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283284 Los(e)/Seite
Los 341
Oriental School, Buddha seated amongst waves with mystical beasts, 59cm x 42cm; a Chinese silk panel; etc; Victorian School, Portrait of a Girl, overpainted print, 40cm x 44cm, rosewood cushioned frame; Pictures and Prints - Seago, Renoir, other Masters; etc; South American School, embroidered with Isla Lox, 90cm x 56cm; South American School, Snow Capped Mountains, possibly the Andes, oil on canvas, 46cm x 63cm
Los 154
Y A French Louis XIV gilt brass mounted Boulle bracket clockEtienne Le Noir, Paris, early 18th centuryThe rectangular five baluster pillar movement pinned at the rear, with large spring barrels and verge escapement regulated by half seconds disc bob pendulum with silk suspension, the backplate with large diameter external countwheel for sounding the hour and once at the half hour on a bell mounted within the superstructure of the case over engraved signature Estienne Le Noir A Paris to the lower margin, the 8.5 inch circular twelve-piece cartouche numeral dial with centre incorporating scroll cast decoration and an portrait bust of Louis XVI over a crown within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, with sculpted blued steel hands, the engraved cut brass and brown stained shell marquetry veneered case with cast winged putto surmount and gilt flambeau urn finials applied to the ogee shaped upstand veneered with figural scrollwork and with acanthus corner mounts over contra-parti frieze emerging from the sides of the gilt architectural moulded break-arch cornice, the front with heavy cast break-arch glazed hinged bezel enclosing scroll cast apron mount centred with a spread-eagle over enamel nameplate Estienne, Le Noir, AParis within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast mounts incorporating musical trophies and the angled sides with brass bordered rectangular windows and further conforming mounts to rear over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a female mask, on leaf cast bun feet, 81cm (32ins) high. Two generations of clockmaker with the name Etienne LeNoir were working at the time the current lot was made. Etienne LeNoir I was born in 1675 and died in 1739, whilst his son was born in 1699 and became a Master in 1717. Etienne LeNoir II was subsequently joined in partnership by his son Pierre-Etienne (born in 1724) after he became a Master in 1743 which lasted until around 1778 when Etienne II died.Condition Report: Movement is in fine clean fully working condition having been recently serviced. The escapement appears to be a very well executed restoration as evidence in the form of a filled-in slot to the centre of the top of the backplate would suggest that it had been previously converted to anchor/recoil at some point in the past. The dial has hairline cracks to the XI and III cartouche numerals as well as the signature plaque (all visible only on closer examination), otherwise faults to the numerals are limited to a few very light blemishes. The case is generally in good condition for a Boulle case of this type with some slight lifting and some historic localised replacements to the brass in places. The mounts are all present and in good condition. Clock has pendulum, case key and a winding key.Dimensions at the base 43cm (17ins) wide; 15cm (6ins) deep at the feet (18cm, 7ins deep including from mount). Condition Report Disclaimer
Los 268
Hon. Maud Katherine Alicia Cecil, nee Steel (British fl 1934 - d 1981) - Dark clouds over a city street scene, oil on canvas, signed M Cecil to lower right corner, inscribed verso 'M Cecil 8 Cranley Place SW7' (the artist's home and in London), chalk to frame Cecil MKA, along with remains of an Exhibition label, 35.5 x 46cm, framedCatalogue note: Maud Cecil studied at the Slade School of Art and was known as a landscape and portrait painter. Daughter of Evelyn Cecil 1st Baron Rockley and Hon Alicia Margaret Tyssen-Amhurst. She married Richard Greville Acton Steel 17 Nov 1927 in Westminster, London. Exhibited circa 1934-36 Fine Art Society and Royal Academy. The above picture could be a representation of Cranley Place, a South Kensington street in LondonLocation: BWR
Los 518
19th century portrait miniature of a Georgian lady, watercolour on ivory, 9.5cm x 7.5cm (oval), in rectangular gilt metal frame with textile mount and remnants of paper label, signed Laure Levy?N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country. We will not post outside the UK.Condition report:Ivory slightly undulates, portrait generally ok, slight fading bottom left. Worn textile mount and label. Frame easel back detached. As images.
Los 400
Emma Marie Cadwallader-Guild (1843-1911) United States born in Zanesville, Ohio in 1843. A large bronze bust of Peter Brotherhood (Peterborough) signed "Emma Cadwallader-Guild 1887" in green patination fair condition with minor scratches 66cm high, presented on a four gilt pillar pedestal stand 91 cm high. Cadwallader-Guild was an self taught American sculpture by 1875, she exhibited a sketch in plaster at the Women's Pavilion of the Philadelphia Centennial Exhibition. In the mid-1880s she moved to the UK, and is thought thereafter to have lived chiefly in Europe, only returning to the US to fulfill portrait commissions. Her preferred media were marble, granite and bronze. Cadwallader-Guild's known portrait commissions include G.F. Watts, President Lincoln, President McKinley and Andrew Carnegie. Between 1885-98 she exhibited portraits and ideal works at the Royal Academy in London.
Los 226
§ ALEXANDER MUNRO (1825–1871) PORTRAIT OF A GENTLEMAN oil on board, signed with monogram(42cm across)Footnote: Provenance: From Castle of Park, Aberdeenshire Note: Alexander Munro was a sculptor of the Pre-Raphaelite movement whose early talents were supported by financial assistance from his father's employer, the Duchess of Sutherland. From 1842 he assisted and trained in the Edinburgh studio of the sculptor Alexander Handyside Ritchie. He came to London in 1848 to study sculpture under Charles Barry. At this time he also worked as a mason on the new Palace of Westminster. He exhibited at the Royal Academy from 1849 to 1870, and at the Great Exhibition of 1851 where his Rossetti-influenced figure-group 'Paolo and Francesca' was first exhibited.
Los 10
Portrait of a Lady standing three-quarter length, in black, her hands clasped before her inscribed to the reverse '1575 Anne de Bretagne / femme de Charles VIII / et de Louis XII' oil on panel 34 x 27.5cmFootnote: Provenance: French Private Collection; With Philip Mould Ltd, London, August 2008, Private collection, Kensington, London According to an old label on the reverse of the panel, the sitter is Anne of Brittany, wife of King Charles VIII and Louis XII which, from a date perspective, she cannot possibly be. The sitter, from her demeanour and dress, is of high status, especially as she wears black which was at that time the most expensive dye to achieve in material. The painter, who is evidently aware of the French court portraitist François Clouet, could, however, be from Flanders.Condition report: Oil on an oak panel formed from a single board with small fillets attached with glue to each side. There is a small split in the upper left corner with associated paint loss. There is also a line of movement with raised paint to the left of the sitter’s face. The paint layer has a network of age cracks following the vertical woodgrain of the panel. In the lighter paint passages the age cracks appear dark. There are a few small dents to the panel and paint layer caused by impact. The paint layer is in a good, stable condition overall. There are localised areas of retouching which are fairly well matched to the original, mainly covering small damages and scuffs. The varnish is even and semi-glossy with a light layer of dirt. The frame is in a good condition with a few losses to the decorative surface, it has probably been intentionally distressed to appear older than it is.
Los 11
Portrait of Marie de Medici (1575-1642) Queen of France inscribed along the top '. MARIA . MED . REGa . GALLIAE .' oil on canvas 63.5 x 48.5cmFootnote: Provenance: Christie's South Kensington, 9th April 1987, lot 206, as 'Circle of Alessandro Allori', when acquired by Claudine Auger (1941-2019) Belgravia, London This is an early copy of the head of the full length composition by Santi di Tito of Marie de Medici of circa 1599, before she became Queen Consort to Henry IV of France, that used be no. 2312 in the Uffizi Gallery, Florence, and is now in the Palazzo Pitti.Condition report: Oil on canvas which has been lined. The canvas has good tension and the picture is in plane. The paint layers are stable but worn and abraded following the tops of the canvas weave. The background has been extensively overpainted. There is less overpaint in the figure. In the face the small areas of overpaint have darkened, notably covering the diagonal scratch through the sitter’s face. Old residues of varnish are present in the background. The surface is even and semi-matte overall. The frame is in a good condition.
Los 116
Portrait traditionally believed to be of a First Lieutenant Podgórski, half length, in uniform before a battlefield signed lower right 'Barbacki B.' oil on canvas 48 x 35.5cmFootnote: Provenance: By descent from the sitter, believed to be the great-grandfather of the present owner The sitter appears to be wearing a Polish variant of the 'blue horizon' uniform, dating the present painting around the period of the Polish-Soviet War (1919-1921). A manuscript, now in the Muzeum Okręgowe w Nowym Sączu, in which the artist lists his sitters, does not however refer to a portrait of a Lieutenant Podgórski of this sitter's age, circa 1920. It does however include a painting of an older, bearded man, painted in 1923, which at that time belonged to Michał Podgórski, then an office worker in Krakow. It is thus quite feasible that Barbacki may well have painted another member of the Podgórski family, but failed to list it in his manuscript. We are grateful to Ms Edyta Ross-Pazdyk from Muzeum Okręgowe w Nowym Sączu for checking the Barbacki records and for her help with this catalogue entry.Condition report: Oil on canvas which appears to be unlined. The canvas is in plane but the tension is slightly slack resulting in minor stretcher bar marks where the canvas rests on the wooden stretcher behind. The paint layer is in a good condition overall. Around the sitter’s hat are some slightly raised cracks, these are localised to this area. The varnish has been locally applied to certain areas of the painting, probably by the artist himself. The appearance of the painting is good overall. The painting is in contact with the glass in the frame.
Los 13
Four Portraits of the Ffolliott brothers: Aylmer (b. 1591), Francis (b. 1595), Richard (b. 1597) and Henry (b. 1601) all half length, all dressed identically each inscribed with their age upper left and the year 1603 upper right each oil on bevelled oak panel all within the size range of 45 x 38cm (4)Footnote: Provenance: Private collection, Suffolk, Their Sale, Cheffins, Cambridge, 29th November 2006, lot 845, With Philip Mould Ltd, London, Private collection, Kensington, London The Ffolliott family, who are first recorded at the beginning of the reign of Elizabeth I in the 1560s, had by 1603 when John Ffolliott of Pirton Court was knighted, presumably risen in rank at court and these four portraits dated in that year were probably painted in recognition of the family’s elevation. Yet, by 1624, Pirton Court in Worcestershire was sold and other than one branch of the family rising to prominence in Ireland, the family and their name by the 19th century had all but disappeared. Of the sitters here represented, the eldest brother, Aylmer, married Barbara Smalbroke of Blakesley Hall, a house that still stands today near Birmingham. Francis became Vicar of Berkswell in Warwickshire and of the youngest, Richard and Henry, little is known and they probably both died young.Condition report: All four paintings are executed in oil on oak panels formed from one or two boards in vertical alignment. The portrait of Francis is on a single board with an insert filling an old knot at the lower edge and splits in the back of the panel. The paint layer has small blisters across the surface following the lines of the woodgrain. This is caused by movement in the panel which is clearly responsive to environmental fluctuations and is a historic issue. There are scattered old losses and the panel has more areas of retouching than the other three. The thin paint passages on all four paintings has become worn and abraded overtime. There is overpaint on all four portraits which is well matched to the original. The varnish layers are semi-glossy, clear and even. The simple wooden frames are in a good condition.
Los 132
'Gwen with Diana, Elizabeth and Pauline', c. 1924 oil on canvas 44 x 34.5cmFootnote: Provenance: Pauline Booth-James (d. 2006) the artist's daughter; Bonhams, London,12th March 2008, lot 95, With Philip Mould Ltd, London, April 2008, Private collection, Kensington, London Exhibited: Edinburgh, Scottish National Portrait Gallery; London, Fine Arts Society; Preston, Harris Museum and Art Gallery, 'Herbert James Gunn (1893-1964)', 3rd December 1994 - 1st July 1995, no. 28 The present work is a portrait of the artist's first wife and their three children.Condition report: Oil on canvas which is unlined. The canvas tension is slack and there are slight undulations across the surface. The paint layers are in a good condition overall. There is a thin varnish layer which is even. There is one small dent in the frame along the upper member.
Los 42
Self Portrait (c.1740–42) standing three quarter length, in green, holding a palette and paintbrush oil on paper, laid down to canvas 22.9 x 20.3cmProvenance: Ernest Albert Butcher, Australia, Acquired from his estate, through Adrienne Corri, by Neville Podmore in 1974; With Felder Old Master Paintings, London, 2001; With Philip Mould by 2003, With Historical Portraits Ltd, London, by 2005, Private collection, Kensington, London, from 2008 Exhibited: Southampton City Art Gallery, The Stuart Portrait: Status and Legacy, October-December 2001, no. 43; London, Felder Fine Art, Portraits, 2002, no. 3; London, Tate Britain; Washington DC, National Gallery of Art; Boston, Museum of Fine Arts, Gainsborough, 24th October 2002 - 14th September 2003, no. 1Literature: A. Corri, 'Gainsborough's Early Career: New Documents and Two Portraits', in Burlington Magazine, CXXV, April 1983, p. 214, col. fig. 1; M. Cormack, The Paintings of Thomas Gainsborough, Cambridge 1991, p. 7; M. Rosenthal, The Art of Thomas Gainsborough, New Haven and London 1999, p. 5, repr. col.; M. Postle, British Artists: Thomas Gainsborough, London 2002, pp. 7–8, fig. 2 col; W. Vaughan, Gainsborough, London 2002, pp. 16–17, fig. 10 col.; J. Ingamells, National Portrait Gallery: Mid-Georgian Portraits 1760–90, London 2004, p. 176; J. Hamilton, Gainsborough: A Portrait, London 2017, p. 20, col. pl. 20; H. Belsey, Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters, 2 vols., New Haven and London 2019, vol. I, pp. 2, 352, 901, cat. no. 366, repr. col.We are grateful to Hugh Belsey for compiling the following note: - "There can be little doubt that Gainsborough was born with a precocious intelligence and a God-given ability to paint. Attributing the work he produced in his teenage years has been slow and it remains contentious. No doubt unidentified examples will appear in the future and help to clarify his development as an artist. The majority of scholars have accepted this likeness as autograph, perhaps his very earliest extant portrait, and it has been widely exhibited and published. Dating the portrait has been difficult and it seems most likely that it is one of his earliest attempts at oil painting made soon after he moved from his native Sudbury in Suffolk to London in about 1740. There his apprenticeship, like William Hogarth’s, was with a silversmith and his skill as a draughtsman was honed by engraving inscriptions and coats-of-arms on the side of silverware. It was not long before his abilities caught the eye of Francis Hayman, the French draughtsman, Hubert Gravelot and the most original artist working at the time, William Hogarth. It must have been these associations that encouraged him to turn to painting. When, having returned to Suffolk, Gainsborough then moved to Bath in the late 1750s, his style responding to the market around him and it progressed with extraordinary speed. There is every reason to believe that a similar acceleration in the development of his work took place twenty years earlier. In the last ten years a number of canvases have been connected with his name and his earliest years as a painter and they reveal a path towards the well-known portrait of the Revd Hill’s dog Bumper dated 1745, now in a private collection in Norfolk. In this small painting the colour sings, the immediacy of the image shows great technical virtuosity but there remain uncertainties of composition and the background has a conspicuous absence of any middle ground. The delicate, almost emaciated facial features of Gainsborough as seen in his Portrait with wife and child dating from c. 1746 in the National Gallery and the Self-portrait drawing from the following decade in the British Museum are close enough to those in the young boy, to confirm the identity and the attribution. In 2001 Rica Jones made a thorough technical examination of the self-portrait and linked the technique used by the young artist with later uncontested paintings. She discovered that there are two other images painted beneath the present paint surface, the first has been tentatively identified as a landscape, and that the pigments used are consistent with those in the palettes of other artists working in the mid-eighteenth century and they all appear in the artist’s later work. While this is all circumstantial (rather than definitive) evidence, it is substantial and Jones's work provides the final piece of the jig-saw that enables a full attribution of this small panting to the artist. It is exceptionally rare for an artist to produce a self-portrait in oil at the age of 13. Remarkably few artists have ever attempted it."Condition report: Oil on paper attached to a thin gauze with a linen backing. There are minor undulations across the surface. The paint layer is in a good condition. There is a network of drying cracks across the surface which appear dark in the lighter areas of the flesh. A few, small old damages have been repaired, for example below the sitter’s right hand. Scattered retouchings across the surface are well matched to the original. The varnish is semi-matte and even. The frame is in a good condition with a few small losses to the gilded surface.
Los 43
Portrait of Frederick Howard, 5th Earl of Carlisle (1748-1825) when Lord Morpeth oil on canvas 56 x 43cmFootnote: After the original by Sir Joshua Reynolds of circa 1757/8 in the Castle Howard collection.Condition report: Oil on canvas which has been lined. Wide drying cracks have formed in the texture of the paint as it has dried. This has led to extensive overpaint across the surface in all areas. The paint layer is stable and secure. The varnish is matte with several scuffs and scratches. There is a thick layer of dust across the surface. The frame is in a poor condition with losses to the decorative gilding on all four sides.
Los 44
Portrait of Mrs Hyatt, half length, in a fur-trimmed coat and a feathered hat inscribed to the reverse 'T. Hardy Pinxt / (? London) 1786' oil on canvas 75 x 62cmFootnote: Provenance: By descent from the sitter to the Rev. Frederick Harvey and thence to Miss Evelyn Harvey; From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, LondonCondition report: Christie's stencil 223LD. Lined. Oil on canvas. The edges of the canvas have been reinforced with additional canvas strips and a few small tears have been patched from the reverse. The canvas tension is slightly slack but the picture is in plane. There are areas of overpaint across the canvas, in some areas it appears pasty and is covering the texture of the original paint layers, creating smooth patches. The varnish is clear and semi-glossy. The gilding on the frame is worn with several losses to the gesso.
Los 45
Portrait of a lady, traditionally said to be Marquise de Thil, half length, in a red dress, her hair in ringlets oil on canvas 72.5 x 59cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London The sitter is more probably a Marquise de Grollier and Trefort which family were also Contes de Maisonseule and Vicomtes de Thil. There was, however, a Marquis de Thil who was Maître des Requêtes to Louis XIV.Condition report: Oil on canvas which has been lined. The picture is in plane with good tension. The paint layer has softened during the lining process and the impasto is slightly pressed into the canvas. Overall the paint layer is stable, there is a network of age cracks with some very slightly raised edges. There are localised area of overpaint in the flesh tones which have slightly darkened, for example in the sitter’s forehead. The frame has suffered from losses to the moulding and gilded surface.
Los 46
Portrait of a lady, probably a member of the Hunt family of Boreatton, Shropshire, half length, within a stone cartouche oil on canvas 76 x 61cmFootnote: Provenance: Boreatton Park by 1882 and according to a label on the reverse: "Bought back by Elizabeth Castleden / Hunt d. of John Matthew Dove / who bought the old Hall with about / 125 acres, on the sale of the estate / in 1914, for his son-in-law / Richard Hunt husband of the / above E.C. Hunt & youngest / son of Rowland Hunt of / Boreatton & Plaish / Co. Salop." An identical provenance note can be found on the reverse of a portrait by Sir Godfrey Kneller of Thomas Papillon, now in the National Portrait Gallery, no. NPG5188.Condition report: Oil on canvas which appear to have an early lining. The picture is in plane with good tension. There are a few patches on the reverse of the canvas securing old damages. The corners of the painting have a slightly different appearance with a line of cracking following the fictive oval. The surface at the corners has a more prominent canvas weave and craquelure pattern. There are areas of retouching across the surface. The varnish is slightly yellowed and semi-glossy. There are a few scuffs and scratches to the surface. Dirt has build up behind the lower stretcher bar. The frame is in a good condition.
Los 47
Madonna della Sedia watercolour on ivory, circular, 11.5cm diam., in a carved and gilt wood Florentine frame; together with a Portrait miniature of Cardinal Guido Bentivoglio (1577-1644) after Sir Anthony van Dyck, watercolour on ivory, 9.5 x 7.5cm (2)Footnote: Provenance: Christie's, London, 26th November 1986, lot 23, An Oxfordshire country house After the original by Raphael now in the Palazzo Pitti, Florence.
Los 53
Portrait of John, Annabella and Augusta Annesley, all seated full length in a high back chair with Annabella holding a King Charles Spaniel inscribed on the reverse with the identity of the sitters, the name of the artist and the date 1926 oil on canvas 125 x 99.5cmFootnote: Provenance: By inheritance to the present owner from the descendants of Annabella Annesley (d. 1929)Condition report: Oil on canvas which is unlined. The canvas is in plane but the tension is slightly slack and stretcher bar marks are starting to form where the canvas rests against the wooden stretcher behind. There is a vertical tear at the left hand edge which has been secured at the reverse with tape. The paint layer is in a good, stable condition overall. Drying cracks have formed in some paint passages. The painting appears to be unvarnished, a white bloom is forming in localised areas of the surface. The upper right moulding on the frame is loose and there are scattered chips and losses to the gilding.
Los 54
Portrait of Major General Norman MacLeod, CB of Gillen (1770-1831) half length, in a General officer's uniforminscribed with the name of the copyist and the date 1915 on the reverseoil on canvas74.5 x 61.5cmProvenance: By descent from the issue of the sitter's granddaughter Augusta Mary Annesley (d. 1902)The sitter married in 1801 Lady Hester Annabella Annesley, daughter and eventual sole heiress of George, 2nd and last Earl of Mountnorris. He had a distinguished military career in South America, in the Peninsular War and then from 1810 onwards had notable service in India, being promoted to Major General in 1819. He was lost at sea in 1831 when a steamer on which he was travelling to Ireland was shipwrecked.MacLeod is depicted in a British General officer’s uniform of the period, which he would have worn whilst serving on the Staff of the Madras Presidency Army.We are grateful to Christopher Joll, Regimental Historian of the Household Cavalry, for his assistance with this catalogue entry.
Los 55
Portrait of George, 1st Lord Lyttelton (1709-1773) inscribed with the name of the copyist and the date 1913 on the reverse oil on canvas 75 x 62cmFootnote: After the original by an unknown artist in the National Portrait Gallery.Condition report:Oil on canvas which is unlined with an art supplier stamp for Winsor and Newton on the reverse. The canvas is in plane with adequate tension. One of the stretcher keys has fallen behind the lower stretcher bar. There is a light bloom across the surface. Several paint losses.Unglazed. The frame is broken and needs attention.
Los 56
Portrait of Sir Thomas Lyttelton, 6th Bart. and 2nd and last Baron Lyttelton of Frankley (1743/4-1779) half-length gesturing towards a female figure from antiquity inscribed lower left 'Thomas 2nd Lord Lyttelton / 1744-1779', and on the reverse with the name of the copyist and the date 1914 oil on canvas 75 x 62cmFootnote: Thomas, 2nd Lord Lyttelton of Frankley married in 1772 Apphia Witts (d. 1840) and the figure to which the sitter is gesturing may be an allusion to Apphia, daughter of Philemon, a Greek comic poet who lived to be 97 and died of laughing. The present painting is a copy after the original by Cosway at Hagley Hall, Worcestershire.Condition report: Oil on canvas which is unlined with an art supplier stamp for Winsor and Newton on the reverse. The canvas is in plane with adequate tension. The paint layer is in a good condition overall. Drying cracks have formed in the lower half of the picture which would have occurred as the paint dried. There is a thin varnish layer which has sunk and is no longer adequately saturating the paint layers. There is a thick layer of dust across the surface. The frame has a few scattered losses to the gilding.
Los 69
Portrait of a gentleman in his study signed or inscribed right of the sitter's chair 'Clausel 1842 / Peinture encaustique lustrée' oil (possibly encaustic) on canvas 86 x 71cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London Alexandre Clausel is better known as a pioneer photographer in Troyes where he was born, though he seems to have spent his childhood in Toulouse and Palmiers. He is recorded also as a painter, particularly in his earlier years, and as having worked in the encaustic medium. He is known to have exhibited at the Paris Salon in 1842, the year of this painting.Condition report: Oil on canvas – possibly encaustic – which means wax is involved in the mixture. The canvas is unlined, the tension is slack and there are undulations across the surface. The paint layer has a network of age and impact cracks across the surface, some of which are slightly raised. There are a few localised areas of darkened overpaint around the mirror on the wall. The varnish is even, glossy and clear. There is a light layer of surface dust. There is some wear and abrasion to the gilded surface of the frame.
Los 73
Portrait of a lady in a black dress, half length, wearing a feathered bonnet; and Portrait of a lady in a green dress, half length, wearing a white lace bonnet both signed 'Gautherot' oil on panel (a pair) 33 x 24cmFootnote: Provenance: From the collection of Hubert Faure (1919-2020), Albany, Piccadilly, London Son of the sculptor, Claude Gautherot (1729-1802), Pierre Gautherot trained under Jacques-Louis David, entering his studio in 1787. He exhibited at the Louvre between 1793-1824 and is best remembered for his portraits of notable figures of the day and Napoleonic subjects. A portrait of Voltaire by his hand, based on an earlier composition by Nicolas de Largillière, is in the Hermitage Museum, St Petersburg.
Los 92
Portrait of Lieutenant Gerard Prideaux Tharp (1870-1934) aged 19 oil on canvas 61.5 x 50.5cmFootnote: The sitter gained the rank of Lieutenant-Colonel in the Rifle Brigade. In 1918, he married Dora Maryan Hall (1891-1948) second daughter of James Wesley Hall, of Mount Morgan and Melbourne, Australia. They lived at Chippenham, Ely.Condition report: Oil on canvas which is unlined. The canvas tension is slightly slack and there are minor undulations across the surface. At the top left corner is a puncture in the canvas with associated paint loss and scuff mark. There is also a hols above the sitter’s left shoulder. The paint layer is stable overall. There are localised drying cracks in the darker paint passages. The work has a thin varnish layer which has sunk and no longer saturating the paint layer below. There is a thick layer of surface dirt and drips. The frame is in a poor condition with losses to the decorative moulding.
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283284 Los(e)/Seite