A fine early 20th century 9ct gold presentation medal awarded to J. Chaloner Smith, 6th Jan 1919, by the Institution of Civil Engineers of Ireland for his 'Notes upon the average volume of flow water from large catchment areas in Ireland', obverse with portrait bust of Michael Bernard Mullins (1808-1871), a famous civil engineer in Ireland, reverse with inscription, with fitted red leather-effect box. Note: John Chaloner Smith (1870-1932) was born in County Mayo on 7th November 1870 and worked in the Belfast and Northern County railways from 1891 to 1892 as an assistant, then later helped with alterations to the district lunatic asylum at Castlebar, County Mayo. Shortly after 1896, he joined the Public Works Office as an inspector and became a leading expert in water levels and rainfall.
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A Collection of toothpaste & ointment jars including a Victorian Advertising pot lid, transfer printed portrait panel within green and lettered border 'Cherry Toothpaste Patronized by the Queen, for beautifying the teeth & gums prepared by John Cosnell & Co London' with associated base,, 8cm diameter, 2 other toothpaste lids and 4 early ointment jars
Egypt and Abyssinia. Bonfils, Zangaki, L.Fiorillo Group of 22 albumen prints mounted on album pages, various large format sizes. One image is possibly a Francis Frith self-portrait in a reclined pose. A striking image titled,"Woman of Bethlehem, Abyssinian warriors and Abyssinian children. Mixed condition with many images discoloured. Some with very good contrast. Warping to some of the mounts.
Ommanney, Erasmus, Arctic Explorer, Ommanney, Erasmus, Arctic Explorer, full length portrait Carte de Visite, Maull & Fox, 187 Piccadilly London, written in manuscript to the back '1814-1904 Admiral Sir Erasmus Ommanney, Navarino 1827, Discovered the first traces ???? of Franklins ships on 23rd Augts 1850. Commissioned White Sea Squadron in 1854. Senior Officer in the Gulf of Riga in 1855' then in pencil in a different hand 'Arctic Explorer in 1850 was the first to discover items from Sir John Franklin's expedition to find the North-West passage'; along with another but later full length portrait Carte de Visite, A Debenham Southsea, photographers to the Admiralty 69 Palmerston Road, Southsea, written in manuscript to the back '1814-1904 Admiral Sir Erasmus Ommanney Arctic Explorer HMS Assistance, 1850 search for Franklin, First person to discover Franklins expedition items on Beechy Island 25 August 1850, Awarded the Arctic medal for his scientific reasearches. Ommanney entered the Royal Navy aged 12 under his uncle Captain John Ommanney Lieutenant in 1855. Service in Baffin Bay and undertook a dangerous mission to rescue Whalers trapped in ice. He had a distinguished career in the Royal Navy' Sir Erasmus Ommanney, 1814–1904, was a British naval officer and Arctic explorer, most noted for his part in the searches for the lost Franklin Expedition. His career spanned both naval warfare and scientific exploration, and his contributions to Arctic exploration are particularly significant. Eventual to what arguably is highlighted as a milestone in Ommanney's life happened in 1850 when he joined the British Admiralty's search mission in locating Sir John Franklin and his lost crew in the search for the Northwest Passage. In command of HMS Assistance, Ommanney presided over a squadron mounting an extensive search of the Arctic-on August 23, 1850, specifically at Cape Riley on Beechey Island. His team discovered the first physical evidence of Franklin's doomed expedition: evidence of camps and the graves of three crew. The discovery, although it did not find any direct evidence of Franklin's ships, marked the first tangible evidence to prove that the expedition survived at least some time after entering the Arctic, and it significantly influenced future searches. Besides taking part in the Franklin search, Ommanney had prepared numerous contributions to Arctic exploration. Local surveys and observations he was able to carry out in the Arctic, particularly in Baffin Bay, had served to plot the unknown coastlines and gave very vital meteorological and oceanographic data. His merit and skill as a commander and scientific rigor earned him wide respect both in the naval and scientific circles. Service of Ommanney extended beyond exploration. He was a decorated officer active in the Mediterranean and participant in the Crimean War. For his services to the Navy and polar exploration, he was knighted in 1867. In his old age, he published accounts of his Arctic experiences thereby shedding light on the travails of polar exploration. Erasmus Ommanney's legacy is firmly tied to his part in the Franklin search, but, in its broader setting of his work for naval exploration and to science, underlines his emergent continuing impact on the field of Arctic discovery and British naval history.
Collection of 3 Cased Daguerreotype Portraits, including a tinted portrait of a gentleman in a Maroccan leather case 6th plate, case 9cm x 8cm; portrait of a gentleman in a leather case 6th plate, case 12cm x 9cm hinge split; portrait of a mother & daughter in a leather case 6th plate, case 9cm x 8cm, hinge split
Cased Set of 7 Tinted Stereo Daguerrotype Images, Claudet, English, mid 19th Century, each with the label for 'Mr. Antoine Claudet, 107 Regents Street', the set of 7 in the original maroon Morrocan leather covered case stamped to the lid with a gilt grest and 'CLAUDET', complete with a stereo viewer constructed of similar maroon Maroccan leather stamped in gilt to the lid with a crest and 'Mr CLAUDET, 107 REGENTS STREET', the stereo dagguerotypes of young ladies all delicatly tinted with fine gilt detailing of jewelry. Condition: 3 Daguerrotypes with original bindings and black lacquere masks, 4 with later rebinding and black paper masks, bindings clip the label to teh rear, images generally very good, some with light oxidizing to the edges, viewer with split to leather hinge, scuffs and bumps. smal crack to one lens Note; Claudet patented his viewing case March 23 1853 - "Stereoscopes, The First One Hundred Years" by Paul Wing, 1996 p.75. Antoine François Jean Claudet: A Pioneer in Early Photography Antoine François Jean Claudet (August 18, 1797 – December 27, 1867) was a French photographer and artist who made significant contributions to the development of photography during the Victorian era. Although born in France, Claudet spent much of his career in London, where he became known for producing daguerreotypes. Claudet was born in the La Croix-Rousse district of Lyon, France. His father, Claude Claudet, was a cloth merchant, and his mother was Etiennette Julie Montagnat. Antoine followed his family's glassmaking business early on but soon found a passion for the emerging field of photography. Initially, Claudet managed a glass factory in Choisy-le-Roi, near Paris, alongside Georges Bontemps. To promote the glass business, Claudet moved to England and set up a shop on High Holborn in London. However, his career took a dramatic turn when he became involved in the development of photography. After acquiring a license from Louis Daguerre, Claudet became one of the earliest photographers to use the daguerreotype process in England. He played a pivotal role in improving the technique, notably by introducing chlorine as a chemical agent, which allowed for quicker image capture. Claudet was not only a skilled photographer but also an inventive thinker. One of his key innovations was the creation of the red darkroom safelight, which allowed photographers to develop images without risking overexposure. He also pioneered the use of painted backdrops in portrait photography and proposed the idea of capturing a sequence of photographs to simulate motion, a precursor to later cinematic developments. From 1841 to 1851, Claudet operated a photography studio on the roof of the Adelaide Gallery in London. It was here in 1843 that he took one of the only two surviving photographs of Ada Lovelace, the famous mathematician and daughter of Lord Byron. As his reputation grew, Claudet expanded his operations with additional studios, including one at the Colosseum in Regent’s Park. By 1851, he had relocated his entire business to 107 Regent Street, where he established a his photographic studio known as the "Temple to Photography." Claudet’s career resulted in the production of around 1,800 photographs annually, with notable sitters including the scientist Michael Faraday and the mathematician Charles Babbage. Among his works is a historic daguerreotype of Hemi Pomara, believed to be the earliest photograph of a Māori individual, now housed in the National Library of Australia. Beyond portraiture, Claudet was also an inventor. In 1848, he created the photographometer, a device designed to measure the intensity of light rays. The following year, he invented the focimeter, which helped photographers achieve precise focus in portrait photography. In 1858, he responded to a challenge from Sir David Brewster by developing the stereomonoscope, which contributed to the popularization of 3D imagery. Claudet's contributions to photography did not go unnoticed. In 1853, he was elected a Fellow of the Royal Society, a prestigious recognition of his work in the scientific community. That same year, he was appointed as "Photographer-in-ordinary" to Queen Victoria, a position that cemented his status as one of the most influential photographers of his time. A decade later, Napoleon III of France also honored him for his achievements. Claudet and his wife Julia had eight children, the youngest of whom, Francis George Claudet, followed in his father’s footsteps as an amateur photographer in Canada. Despite his many successes, Claudet’s life ended on a somber note. He passed away in London in 1867, and soon after his death, his "Temple to Photography" was tragically destroyed by fire, resulting in the loss of many of his valuable photographs. Many of his photographic works can be seen at the [National Portrait Gallery](https://www.npg.org.uk/collections/search/person/mp06792/antoine-claudet).
John Duncan Fergusson RBA (British, 1874-1961)Christina Fergusson, the artist's mother, c. 1897 conté29.5 x 19.5cm (11 5/8 x 7 11/16in).Footnotes:ProvenancePrivate collection, UK.The artist's mother, Christina, grew up in Perthshire and married John Fergusson in 1870. The couple lived in Pitlochry, Perthshire, before moving to Leith in 1874. Both being Gaelic speakers and very proud of their Highland roots, J. D. Fergusson's parents encouraged his strong connection with Scotland and it is Highland Perthshire that he considered his spiritual home. It is for this reason that Perth Gallery is home to the single largest collection of his work, having been left to city following his death and that of his life partner Margaret Morris. The present work is a beautiful and delicate example of his earlier, more academic approach to drawing. The primary differences with his later more modern approach being a more fully realised portrait on a larger scale, but still displaying the immediacy ubiquitous with his later works.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Duncan Fergusson RBA (British, 1874-1961)Portrait of an actor, c. 1900 conté29.5 x 24cm (11 5/8 x 9 7/16in).Footnotes:ProvenancePrivate collection, UK.The identity of the sitter here is known to be an actor as two other studies of him were made, one of which shows him in full costume for stage. Fergusson here is clearly drawn to the sitter's striking profile and big hair. The strong lighting, shown by the contrasts between light and dark, are suggestive of the spotlighting found on stage.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Robert Brough RA ARSA (British, 1872-1905)A portrait study of a young lady, with ribbon in her hair, head and shoulders signed and dated 'Robert Brough/91' (lower right), faint initials and date (lower right of sitter), indistinctly inscribed '--- --- Study' (lower left)pencil and chalk drawing on grey paper60 x 41cm (23 5/8 x 16 1/8in).Footnotes:ProvenancePrivate collection, UK.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Portrait of John Ressich, with a still life on the reversesigned 'L Hunter' (lower left)oil on canvas63.5 x 50.8cm (25 x 20in).Footnotes:ProvenanceCollection of John Ressich; thence by descent.ExhibitedGlasgow, Reid & Lefevre, June 1931.In late 1930 and early 1931, Hunter embarked on an ambitious series of portraits, not wishing to be solely confined to still life painting. This was a courageous gamble for both the artist and Reid & Lefevre, who exhibited the works in June 1931. The press reaction was lively and several reviews mention this portrait of Ressich:'Here is a portrait of Mr John Ressich by the modernist artist, Mr Leslie Hunter, whose exhibition is now open at Reid & Lefevre, 117 West George Street, Glasgow. It is interesting to see an artist's conception of the pungent and humorous author who contributes each week to the 'Something I want to Say' series of the Daily Record.' (Daily Record and Mail, 18 June 1931).'A good many of the portraits...a decorative setting....sometimes achieved by the introduction on one side of the picture of a beautifully painted curtain. In the modelling of the figure...a marked and pleasing feeling for pictorial form and occasionally a daring use of highly-keyed colour....Attractive also...Dr James Harper, John Ressich, Dr & Mrs Honeyman, and Matthew Dickie.' (Herald, 18 June 1931).'...one problem...does not appear to trouble Mr Hunter. The colour limitations of masculine dress are fully compensated by the free use of colour as a background. The risk of monotony is countered by the variety of treatment and the apparent liberty taken with flesh tones, and in the occasional distortion, is ultimately rendered comprehensible....Among the successes must be numbered Dr James Harper (vital and original), JSM Ressich (an excellent likeness), Mr Alan Arthur (sense of dignity and poise), Mr EN Marshall (important for its pictorial qualities) and a very happy sketch portrait of Mr W. McInnes.' (The Evening Citizen, 19 June 1931).John Sellar Matheson Ressich (1877-1937) was a businessman, journalist and author. He was a crucial supporter of the Colourists throughout their careers. Not only did he buy their work, he organised exhibitions, introduced them to collectors, travelled with them and encouraged them to believe in their pursuit of bringing Modernism to Scottish Art.In April 1911 Peploe came back to Edinburgh (having now moved to Paris) to sort out affairs and try to raise some money. He wrote a series of letters to his wife Margaret: 'I've just got back from Glasgow; it's 9.30; had a tremendous day. Ressich was awfully kind. I've had two huge steaks and a big sole and omelette fines herbes and cheese twice and champagne and port and liquors, so feel I don't want to see food for a week. I met George Burrell; we dined with him. He is very nice. How different these Glasgow people are from Edinburgh people. Plenty money.' (Guy Peploe, S.J. Peploe, Lund Humphries, 2012, p.86). Ressich supported Peploe and showed some of his works at his Glasgow office in 1911, when Aitken Dott refused to show his new French paintings (and when the only other dealer to take an interest was Reid).John Ressich was also crucial to J.D. Fergusson's career. Not only was he one of Fergusson's closest friends and intellectual allies, but also a reliable source of companionship and professional support. The tours of the Scottish highlands on which he accompanied Fergusson in 1922 (and again in 1928) rekindled the artist's interest in the Scottish landscape and precipitated periods of concentrated productivity. Ressich organised for the resultant works to be exhibited, in what became Fergusson's first solo exhibition in Scotland, held in 1923 at The Scottish Gallery in Edinburgh and then at La Société des Beaux-Arts in Glasgow.Although the term Scottish Colourist was not used until much later, Fergusson, Peploe and Hunter first exhibited together in Paris as Les Peintres De l'Ecosse Moderne (Modern Scottish Painters) in 1924. The first exhibition in the French capital came about after John Ressich wrote publicly in December 1923, calling for more opportunities for the public to see modern Scottish painting, for public galleries to buy and show their work, and for more recognition of modern Scottish painters.Ressich encouraged Hunter to go to New York in 1929. Hunter explains more when he wrote to another of his supporters, Matthew Justice, in 1928: 'I'm hoping to go over to New York in the late autumn. Fergusson's two shows in America were very successful and they have asked him to come over and my friend Ressich is hoping to place a novel in the movies – so we will make a two'. (National Library of Scotland, T.J. Honeyman Papers, Acc.9787). Ressich continued to be influential in Hunter's decision to move to London: 'I am certain I should come to London for good. Ressich thinks so too.' (T.J. Honeyman, Introducing Leslie Hunter, 1937, pp.187-188).John Ressich was one of the few immediate circle of followers in Glasgow who supported the artists who went on the be known as Colourists. Together these men exerted a crucial influence on contemporary Scottish art. It is no exaggeration to state that without their foresight a whole generation of Scottish artists would be seriously disadvantaged. Most importantly for Hunter, they understood and appreciated what he was striving to achieve. (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh 2012, p.71). It is fitting that Ressich wrote the catalogue introduction to Hunter's memorial exhibition at Reid's gallery in 1932.This portrait remained in Ressich's collection and has been passed down through family members. The current owners inherited the painting in the 1980's, however the presence of the still life on the reverse was recently rediscovered during the valuation process.For further information on this lot please visit Bonhams.com
John Duncan Fergusson RBA (British, 1874-1961)Portrait of a man smoking conté20 x 12cm (7 7/8 x 4 3/4in).Footnotes:ProvenancePrivate collection, UK.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Duncan Fergusson RBA (British, 1874-1961)Portrait of a lady in a wide-brimmed hat conté20 x 12cm (7 7/8 x 4 3/4in).Footnotes:ProvenancePrivate collection, UK.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS ALEXANDER POPE (1688 - 1744) Oil on canvas 76.2 x 61cm (30 x 24 in.)Provenance: Lt. Col. A Heywood-Lonsdale, Market Drayton Sale, Christie's London, 24 October 1958, lot 75, as by William Hogarth Strawberry Hill, Twickenham, where hung in the Long Gallery Sale, Christie's South Kensington, 17 February 2008, lot 65Literature: A. Chalcraft & J. Viscardi, Strawberry Hill: Horace Walpole's Gothic Castle, London, 2007, p.143 Condition Report: The canvas has been lined and is a little slack. Craquelure throughout, together with some areas where the paint surface is starting to lift. There are also some associated spots of loss scattered throughout. Rubbing and abrasions to the framing edges, together with some associated overpaint, which is visible in a natural light. Some surface dirt and scratching throughout. Inspection under UV light reveals retouching and in-filling throughout, as well as green cloudy varnish.Condition Report Disclaimer
THOMAS BEACH (BRITISH 1737-1806) PORTRAIT OF EDWARD HELYAR, AGED EIGHTEEN; AND PORTRAIT OF BRIDGET, AGED THIRTEEN. TWO OF THE CHILDREN OF WILLIAM AND ELIZABETH HELYAR OF COKER COURT, SOMERSET Oil on canvas, a pair Each 76.2 x 64.8cm (30 x 25½ in.) (2) Provenance: Commissioned by William Helyar (1720-1783), at Coker Court until the 1970s, then by family descent to a private collection, UKLiterature: `Coker Court, Somerset, the seat of Major GW Heneage', Country Life, 2nd January 1909, p.25This charming pair of paintings was commissioned circa.1768 by William Helyar (1720-1883) to adorn the new Georgian wing of his house, Coker Court, East Coker, near Yeovil in Somerset. Thomas Beach was a Dorset man born and bred who trained with Sir Joshua Reynolds and had a flourishing career painting West Country gentry families. William Helyar had ten children with his wife Elizabeth, née Weston. Edward was their fourth child and was eighteen when this portrait was painted. He is shown on the seashore with a telescope and shipping in the distance. The Helyars, like many West Country landed families, had mercantile interests and, as a younger son, Edward would probably have been brought up for involvement in one of these.Bridget is thirteen in a park landscape with a statue and a distant sunrise, which echoes her elegant, shell-pink dress. With her blonde hair wreathed with pearls and a rose in her hand, she epitomizes youthful beauty and modesty. Beach is emulating his master Joshua Reynolds, who uses 'theatrical' clothing to give a timeless quality to his sitters. . The Helyar family had lived at East Coker since 1616, when the manor was bought by William Helyar (1559-1645), Archdeacon of Barnstaple and Chaplain to Queen Elizabeth I. Staunch Royalists, the Helyars suffered under Cromwell's regime but flourished with the Restoration. The children's father William (1720-1783) married Elizabeth Weston in 1744. In 1766 he commissioned from William Chambers the elegant neoclassical addition to the fifteenth and sixteenth century buildings of Coker Court. Fourteen family portraits were commissioned from Thomas Beach to hang in the new wing, remaining there until the 1970s. Condition Report: Edward Helyar: The canvas has been lined, cleaned and re-varnished. There is craquelure throughout, some of which has been in-filled and this is visible in natural light, although largely contained to the background areas. There is a small horizontal area of possible repair above the sitter's head (approx. 10cm) which can also be seen in natural light. Stretcher marks visible. Rubbing and abrasions to the framing edges. Overall the work is in well restored condition and ready to hang.Bridget: The canvas has been lined, cleaned and re-varnished. Craquelure and paint-shrinkage throughout. Some of this has been in-filled and is partially visible in a natural light. Upper and lower stretcher marks visible. Inspection under UV light reveals scattered retouching and in-filling throughout. Overall the work is in well restored condition and ready to hang. Condition Report Disclaimer
SIR PETER LELY (BRITISH 1618-1680) AND STUDIO PORTRAIT OF A LADY, POSSIBLY A MEMBER OF THE COURT Oil on canvas 127 x 103cm (50 x 40½ in.) In a carved giltwood frame Provenance: Sale, Christie's, London, 21 November 1980, lot unknown Sale, Christie's, London, British Pictures, 20 November 1992, lot 2, as Sir Peter Lely Sudgrove House, GloucestershireLiterature: Waldershare Park Catalogue, No 171 In the current painting, as in many of Peter Lely's late portraits, the division of labour between the master and his studio assistants is evident. Lely himself would have focused on the face and expression of the sitter, while the studio on the drapery and background. Such methodology was put in place in order to cope with the high demand for portraits. Condition Report: The canvas is relined and presents a very subtle craquelure, which is most visible on the breast and arms. UV light reveals various retouches, on the breast, various dotted retouches on the blue veil of the vest, such retouches are visible also to the necked eye, and are in many areas quite extensive. The face, on the other hand, does not present visible signs of restoration. Condition Report Disclaimer
CIRCLE OF GODFREY KNELLER (BRITISH 1646-1723) PORTRAIT OF GENTLMAN WEARING A RUST COAT BESIDE A RED CURTAIN Oil on canvas 124 x 98.5cm (48¾ x 38¾ in.) Condition Report: The canvas has been relined and presents a subtle craquelure across the whole surface. UV light reveals a 12 cm long retouch, where previously, most likely, there was a tear; and various retouches in the lower right corner, the biggest of which is of about 5cm in width. To conclude, a few dotted retouches are present in the background, especially in the upper section of the painting. Condition Report Disclaimer
THE HON. JOHN COLLIER (BRITISH 1850-1934) PORTRAIT OF THE ARTIST'S SISTER, THE HON. ROSE COLLIER Oil on canvas Signed and dated `1897' (lower left) 60.5 x 50.5cm (23¾ x 19¾ in.)Please note that the cataloguing of this lot should read PORTRAIT OF THE ARTIST'S SISTER, THE HON. ROSE COLLIER and not as stated in the printed catalogue
DUTCH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A LADY WITH LACE BONNET AND RUFF Oil on panel, laid on canvas, laid to panel Inscribed 'AETATIS SVAE, 35. Ao dni, 1620' (upper right) 90.5 x 60cm (35½ x 23½ in.) UnframedProvenance: Sudgrove House, Gloucestershire Condition Report: This work is unframed. The work has been floated to a panel backboard, however the work itself appears to be on a canvas which has been lined. It is unclear whether the work was originally on a panel (the vertical splitting to the left and right thirds would suggest this is a possibility). If this is the case, the panel as been ground down to the gesso layer which has in turn been laid to a canvas. The is noticeable overpaint to the image and this is visible in natural light. A number of vertical splits running the length of the work, with associated cracking and over-paint (see online and catalogue images). Surface dirt and some craquelure throughout. A number of losses throughout, largely concentrated to the framing edges, which also show evidence of rubbing and abrasion. Inspection under UV light reveals retouching and overpainting throughout, together with a green cloudy varnish which may be masking further restoration. Overall the work appears to have been heavily restored.Condition Report Disclaimer
SIR JOSHUA REYNOLDS (BRITISH 1723-1792) PREPARITORY SKETCH FOR A PORTRAIT OF CHARLES WILLIAM HENRY SCOTT, EARL OF DALKEITH, 4TH DUKE OF BUCCLEUCH Pencil, pen, ink and wash 19.7 x 15.9cm (7¾ x 6¼ in.)Reynold's painting was probably painted in 1776, a small sketch 18.4 x 15.9cm was lent to the Grosvenor Gallery Exhibition in1883, by Lady Marian Alford. Provenance: Probably Mary, Dowager Marchioness of Thomond, Her sale Christie's, 26th May 1821 The collection of Alison Barker, 1951 - 2021, London and Chichester, London barrister and lifetime collector Facsimile label verso, Robert Thatcher Stationer, Charles Duke of Buccleuch, Sketch book 1757 Literature: Mannings, D. Sir Joshua Reynolds, A Complete Catalogue of his Works, Yale 2000, p.406, no.1582, fig.1195Pose studies such as this are rare survivals.Mary Palmer, Marchioness of Thomond (1750 -1820) was the `favourite' niece and principal heiress of Sir Joshua Reynolds. In 1792 she married Murrough O'Brien, 5th Earl of Inchiquin (d. 1808), who was created 1st Marquess of Thomond in 1800. Her sale at Christie's in 1821 included 450 Reynolds drawings and 9 sketch books which were sold in 15 lots. Most of the known sketches derive from this sale. The painting was most probably created in 1778 and a small oil sketch for it was lent to a Grosvenor Gallery in 1883 by Lady Maria Alford Condition Report: There is a small tear (approx. 1cm) to the upper left framing edge. There is a further tear to the lower left corner (approx. 2cm. There is some very light discolouration to the sheet and staining along the framed edges. One or two very small spots of foxing but these are not particularly noticeable. Undulation to the sheet under the glazed frame. Unexamined out of glazed frame. Condition Report Disclaimer
NATHANIEL DANCE (BRITISH 1735-1811) POWLETT WRIGHTE (THE YOUNGER), STANDING BEFORE ENGLEFIELD HOUSE, BERKSHIRE Oil on canvas 71.1 x 91.4cm (27 x 35 in.)Provenance: Presumably commissioned by the sitter or the sitter's family George J. Kidston (1873-1954) of Hazelbury Manor, Box, Wiltshire Frost & Reed, London Private Collection U.S.A.The present lot is a charming example in the mid-eighteenth-century tradition of the English country house conversation piece, having been identified from another almost identical version of the work, currently in a private collection, which is inscribed to the frame with details of the sitter, location and artist. The two pictures are contemporary with each other, and from the style of painting the hand is clearly the same. The only variants are some very slight differences in some of the trees and the painting offered here includes a dog in the foreground, which is omitted from the other version. Powlett Wrighte Junior (1739-1779) was the son of Powlett and Mary Wrighte and the heir to Englefield House and its estate. His father died in 1741, when he was just two years old and the house and estates were left in trust for him until he turned twenty-one. Both paintings show Englefield as it was in the mid-18th century, most likely around 1760, the year Wrighte turned twenty-one and came into full ownership of the house. This would have been a thoroughly plausible reason to commission a painting of himself, standing proudly in front of his country house of which he was now master. Given that his mother, now the chatelaine of several large houses through her second marriage in 1745, would have spent much of her time away from Englefield, it is also entirely plausible that she would have wanted a second version of the picture to hang in one of her other houses to remind her of the house where she lived before and to remind her of her eldest son, who was now the master there. Upon his death in 1779 and, being childless, Wrighte left the Englefield estate to his uncle, Nathaniel Wrighte in accordance with his father's will. Nathaniel Wrighte let the house and estate to Lady Clive, the widow of the famous 'Clive of India' and she lived there for some years in the 1780s. Since that time that house has been architecturally altered more than once - most significantly during the early 19th century when it was given some impressive 'Gothic' additions. The elevation shown in this picture, however, is largely still extant today and the positioning of the church to the viewer's right is similarly unchanged. The descendants of Powlett Wrighte are still the owners of Englefield House today. For Nathaniel Dance, 1760 was also a pivotal year. Initially it is hard to reconcile this picture stylistically with most of the known works by Dance which are much more informed in their handling of his sitters, giving them a certain charisma and depth which is lacking here. However, if we keep the date of 1760 in mind, we note that this predates his trip to Italy, and more specifically Rome, where he met and was influenced by the grand-manner portrait painter Pompeo Batoni. Prior to this trip abroad, the influences of Dance's tutor Francis Hayman are more noticeable. Similar examples of Dance's work in this early style include The Dashwood Family at Wycombe Park (Witt 147628), and Colonel Thornton at Falconer's Hall (Witt 147629).
ATTRIBUTED TO SIR THOMAS LAWRENCE (BRITISH 1769 -1830) PORTRAIT OF A YOUND GIRL WITH A SHEEP, POSSIBLY LOUISA CLARA BOSANQUET (1826-1922), LATER MRS HORACE MEYER Oil on canvas 76.2 x 63.5cm (30 x 25 in.)Provenance: Probably Sir Michael Walker Private collection, UK. Recent research into the chalk inscription to the stretcher of the present lot, suggests that the picture was probably owned by the British diplomat Sir Michael Walker (1916 - 2001). One of Walker's ancestors, David Bevan (1774 - 1846) was one of the bankers who founded Barclay, Bevan and Co., which went on to become Barclays Bank. Bevan's wife, Favell Bourke Lee was painted by Lawrence (see, Bonhams, Old Master Pictures, 25 October 2017, lot 44), and it is therefore reasonable to suggest that her granddaughter Louisa Clara Bosanquet (B.1826), may also have been painted by the artist. The suggestion of Louisa as a candidate for the sitter in the present lot becomes even more compelling when we learn that, though her aunt Mrs. Thomas Mortimer, she had a link to a pet sheep which she is known to have helped to bathe in the sea. In addition to a sheep, Mortimer, who wrote some of the most educational children's books of the nineteenth century (such as The Peep of Day), had a menagerie of pets including a parrot which she took to bed, and a donkey. As Mortimer's favourite niece the pair went on to write two books together. The present lot is comparable to Sir Thomas Lawrence's portrait of Lady Alexandrina Vane, No. 785, and George Vane-Tempest, No. 512 (Garlick, Sir Thomas Lawrence - A Complete Catalogue of the Oil Paintings). Condition Report: The canvas has been lined. Some very light craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and in-filling throughout. There is also a small (approx. 2cm) area of repair to the sitter's lower right cheek, and this over-painting is also visible in a natural light.Framed measurements 97 x 83cmCondition Report Disclaimer
THOMAS GAINSBOROUGH (BRITISH 1727-1788) PORTRAIT OF A GENTLEMAN, BUST-LENGTH, IN A GREEN COAT Oil on canvas, painted oval 74 x 61cm (29 x 24 in.) In a rococo frameProvenance: By descent to the sitter's great-grandson, Col. Hogarth, West Country, c.1900 Mrs Larson J.S. Birt, his anonymous sale, Sotheby's 12th July 1967, lot 97, where purchased by Mrs P.M. Spens (£900) With Leger Galleries, by December 1967 Where purchased by the present owner in May 1969Literature: Belsey, H. Gainsborough Portraits, Volume II, p.933, No.1026Exhibited: Leger Galleries, 1968, No.8 Gainsborough's House 1988 (short-term loan)In Hugh Belsey's Gainsborough Portraits (op. cit.) he notes that the portrait was wrongly attributed to the artists nephew Gainsborough Dupont, a view supported at the time by Ellis Waterhouse, He goes on to say `However, the sensitivity of the head and the and the relative flatness of the coat due to overpaint, firmly support an attribution to [Thomas] Gainsborough.' Condition Report: Framed measurements: 96 x 83 cm The canvas is relined and presents a subtle craquelure which is most visible on the visage go the sitter. UV light reveals no evident signs of restoration. There are a few scattered dotted stains across the canvas, but hardly noticeable. Condition Report Disclaimer
GEORGE FREDERIC WATTS (BRITISH 1817-1904) PORTRAIT OF MR RICHARD EDMONDS Oil on canvas Later signed (lower left) 25 x 20cm (9¾ x 7¾ in.)Provenance: The sitter's granddaughter Mrs Emma ShorterExhibited: London, Leighton House, August - November 1905 The 1905 exhibition of works by G.F Watts at Leighton house included a number of works which were lent by Mrs Russell Barrington (The author of The life, letters and work of Frederic Leighton Vol.I&II). In a letter to Mrs Barrington dated August 1905, Mrs Shorter writes of the present lot:I had an interview with my aunt yesterday on the subject of the little picture of her father by the late Mr Watts. She informed me that she cannot quite remember the year in which it was painted but it was certainly not later than 1834.Mr Watts' father in those days was a piano tuner and used to go to Mr Richard Edmonds' house at New Cross to tune the pianos, during that time he was always talking of his son's great talent...Mr Edmonds wishing to encourage the young artist gave him a sitting. it was not signed at the time of painting but 5 years ago Mr Watts recognised it as his work and kindly affined his signature'.The portrait was subsequently shown to Mr Richard Jeffries circa 1996/7 who confirmed the attribution.We are grateful to Richard Ormond for his help in preparing this catalogue entry. Condition Report: The canvas has been lined. Light craquelure throughout together with some associated infilling, some of which is visible in natural light. Light rubbing and abrasions to the framing edges. One or two small indentations to the lower right quadrant however these are only visible in a raking light, and even then, barely noticeable. Inspection under UV light reveals scattered retouching and infilling throughout, including a more concentrated area to the sitter's forehead. Framed measurements: 32 x 27 cm Condition Report Disclaimer
GEORGE MORLAND (BRITISH 1763-1804) PORTRAIT OF A GENTLEMAN PATRON, THREE-QUATER LENGTH, SEATED BEFORE A LANDSCAPE PAINTING Oil on canvas Signed (to painting, lower left) 62 x 40.5cm (24¼ x 15¾ in.) Provenance: A. Heywood-Lonsdale By whom sold, Christie's, London, 24 October 1958, lot 90, as a Self Portrait Fine Art Society, London, purchased from the above (when advertised in Apollo, December 1958) Sale, Sotheby's, London, 23 June 1971, lot 66, as a Self Portrait Sale, Sotheby's, London, 27 June 1973, lot 74, as a Self Portrait Literature: D. Winter, George Morland (1763-1804), doctoral diss., Stanford University, California 1977, p. 197, no. P203 (dated to 1800-1804) A similar depiction of a patron admiring an oil painting by Morland (also signed on the canvas within the picture), is known to be a portrait of Henry Wright; it was at Sotheby's, London, 13 July 1988, lot 190 Condition Report: The canvas has been lined. Craquelure throughout. Some rubbing and abrasions to the framing edges. Inspection under UV light reveals a possible old repair, running horizontally (approx. 10cm) under the sitter's hairline, as well as retouching and in-filling throughout.Condition Report Disclaimer
λ SIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot. Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer
λ FRANK CADOGAN COWPER (BRITISH 1877-1958) VANITY Pastel Signed and dated '1925' (lower right) 50 x 34cm (19½ x 13¼ in.) Provenance: Sale, Drouot-Richelieu, Paris, 11th June 2004, lot 106 The Maas Gallery Ltd, London, where purchased by the present owner, 2006Exhibited: Paris, Exposition des Beaux-Arts, 1936Cowper first painted Vanity in 1907 the year he became at Associate of The Royal Academy. He was so enamoured with it that he bought it back when it came up for auction at Christie's in 1921. Four years later he produced this pastel replica, which was a practice that he often did for his most popular paintings. He gave the 1907 version to The Royal Academy as his Diploma Work when he became a Royal Academician in 1934. Cowper collected antique frames and this pastel was most probably drawn especially for this frame as the proportions differ from the earlier version. The prime version of Vanity was most recently exhibited in Pre-Raphaelites: A Modern Renaissance at the Musei di San Domenico in Forlì, Italy and the influence of Renaissance painting is clearly seen in Cowper's work. He is often seen as the last exponent of the Pre-Raphaelite tradition and the picture pays homage to Rossetti's half-length likenesses of beautiful models with exotic accessories, an idiom itself owing much to sixteenth-century Venetian painting. The elaborate serpentine design on the woman's dress may have been inspired by the portrait of Isabella d'Este attributed to Giulio Romano (Historic Royal Palaces). Edward Burne-Jones had also depicted such a design in his watercolour 'Sidonia von Bork' (1860; Tate Britain). Vanity suggests the romance of the past and alludes to notions of the chivalric and courtly love.The record auction price for the artist was set by Our Lady of the Fruits of the Earth which sold at Christie's in 2011 for £469,250.This lot is from a deceased's estate sold to benefit the Art Fund. Condition Report: One or two superficial surface scratches to the sheet, the most noticeable (approx.. 1cm) to the upper left corner at the framing edge. Slight undulation to the sheet under the glaze. Otherwise, the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
CIRCLE OF JOHANN KERSEBOOM (C.1680-1708) A PORTRAIT OF TWO YOUNG GENTLEMEN, IN LANDSCAPE WITH GUNS AND GAME Oil on canvas 109 x 160cm (42¾ x 62 in.) Condition Report: The canvas has been lined and cleaned. Craquelure throughout, together with some paint-shrinkage to the darker pigment along the left framing edge. In addition, there is a small area of craquelure below the figure in the orange jacket, where the varnish in-between the craquelure has started to react and turn white. This is very minimal and not noticeable unless up close to the work. Stretcher marks visible in a raking light. One or two light spots of superficial surface dirt scattered throughout. Inspection under UV light reveals scattered retouching throughout. A green cloudy masking varnish may be concealing further overpaint.Condition Report Disclaimer
ATTRIBUTED TO COSMO ALEXANDER (SCOTTISH 1724-1772) PORTRAIT OF SIR JOSEPH SCOTT BT (1752-1828) Oil on canvas 73 x 59.5cm (28½ x 23¼ in.)Provenance: By descent through the family of the sitter Sir Joseph Scott was the son of William Scott of Great Barr Hall, then in Staffordshire. In 1777 he replaced the house with a Strawberry Hill Gothic Revival mansion. He was a High Sherriff in 1799 and MP for Worcester from 1802-1806 when he was created 1st Baronet, as Scott of Great Barr. He married Margaret Whitby by whom he had three children, one daughter Mary who died aged 15 and two sons Edward Dolman Scott who succeeded him in 1828, and William Scott who became Vicar of Great Barr. A portrait of Sir Joseph Scott by John Singleton Copley, circa 1765 is in the collection of Los Angeles County Museum. (AC1992.317.1)
ATTRIBUTED TO THOMAS HUDSON (BRITISH 1701-1779) PORTRAIT OF A LADY, BUST-LENGTH, IN A SILK DRESS DECORATED WITH PEARLS Oil on canvas 74 x 60.3cm (29 x 23½ in.)Provenance: Sale, Christie's London, 28th January 1983, lot 32 (as T. Hudson £3200) Condition Report: The canvas has been lined, cleaned and re-varnished. Light craquelure and superficial surface scratches throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals light scattered retouching throughout. In addition there is a very heavy varnish which may be concealing further overpaint. Frame measurements: 88.5 x 76 cmCondition Report Disclaimer
CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646 - 1723) PORTRAIT OF A GENTLEMAN WEARING THE ORDER OF BATH Oil on panel, oval 22.5 x 16cm (8¾ x 6¼ in.)Provenance: Sale, Christie's London, The Jeffrey Whitehead Sale, 6 August 1915, lot 61 (sold as one of three) Condition Report: Fine craquelure, an uneven varnish, and surface scratching throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals light scattered retouching throughout.Please note Dreweatts is not liable for damage to frames.Condition Report Disclaimer
ENGLISH SCHOOL (LATE 17TH/EARLY 18TH CENTURY) PORTRAIT OF A GENTLEMAN WEARING OCHRE COAT; PORTRAIT OF A LADY WEARING A BLUE DRESS Oil on canvas, a pair Each 73 x 60cm (28½ x 23½ in.) (2) Condition Report: Portrait of a Gentleman: The canvas has been relined and presents a subtle craquelure. UV light reveals a few dotted retouches to the head and background. To conclude, a layer of varnish is applied across, as well as a thin layer of dirt. Portrait of a Lady: The canvas has been relined, and presents a subtle craquelure across the whole surface. UV light reveals various retouches on the breast of the sitter, as well as on the neck and visage. A few dotted, yet smaller, retouches are present in the background area. To conclude, a layer of varnish and dirt is applied across the surface. Condition Report Disclaimer
CIRCLE OF SIR PETER PAUL RUBENS (FLEMISH 1577-1640) PORTRAIT OF CARDINAL-INFANTE FERDINAND OF SPAIN (1609-1641), THREE-QUARTER LENGTH, WEARING ARMOUR, A WHITE LACE COLLAR AND A RED SASH Oil on canvas 65 x 53cm (25½ x 20¾ in.) Provenance: Private Collection, CanadaCardinal Infante Ferdinand was the son of King Philip III of Spain and the younger brother of the future king, King Philip IV. Following a significant victory against a Swedish-German army at the Battle of Nördlingen, Ferdinand succeeded the Infanta Isabella as Governor of the Spanish Netherlands, finally making his triumphal entry into Antwerp on 17th April 1635. In 1636, Rubens was officially named as the Peintre de l'Hostel de Son Altèze, the post he had previously held under the Archduke Albert and the Archduchess Isabella. Rubens produced a number of portraits of the Cardinal-Infante, including a fully autograph work of the same composition, which was sold at Christie's on 9th July 1993, lot 30 (£397,500 GBP). A fine version, probably period and formerly in the Metropolitan Museum of Art, was also sold at Sotheby's, New York, on 30th January 2014, lot 233 ($16,250 USD). All the half length portraits of the Cardinal-Infante are usually said to derive from the full length equestrian portrait of the sitter at the Battle of Nordlingen by Rubens, now in the Prado, Madrid. However, the existence of a three-quarter length portrait by Rubens at the Ringling Museum of Art, indicates that this portrait type might have been conceived by Rubens independently of the full-length portrait. Condition Report: The canvas has been lined. Craquelure and surface dirt throughout. Rubbing and abrasions to the framing edges. The paint starting to wear thin in places, particularly in the background. Inspection under UV light reveals retouching throughout. Condition Report Disclaimer
WILLIAM HENRY BARRIBAL (BRITISH 1874-1952) PORTRAIT OF A YOUNG WOMAN WEARING A BLACK HAT Watercolour and gouache Signed (lower right) 38 x 28cm (14¾ x 11 in.) Condition Report: There is a small area of restoration to the sheet at the lower left corner. One or two spots of surface dirt throughout. Light undulation to the sheet under the glaze. Unexamined out of glazed frame.Condition Report Disclaimer
ENGLISH SCHOOL (17TH CENTURY) PORTRAIT OF A GIRL SEATED, HOLDING A DOG Oil on canvas 76 x 62cm (29¾ x 24¼ in.) Condition Report: The canvas has been lined. Craquelure throughout, the paint surface appears stable, however there are some small spots of loss scattered throughout. Stretcher marks are visible with some associated cracking and in-filling. Some over-paint is visible in a natural light. Some light surface dirt and surface scratching throughout. Rubbing and abrasions to the framing edges. Light undulation to the canvas, which would perhaps benefit from a new re-line. Inspection under UV light reveals scattered retouching throughout.Condition Report Disclaimer
AFTER HANS HOLBEIN THE YOUNGER PORTRAIT OF HENRY VIII, HEAD AND SHOULDERS Oil on panel 57 x 42cm (22¼ x 16½ in.) Provenance: Thomas McLean, London Condition Report: The panel presents a few superficial scratches to the surface most visible to the borders. UV light reveals a varnish applied across the whole surface, and a visible 1.5 cm wide line of retouching which crosses the whole painting and covers a previous splitting of the panel. Further retouching is present on the right side of the hat, and further small retouching in the background. The panel is cradled. Framed measurements: 73.5 x 58.5 cm Condition Report Disclaimer
ATTRIBUTED TO JOHN SINGLETON COPLEY (ANGLO-AMERICAN 1738-1815) PORTRAIT OF SIR JOHN TEMPLE 8TH BT (1732-1798) Oil on canvas 51 x 40.5cm (20 x 15¾ in.)Provenance: T. B. Winthrop Mary F. Winthrop 1903 (according to a label on the reverse) Mrs J.G. Minot, wife of Joseph Grafton Minot (1892-?) the son of J.F. Minot who was married to Honora Elizabeth Winthrop Lawrence Pratt Sale, Sotheby's, New York, 4 June 1987, lot 122 (as Arthur Devis) Exhibited: Boston, 1923 Lt.-Gov. Sir John Temple, 8th Bt., of Stowe was the British Consul-General to the United States of America. He married Elizabeth Bowdoin (1750-1809)and they had three children, Sir Grenville Temple (1768-1829), Elizabeth (Temple) Winthrop (1769-1825) and Augusta (Temple) Palmer (1779-1852). Condition Report: The canvas has been lined, cleaned and re-varnished. Rubbing and abrasions to the framing edges. Craquelure throughout. Stretcher marks visible. Inspection under UV light reveals scattered retouching and infilling throughout. Overall the work appears to be in good restored condition.Condition Report Disclaimer
AFTER ELIZABETH LOUISE VIGÉE LE BRUN SELF PORTRAIT OF THE ARTIST Oil on canvas 102 x 83cm (40 x 32½ in.) After the original, painted in Naples 1791, and now in the collection of the National Trust at Ickworth House, Suffolk NT851782 Condition Report: The canvas has not been lined and is a little slack. Some fine patches of isolated craquelure throughout. Rubbing and abrasions to the framing edges. Some superficial surface scratches and white scuff marks to the canvas. One or two very small (>1mm) specks of paint loss scattered throughout. Inspection under UV light reveals scattered retouching throughout, together with traces of a heavy green varnish.Condition Report Disclaimer
FLORENTINE SCHOOL (CIRCA 1600) PORTRAIT OF A SMILING MAN (RECTO); A WINGED FIGURE HOLDING TWO CHILDREN, DRAWN BY TWO HORSES (VERSO) Red chalk (recto); black chalk (verso) 30.4 x 17.2cm (11¾ x 6¾ in.) Provenance: Stefan von Licht (1880-1932), Vienna (L.789b) Sale, Christie's, London, Old Master and British Drawings and Watercolours, 4 July 2023, lot 18 The winged figure holding the two children is most likely a study depicting the Allegory of Night This lot to be sold without reserve
λ FRANCES MABLE HOLLAMS (BRITISH 1877-1963) PORTRAIT OF A BLACK HORSE INFRONT OF AN IVY COVERED WALL Oil on canvas Signed and dated '98' (lower left) 75 x 94cm (29½ x 37 in.) Condition Report: The canvas has not been lined. There is a very small (approx. 5mm) dint to the canvas along the lower right edge, which is causing the canvas to protrude slightly. This looks to have previously caused some loss, which has been retouched. Otherwise the work appears to be in good original condition commensurate with age. Inspection under UV light reveals no further evidence of restoration or repair.Condition Report Disclaimer
RAMSAY RICHARD REINAGLE (BRTISH 1775-1862) A HUNTING DOG HOLDING A CAT AT A BAY IN A WOODLAND, 1793 Oil on canvas Signed, dated, and inscribed 'R. R. Reinagle 1793 AE: sui 18' (centre left) 150 x 120cm (59 x 47 in.) Provenance: Sale, Christie's, London, 19 November 1982, lot 8 Sale, James Adam & Sons, Townley Hall, 10 October 2017, lot 422. Private collection, UK, acquired at the above sale Exhibited: (Probably) London, Royal Academy, 1793, n. 282, as 'Portrait of a favourite dog' Son of the painter Philipp Reinagle (1749 - 1833), Ramsay Richard executed this picture at the precocious age of 18 and had begun exhibiting at the Royal Academy five years earlier. The sure handling of composition and chiaroscuro belies the artist's youth. Taught by his father, Ramsay Richard was strongly influenced by 17th century Dutch painters of nature such as Ruisdael, Potter and Wouwerman, and he occasionally reproduced their works. Reinagle was an adept painter of animals, hunting scenes and landscapes, and the influence of these earlier artists is often detectable in his paintings during a period when earlier Dutch art was highly collectable in Britain. Adapting these modes to appeal to a contemporary audience, Reinagle made sure to depict subjects and themes which could appeal to the English country gentleman and often portrayed hunting scenes prominently featuring English breeds of dog. In this composition a water spaniel has cornered a wild cat up an oak tree and a standoff has ensued. The scene has been caught with a theatrical spotlight effect using the backdrop of a large sandstone boulder. The spaniel has chased the cat away from its prize of a dead bird which now lies before the spaniel's front paws, its feathers littering the ground. The spaniel, however, appears to be less interested in stealing the cat's kill than in enjoying having cornered the furious feline, which scrabbles and hisses angrily on a tree branch. Beneath them both the broken body of the bird lies suspended by foliage over a pool of water which separates the viewer from the battle. One might read this scene as a metaphor for the struggle between civilisation and wilderness: the well-groomed, domesticated spaniel tackling a savage, leering cat. A feather of the innocent bird dangles from the cat's claws, evidence of its crime.
AFTER FRANZ XAVER WINTERHALTER (GERMAN 1805-1873) VICTORIA, PRINCESS ROYAL (1840-1901) LATER EMPRESS FREDERICK OF GERMANY Oil on canvas With initials and date 'F. W.1857' (lower left) 31 x 23cm (12 x 9 in.)Provenance: Lady Jane Abdy, London Gifted to the present ownerAfter the picture in The Royal Collection (RCIN 404580)Princess Victoria, Queen Victoria's eldest daughter, wears the badge of the Order of Victoria and, in the three-quarter-length portrait, a prominently displayed ring on her left hand, alluding to her engagement to Prince Frederick William of Prussia, whose portrait Winterhalter painted at the same time (Schloss Friedrichshof). She was 17 years old. This painting is the first in a set of portraits of Queen Victoria's four eldest daughters. The Queen recorded in her Journal: 'Winterhalter has done a beautiful picture of Vicky, & is making an excellent head...of Fritz'.
‡ GEORGE ROMNEY (BRITISH 1734-1802) MRS. HENRIETTA HAWKINS BROWNE (1752-1802), 1793 Oil on canvas 127 x 102cm (50 x 40 in.) Provenance: Painted for the sitter's husband, Isaac Hawkins Brown (1745-1818); and by descent to The Hon. C. Hay Agnew's, London, acquired from the above in May 1889 W. Lockett Agnew, acquired from the above in March 1892 Mrs. Agnew's Sale, Christie's, London, 15 June 1923, lot 52 (£787 10s) Tooth [presumably Arthur Tooth, London], acquired at the above sale Sale, Christie's, New York, 12 January 1978, lot 140 Private Collection, acquired at the above sale Literature: H. Maxwell, George Romney, London, 1902, p. 171, n. 40 H. Ward & W. Roberts, Romney, A Biographical and Critical Essay with a Catalogue Raisonné of his Works, London & New York, NY, 1904, vol. II, pp. 19-20 A. Kidson, George Romney, A complete catalogue of his paintings, New Haven, CT & London, 2015, vol I, p. 99, n. 165 (illus.; as 'untraced') Exhibited: Birmingham, Museum and Art Gallery, Loan Collection of Portraits, 1900, n. 13 The sitter was the eldest daughter of the Hon. Edward Hay, fourth son of the 8th Earl of Kinnoull, and his wife Mary, nee Flower. In May 1788 she married Isaac Hawkins Browne of Badger, Salop., who served as MP for Bridgenorth from 1784 - 1812. The couple had no children. In his catalogue raisonné of Romney's work, Alex Kidson notes nine sittings by Mrs. Hawkins Browne between 28 January and 20 April 1793, with two further ones cancelled. Her husband paid Romney half his fee of 60 gns. At the first sitting and the remainder, along with the costs of packing and shipping, in March 1794. It was framed by Saunders (£5 18s) and sent on 24 July 1793. On 4 August, Mr. Hawkins Browne wrote to Romney thanking him for 'the very fine picture of Mrs. Hawkins Browne', which had recently arrived. He continued: 'I shall always set a high value upon it for her sake and for yours,' and stated that on his next trip to London he would 'take the first opportunity of returning you my best thanks in person' (Pierpont Morgan Library, New York, NY). According to Kidson, 'the portrait is one of the earliest in a sequence of female half-lengths which - arguably in response to the works of Lawrence and Raeburn - took the effects of loose brushwork and informality to new levels in Romney's portraiture'. Condition Report: The canvas has been lined ad re-varnished. It is however now a little slack. Craquelure and some paint shrinkage throughout however the paint surface appears stable. Rubbing and abrasions to the framing edges, The framing corners with some undulation to them, probably caused by the lining process. Inspection under UV light reveals scattered retouching and in-filling under a green cloudy varnish. The paint sits under the varnish, so we cannot be certain but it has been suggested that the necklace the sitter is wearing has been later added. Taking into account the artist's tendency not to use jewellery in his compositions, this seems a likely assertion. Condition Report Disclaimer
ARTHUR WILLIAM DEVIS (BRITISH 1762-1822) A DOUBLE PORTRAIT OF TWO BOYS, ONE POINTING TO INDIA ON A GLOBE: A DOUBLE PORTRAIT OF TWO BOYS, PRACTICING ARCHERY Oil on canvas, a pair The former inscribed `Miss Kensington No.106' (on the reverse of the frame); and the latter inscribed `Miss Kensington No.105' (on the reverse of the frame) Each 79.4 x 56.5cm (31¼ x 22 in.) (2)Provenance: Private collection, UK Philips, Son & Neale, 1st December 1969, lot 30 Richard Green, London Dr Norman PowerArthur William Devis inherited his talent from his father, the portrait painter Arthur Devis (1712-1787). He led an adventurous life and in 1782 was `appointed Draftsman by a private committee of the East India Company to pursue a voyage around the world' (2) aboard the Antelope. He was wounded by arrows in New Guinea and shipwrecked off the Palau Islands in the Pacific. Devis reached Calcutta in 1785, hoping to make his fortune as a portrait painter. Handsome, charming and generous, he plunged into the extravagant, febrile world of Calcutta society, where East India Company officials lived with all the elegance of Europe and the glamour of the East. One of Devis's first sitters was the Governor-General of Bengal, Warren Hastings and he went on to paint Marquess Cornwallis Receiving the Hostage Prince of Mysore before Seringapatam: and The Finding of the body of Tippoo Sahib, The Sultan of Mysore. Devis returned to England in 1795, intending to publish his series of twenty-six paintings of Indian Manufacturers. He built up his reputation as a portrait painter, often executing commissions for families with connections to India. He became renowned for portraits of children: his gentle, warm personality put them at their ease. Sydney Pavière, Devis's biographer, comments: 'That he was fond of little children cannot be doubted. He painted them so lovingly and well' (3) . This can be seen in the present pair of portraits of four brothers. The elder pair stand in an interior with a table globe and the younger of the two boys' points to India, making clear the family's connection with that country. The elder boys, engaged in learning about the world, have the gravity of approaching manhood. Their young brothers live still in a world of outdoor play and sunlight. They are depicted practicing archery in the shade of a huge tree, the vastness of which suggests the tropics and is similar to the Banyan Tree in Devis's portrait of Colin Shakespeare, of the Bengal Civil Service (4). Both portraits are inscribed `Miss Kensington' on the reverse of the frames. It is possible that the boys are members of the Kensington family who are recorded in Madras in the early nineteenth century. For example, Henry Kensington (d.1825) began his career as a Writer (or clerk, the first rung of an East India Company career) in 1808 and rose to be Registrar to the Provincial Court, Southern Division by 1822 . There may well have been earlier generations of the family living in India. Devis visited Madras in 1793. 1. Sydney H Pavière, The Devis Family of Painters, Leigh-on-Sea 1950, p.102 2 Ibid p.104 3 Ibid p.113 4 Ibid p.114, no.134, plate 46 Condition Report: Framed measurements: 91 x 71 cm The portrait of boys practicing archery: The canvas is relined and presents a very subtle craquelure, which is hardly noticeable. UV light reveals various retouches yet mostly subtle. Starting from the boy on the left, the are restorations next to the right leg, a patch of retouching in the background just to to his left, of about 1.5 cm in diameter; further retouching near the right section of the bow, and very subtle targeted retouching to the white frilled collar, on the lip, and to the right of the hair; there also seems to be some reinforcing on his right eyebrow. The boy on the right, on the other hand, has a few retouches on the hand, and small, hardly noticeable retouching near the eye, and on the locks of hair to the left. Further retouching is present on the left border, and various restorations are present in the foliage to the right border. To conclude, a suable varnish covers the whole surface. The portrait of boys pointing to India: The canvas is relined, and presents a subtle, and hardly noticeable, craquelure across the whole surface. UV light reveals a few minor retouches. Starting from the boy on the left, there are some dotted restorations on the hand pointing to the globe, a few on the legs, while a thin 7 cm long retouch is situated diagonally to the left of to the froward leg. In addition, there might be some white paint restoration, which though does not fluoresce, on the stockings. The boy on the right instead presents a few retouches on the stocking, and a few, yet hardly noticeable and visible restorations on the hair and nose. To conclude, a 0.5 cm long retouching is present on he left of the boy's head. Further scattered retouches are present in the background, most notably near the brooders. Condition Report Disclaimer
FOOTBALL INTEREST: A mixed lot of memorabilia, to include: - A presentation frame for England's George Best, including limited edition print portrait by Heather G Harman (53/500), autograph card, matchday ticket, banquet programme with facsimilie signatures etc COA to verso, size approximately: 62x73cm (unautheticated by Keys Auctioneers)- A collection of matchday programmes, ticket stubs, poster etc
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