifth King of Scotland by Graham &c.' painted by John Opie and 'Portrait of G.A. Elliot, Lord Heathfield,' by Sir Joshua Reynolds.Josiah Boydell, a trained engraver, was heavily involved in the Shakespeare Gallery with his uncle. The preface for the 1790 exhibition catalogue is signed off by Josiah along with John Boydell and George Nicoll. It is also evident that Josiah Boydell was involved from an artistic perspective. After studying the exhibition catalogue of 1790 it became evident that John Boydell had thought of additional ways of making income. An additional section in the exhibition is titled 'Drawings After the Most Capital Pictures formerly in the possession of the Earl of Orford at Houghton in Norfolk, lately purchased by the Empress of Russia' located in 'the room opposite the gallery'. There is a nota bene stating 'All these drawings were made by Messrs. Joseph and George Farington and Josiah Boydell.' Indicating that John Boydell was using his talented and established team of engravers to produce drawings after notable paintings as well.This section leads through to 'Drawings after the most capital pictures in England'. The drawings were made by four artists, primarily known as engravers, Josiah Boydell, George Robertson, Richard Earlom and Joseph Farington.Exhibition number 31, hung 'over the Chimney in the Great-Room' at the Shakespeare Gallery in 1790 is the present lot. The exhibition reference can be found in the catalogue on page 137 which has been digitised and is available to browse on the British Library website. Boydell also produced another work after Wright which, like The Captive was held in the private collection of Edward Pickering Esq. titled Maria, from Sterne.The exquisite handling of the present drawing reflects the precision and accuracy approached by any trained engraver. Josiah Boydell, an established engraver, has entered the history books as a print-maker. However, the discovery of this drawing and the detailed analysis of The Shakespeare Gallery exhibition catalogue reveals a great deal more about Josiah and his artistic abilities. Condition Report: Under glass, unexamined out of glazed frame. The sheet is not laid down. Minor abrasions to the edges. Old vertical tear running from the centre of the top edge down to the top of the arch. Line surface scratching to the bottom right corner. The surface appears generally well preserved. Presented in a 18th century carved wood frame with numerous chips and losses. Condition Report Disclaimer
Frederic, Lord Leighton (British 1830-1896)Portrait of William Keppel, 6th Viscount BarringtonOil on canvas102 x 82cm (40 x 32¼ in.)Provenance:Sale, Christie's, South Kensington, 8 March 2001, lot 277We are grateful to Daniel Robbins, curator of Leighton House, for his help in cataloguing this lot.
William Powell Frith (British 1819-1909)Kate Nickleby at Madame Mantalini'sOil on canvasSigned and dated 1856 (lower left)55 x 44cm (21½ x 17¼ in.)Provenance:Henry Cooper Esq, 1885William Rome Esq, 1907Sir Alexander Walker KBE, 1948Walkers Gallery, LondonFrom the private collection of Sir David and Lady Scholey Exhibited: Royal Academy, London, 1857, No. 125Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: Canvas has been wax relined. Light cracking to the surface but Paint surface appears to be in general. Inspection under UV reveals one or two spots of retouching across the image and some areas of retouching to the darker pigments of the sitter's dress. Minor abrasions to the edges but generally appears in good original condition. Condition Report Disclaimer
William Powell Frith (British 1819-1909)Twelfth NightOil on panelSigned and dated 1852, further signed and inscribed Repainted 1862 (lower left)22.5 x 30cm (8¾ x 11¾ in.)Provenance:John A. Cooling, LondonFrom the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.
Edward Clifford (British 1844-1907)A group portrait of The Broadlands Conference Pencil, watercolour and bodycolour with scratching out Signed and dated 1887 (lower right) 169 x 263cm (66½ x 103½ in.)Provenance:The Church Army, by 1887The Keswick Convention, by 1964Private Collection. Literature:Mrs R Cholmeley, Edward Clifford, London: The Church Army Book Room, 1907, p 42 and pp 86-94, reproduced opposite p 87.Edward Clifford, Father Damien and Others, London: The Church Army Book Room, 1904(?), p 34.This impressive group portrait, painted on a monumental scale, celebrates the Broadlands Conferences of the Higher Life which took place between 1874 and 1888 at Broadlands in Hampshire the country estate of the William and Georgina Cowper-Temple. In the picture he is seen in a tweed suit seated at the table with his wife in the upper right corner. William had an illustrious political career as a member of Parliament for over forty-five years, Private Secretary to his uncle Lord Melbourne and groom-in-waiting to Queen Victoria. With his second wife he shared an interest in Evangelical Christianity and embarked on a search for religious enlightenment. Georgina had a particular interest in mysticism and mixed with leading spiritualist figures from Britain, American and Europe, attending several séances. The annual conferences they founded brought together their religious interests and the beautiful surroundings at Broadlands aimed to create a "foretaste of heaven" with many of the services taking place under the Beech trees or in the orangery.Their interests were precipitated by the Holiness movement in America and the 1870s saw the emergence of the Higher Life movement in England which was named after William Boardman's book The Higher Christian Life (published in 1858) the main aim of the movement was to help in advancing the Christian's progressive sanctification, and enable one to live a more holy, less sinful, life. Though principally Evangelical, the movement was seen as non-denominational. Together with William Boardman, two other key figures helping to spread the holiness message in England were Robert Pearsall Smith and his wife, Hannah (the central standing figure in the composition), both of whom were acquainted with the Mount-Temples and were involved in the conferences at Broadlands.Edward Clifford was well placed to paint the picture. He had a strong faith, was honorary Secretary of the Evangelical Church Army (the first owners of the picture) and attended the conferences. He was a gifted artist and alongside Robert Bateman, Walter Crane and others, was part of a group of followers of, the Pre-Raphaelite painter, Edward Coley Burne-Jones and exhibited at the Dudley Gallery in the late 1860s and 1870s. Clifford's works often took passages from the Bible as its subject and according to Angela Thirkell, Burne-Jones's granddaughter `He had a peculiar gift for copying his paintings so that my grandfather himself could hardly tell the difference.' He also produced fine pencil portraits, a talent he used to much effect in the present work. Clifford has helpfully named many of the sitters and they reflect the social and geographical diversity of those that attended the various Broadlands conferences. The most notable includes several members of the Wilberforce and Gurney families including Canon Basil Wilberforce, the Church of England Bishop, and Emilia Gurney, the feminist reformer, suffragist, and abolitionist. Amanda Berry Smith is also included, and she spoke at the conference in 1879. She was born into slavery in Maryland and joined the African Methodist Episcopal Church. The Rev. H.B. Macartney vividly recorded his attendance at one of the conferences in his book England, Home and Beauty, 1878, p.73-90. A reprinted copy is included with this lot. The figures are identified, left to right:1 - The Hon Ion Keith Falconer (1856-1887), 2- The Reverend Barton Brown, 3 - Mrs Sumner, 4 - Boyd Carpenter, Bishop of Ripon (1841-1918), 5 - The Rev Evan Hopkins (1837-1918), 6- Mrs Wilberforce (Caroline Charlotte Jane Langford,1840-1909), 7- Rev Charles Armstrong Fox, (1836-1900), 8- Rev R Corbett, 9- Edward Clifford (1844-1907) Artist and Hon Secretary of the Church Army, 10 - Vernon Bayley (Perhaps the gardener at Broadlands), 11 - Stanley P Smith, 12 - Lt Herbert Wilberforce, (see 6 and 32 for his mother and father), 13- Mrs Charles, 14 - Sir Stevenson Arthur Blackwood (1823-1893), 15 - The Rev William Hay Macdowall Hunter Aitken (1841-1927), 16 - Lady Ashburton 1844-1930 (The Hon. Leonora Caroline Digby), 17 - Amanda Berry Smith (1837-1915), 18 - Canon Body, 19 - Hon. Mrs Butts, 20 - Ernest Gerard Leycester (1849-1914), 21 - Countess Dowager of Gainsborough, 22 - Rev. Alfred Clifford (1849-1931), 23 - Lord Chichester, 24 - Miles Tyndale, 25 - Countess of Darnley (1829-1905), 26 - Wilson Carlile, CH (1847-1942), 27 - Dr George MacDonald (1824-1905), 28 - The Rev. Andrew Jukes (1847-1931), 29 - Unknown Sitter, 30 - Mme Juliet Latour Temple (later Deschamps) (Possibly), 31 - Canon (Albert) Basil (Orme) Wilberforce (1841-1916), 32 - The Rev. Alfred Gurney (1843-1898), 33 - George Howard Wilkinson, (1833-1907), 34 - Mary Clifford (1842 - 1919), 35 - J W Farquhar, 36 - Hannah Tatum Whitall Smith (1832-1911), 37 - William Francis Cowper-Temple, 1st Baron Mount Temple (1811-1888), 38 - Théodore Monod (1836 - 1921), 39 - Theodor [sic] Monod, 40 - Emilia, Mrs Russell Gurney (1823-1896), 41 - Georgina Tollemache (married 1848, died 1901)For more information on the sitters please refer to our blog which can be found in 'News & Insights' on www.dreweatts.com
Emilie Mediz-Pelikan (Austrian 1861-1908)Portrait of Theresina DuinoPencil and coloured crayonSigned with initials (upper right) and dated 1905 Juni (upper left)42 x 23cm (16½ x 9 in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts.David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.Condition Report: The work is faded, most noticeably to the green detail around the sitter's neck. Brown spots throughout the sheet. The work has been unexamined out of glazed frame.Condition Report Disclaimer
Emilie Mediz-Pelikan (Austrian 1861-1908)A triple portrait of Hermine, Emilia and HelenaPencil and coloured crayonSigned, dated 1897 and variously inscribed (lower right)45.5 x 67cm (17¾ x 26¼ in.)Provenance: The Estate of the late David Fyfe-JamiesonEmilie Mediz-Pelikan (nee Pelikan) was born in Vöcklabruck, Austria in 1861. She was a student of Albert August Zimmermann at the Academy of Fine Arts in Vienna, and she followed him when he was appointed professor in Salzburg and later in Munich. In 1888, following Zimmerman's death, she moved to the artist's colony in Dachau, outside Munich, where she formed a close relationship with the painter and head of the colony, Adolf Hölzel. Amongst the other artists was the younger Viennese painter, Karl Mediz. Around this time, she spent a while in Paris studying the Impressionists. Her first gallery exhibition was held in 1890 by which time she was living in Knokke, Belgium, where she met Mediz again. The two were married in Vienna in 1891, moving to Krems an der Donau where their daughter Gertrude was born. Success, however, was very hard to come by and they settled in Dresden in 1894. Stephen Ongpin, in his online notes for a work by Emilie Mediz-Pelikan, wrote, 'In one of the only contemporary accounts of their work to be published in English, the British-Austrian art historian Amelia Sarah Levetus, who must have known the couple, wrote that 'These two artists are man and wife; they have wandered in many places together, over the highest mountains and across glaciers, on the banks of deep rivers and on their pilgrimages have painted scenery and portraits and everything else between. They have endured the greatest hardships together and have worked together; they have chosen the same subjects for their canvases, yet their individualities remain, and in similar subjects also there is a great variety of treatment...Frau Mediz-Pelikan also has immense energy, combined with poetry of expression more delicate than that of her husband; she loves to paint lavenders and silver greys, to bring out the very depths of that which she is depicting.' Both Emilie and Karl were invited, in 1898, to show three pictures each at the inaugural Vienna Secession exhibition. Whilst her early work showed the influence of her interest in Impressionism, fostered during her stay in Paris, her next phase showed a Symbolist quality, particularly in the power of nature. (Lot 271 in this sale was drawn in this year) In 1901 three oils by Mediz-Pelikan were included in the Internationale Kunstausstellung in Dresden, ('Harmonie in violette', 'Orangenbaum' and 'Oliven'). These oils were shown alongside works by, amongst others, Charles Rennie Mackintosh, Anders Zorn, Whistler, Lucien Pissarro, Toulouse-Lautrec, and GF Watts. David Fyfe-Jamieson (1954-2020) was educated at Radley College where he was a celebrated cricketer. With his great friend Henry Wyndham, later chair of Sotheby's in London, he enrolled at the Sorbonne to learn French. Neither finished the course, spending more time eating out and watching Marx Brothers films. After a short spell in Australia, David went to South Africa where he worked for Wildenstein, eventually returning to London where he joined the Old Master Paintings Department of Sotheby's. He subsequently worked for Artemis Fine Art, a leading Old Master Art Consultancy. He eventually set up on his own in Dover Street, London, but closed it in 2000. He went on to reinvent himself as a cabinet maker in Shropshire, where he lived until he died last year.
Portugese School (late 19th century) Portrait of Viscondessa Beatriz d'Arneiro, later Mrs Edward JohnsonOil on canvas 198 x 122 cm. (78 x 48 in.)Provenance: From the private collection of Sir David and Lady Scholey In 1909 Viscondessa Beatriz d'Arneiro, married Edward Johnson, the operatic tenor and manager of The Metropolitan Opera in New York. Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: The canvas has been relined. There are light surface scratches and minor scattered abrasions throughout. There is some light scattered craquelure throughout. UV light reveals scattered patches of retouching throughout and in-filling to old craquelure. There is also a green masking varnish. In good, clean condition, ready to hang.Condition Report Disclaimer
Attributed to Nikolaus Gysis (Greek 1842-1901)Portrait of young childSigned with initials (lower right)Oil on board30 x 21.2cm (11¾ x 8¼ in.)UnframedSold with certificates of authenticity from Dr Alexander Rauch, 16 October 2002, and Dr Konstantinos Didaskalou, 14 February 2009.Provenance:Private Collection, GermanySale, Schloss Ahlden, 21 September 2002, lot1307.Private Collection, GermanySale, Martin Wendl, Rudolfstadt, 14 June 2008, lot 3491.Private Collection, GermanySale, Walter Ginhart, Tegernsee, 25 November 2017, lot 168.Sale, Dorotheum, Vienna, 10 December 2019, lot 205.Nikolaus Gysis is one of the most highly regarded Greek artists of the 19th Century. He studied at the Athens School of Fine Arts and won a scholarship to Academy of Fine Arts, Munich and was a important member of the Munich School. Condition Report: Unframed. Edges of the panel uneven. Abrasions and surface scratches to the framing edges. Surface dirt, surface scratches and discoloured varnish throughout. Inspection under UV light reveals light scattered retouching. Condition Report Disclaimer
George Richmond (British 1809-1896)Study of SoldiersPencil and oil on paperSigned, inscribed and dated Rome 1838 (lower left)24 x 16cm (9¼ x 6¼ in.)Provenance:Sale, Sotheby's, London, 21 March 2002, lot 226Known primarily as a portrait painter, Richmond spent roughly two years in Italy from 1837 where he was advised to go for the sake of his health, a result of exhaustion from overwork and the death of three children. He went with his wife and surviving son along with fellow painter Samuel Palmer and his wife, the daughter of artist John Linnell. The trip proved enormously successful resulting in some of Richmond's best work, establishing him as the pre-eminent portrait painter of the day.
British School (early 20th century)Portrait of a lady with a fanOil on canvas128 x 102cm (50¼ x 40 in.)Condition Report: Relined. Craquelure and some surface dirt throughout. Uneven paint surface especially noticeable in the lower right quadrant. Inspection under UV reveals a thick masking varnish preventing full inspection of any restoration or repair. Condition Report Disclaimer
Frederick Lee Bridell (British 1831-1863)The Temple of Saturn, the Forum and the Colosseum, RomeOil on canvasSigned and dated 1862 (lower right)87.5 x 123.5cm (34¼ x 48½ in.)Provenance:Joseph MorbyArthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not relined. There are some fine lines of craquelure running through the work, predominately noticeable in the sky but also extending in the lower half of the composition. There are faint stretcher marks visible. Ultraviolet light reveals scattered retouching throughout, in particular to the figures, the edges of the arches upper left and other areas in the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
Frederick Lee Bridell (British 1831-1863)The Arch of Titus at Rome looking towards the capitalOil on canvasSigned and dated 1862 (lower right), titled (to label attached verso)86.5 x 123.5cm (34 x 48½ in.)Provenance:Joseph Morby Arthur Tooth and Sons, LondonBerwick House, Shropshire Frederick Lee Bridell (British 1831-1863)Like his mentor Richard Parkes Bonnington, a generation before him, Frederick Lee Bridell died young, in his case at the age of thirty-two. Had he lived he may well have enjoyed the success of the greatest British landscape painters of the 19th Century such as Edward Lear and David Roberts, whose monumental Italian pictures can be favourably compared to the two works in our sale. From the early 18th Century, the lure of Italy and the ruins of Classical Antiquity has proved irresistible to artists and travellers. The Grand Tour became a rite of passage, but the Napoleonic Wars disrupted travel and the Continent was effectively cut off from Britain for many years. With the end of hostilities in 1815 travellers returned and Rome became the epicentre for a new generation, drawn to the ruins of an ancient world and a favourable climate. Artists moved away from mere topographical representation towards a Romantic vision. The landscape is seen as a link with the classical past but there is an increasing emphasis on the subjective experience of the artist. With the inclusion of shepherds, herdsman and townspeople going about their everyday work they vividly capture the atmosphere of life in the eternal city. Bridell was born in Southampton in 1830 and was the son of John Bridle a carpenter. From the age of nine he was avidly drawing and writing verse and his early promise was spotted by Edwin Holder a picture restorer, to whom he was apprenticed. By eighteen he was painting portraits and signing his works Frederick Lee Bridell and in 1851 exhibited his first picture at The Royal Academy. With Holder's support he spent three years on the Continent, copying pictures in the Louvre, then in Munich and the Tyrol where he was inspired by the Alpine landscape. On returning to England, he worked up his studies into large scale studio pictures which he exhibited at the Royal Academy, the British Institution and the Liverpool Academy and attracted the attention of many wealthy collectors in his hometown. James Wolff, a shipping merchant became his most notable patron and built a Bridell gallery, to house twelve of his large-scale landscapes, at his home at Bevois Mount, in the outskirts of the city. In 1858, buoyed by his commercial success, Bridell travelled to Italy, with a copy of Byron's Childe Harold for inspiration, he wrote back to his patron James Wolff 'I am now settled, as far a studio is concerned, most capitally on the Pincian Hill overlooking Rome - the best lighted, most healthy and most agreeable quarter possibly to be selected.' He met a young artist, Eliza Fox, one of a large community of British artists and writers who had travelled to the city. They married soon afterwards, and the writer Elizabeth Barrett Browning recorded in a letter `We have a wedding here and Robert (Browning) has "given away" the bride who is no other than Miss Fox. She came here this winter for the purposes of art & chose to begin my portrait, as I think I told you - and fell in with Mr Bridell a landscape-painter of much talent'. The four years he spent in Italy from 1858 were the most successful and productive of his short career. He painted the present pictures at this time and for his patron James Wolff he produced The Coliseum at Rome by Moonlight which is now in Southampton City Art Gallery. He also travelled to the Italian lakes where is painted grand landscapes such as The Woods of Sweet Chestnut above Varenna, Lake Como(Tate Britain). The lake air was seen as beneficial to his health, but he returned to England in 1863 and succumbed to the tuberculosis that he had suffered from for several years. In his obituary in The Art Journal in 1864, the poet Sir Theodore Martin lamented 'Had he lived, he must have earned a European reputation; and numerous and fine as are the works he has left, his early death is, in the interests of Art, deeply to be deplored'. His wife held a studio sale of his pictures at Christie's the following year and his patron Wolff, who had run into financial difficulties, sold this `Bridell Gallery' at Christie's the previous year.Condition Report: The canvas is not lined. There are some fine lines of craquelure predominately to the sky and upper corners and very faint stretcher vertical stretcher marks. Ultraviolet light reveals some light scattered retouching, predominately to the foreground. Framed under glass. In overall good, clean condition.Condition Report Disclaimer
Follower of Thomas Hudson Portrait of a gentleman, three quarter length in an embroidered waistcoatOil on canvas125 x 99cm (49 x 38¾ in.)Provenance:Berwick House, Shropshire Condition Report: Relined. Surface dirt and craquelure throughout. Three vertical streaks running the length of the canvas through the sitter's left shoulder, possibly caused by an uneven varnish or water damage. Visible in catalogue illustration. Stretcher marks visible. Area of repair above the sitter's sword hilt approx. 4cm. Smaller area of repair to the lower left edge, approx. 3cm, also visible in natural light. Surface scratches and abrasions throughout, with some minor flaking. The paint is wearing thin in some areas. Inspection under UV reveals retouching and infilling throughout together with a green cloudy masking varnish. Condition Report Disclaimer
Manner of Jean-Baptiste Perronneau Portrait of a lady half-length wearing a blue dress, holding a bookPastel on paper laid to canvasBears signature (upper right)74 x 61cm (29 x 24 in.)Provenance:Berwick House, Shropshire Condition Report: Undulation to the sheet, predominantly to the edges. Surface dirt visible throughout, including black spots around the sitter's head and hair which appear to be small spots of surface mould (please contact department for more images). There is a small group of little white blemishes to the right of the sitter's left arm. Under glass and unexamined out of frame.Condition Report Disclaimer
Russian School (early 19th century)St. AndrewOil on shaped panel77 x 60cm (30¼ x 23½ in.)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting. Condition Report: There is a significant split to the panel running vertically through the length of the work (visible in catalogue illustration). Paint surface is dirty and uneven and thin in places. Abrasions to the edges and some associated paint loss. UV inspection reveals possible retouching but a heavy green masking varnish prevents proper inspection. Would recommend viewing.Condition Report Disclaimer
Johannes Janson the Elder (Dutch 1729-1784)Figures before a cottage in a landscape Oil on panelSigned (lower right)14 x 19cm (5½ x 7¼ in.)Provenance: From the private collection of Sir David and Lady Scholey Sir David Scholey CBE FRSA achieved success as a merchant banker in the City of London during a career which saw him rise to become Chairman and Chief Executive of S G Warburg. A director of the Bank of England and governor of the BBC - his commitment to the arts was reflected in his roles as Chairman of Trustees of The National Portrait Gallery -as well as a Director of the London Symphony Orchestra and a trustee of Glyndebourne. A lifelong interest in music and art has been shared with his wife Alexandra and together they furnished Heath End House, Hampstead- once the residence of John Abbott McNeill Whistler. Regular purchases from the leading London antiques fairs and dealers allowed them to add to those pieces passed down from their families - including a special penchant for Chinese porcelain, English furniture and silver cream jugs. Sir David and Lady Scholey are now moving to smaller quarters in Florence and it is therefore time to scale down and let go of some of many of the antiques, paintings and works of art which have given them so much pleasure during a lifetime of collecting.

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