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Los 108
ARTHUR KAUFMANN (GERMAN-AMERICAN 1888-1971)Girl Reading on a Daybed, 1945oil on canvas71 x 112 cm (28 x 44 in.)signed and dated upper rightPROVENANCEGifted by the artist to the present owner in 1945 LOT NOTESArthur Kaufmann was an important figure in the Neue Sachlichkeit [New Objectivity] art movement. He was also a founding member of the Junge Rheinland group in 1919, whose members including other notable artists such as Gert Wollheim and Otto Dix. A Jewish artist, Kauffman was dismissed from his teaching post at the Dusseldorf School of Applied Arts in 1933. Fleeing Germany, Kaufmann relocated to the United States with the help of an affidavit from the composer George Gershwin, the portrait of whom by Kaufmann is at the National Portrait Gallery in Washington, D.C. In the United States, Kaufmann specialized in portrait painting, many of which happened to be portraits of leading Jewish figures of the time (including Albert Einstein). The present lot being sold, Girl Reading on a Daybed, is actually a portrait, painted from life, of the present owner, and as remained in the family until now. Lot 109 in the sale, sold by the same owner, is a portrait of her mother painted by Kaufmann at the same time.
Los 109
ARTHUR KAUFMANN (GERMAN 1888-1971)Portrait of Lilo Luxembourg, 1945oil on canvas91 x 61 cm (35 3/4 x 24 in.)signed and dated upper rightPROVENANCEGifted by the artist to the present owner in 1945 LOT NOTESArthur Kaufmann was an important figure in the Neue Sachlichkeit [New Objectivity] art movement. He was also a founding member of the Junge Rheinland group in 1919, whose members including other notable artists such as Gert Wollheim and Otto Dix. A Jewish artist, Kauffman was dismissed from his teaching post at the Dusseldorf School of Applied Arts in 1933. Fleeing Germany, Kaufmann relocated to the United States with the help of an affidavit from the composer George Gershwin, the portrait of whom by Kaufmann is at the National Portrait Gallery in Washington, D.C. In the United States, Kaufmann specialized in portrait painting, many of which happened to be portraits of leading Jewish figures of the time (including Albert Einstein). The present lot being sold, Portrait of Lilo Luxembourg, is actually a portrait, painted from life, of the mother of the present owner, and has remained in the family until now. Lot 108 in the sale, sold by the same owner, is a portrait of herself painted by Kaufmann at the same time as her mother.
Los 126
CHARLES LESLIE THRASHER (AMERICAN 1889-1936)Self-Portrait, oil on canvas board51 x 40.5 cm (20 x 16 in.)signed lower right LOT NOTESLike his contemporary, Norman Rockwell, Leslie Thrasher is best known for his covers of weekly periodicals beginning with the Saturday Evening Post in 1912, for which Thrasher produced almost two dozen covers before enlisting to fight in WWI, and then eventually his famous series for Liberty magazine. Between 1924 and 1932 Thrasher painted 360 covers for Liberty in a series titled ÒFor the Love o` LilÓ in which he showed the antics of a young fictional couple, Lil and Stanford, from youth to middle age.This lot is being sold without reserve.
Los 189
ILLARION MIKHAILOVICH PRYANISHNIKOV (RUSSIAN 1840-1894)Portrait of a Man (Member of the Pryanishnikov Family?), 1870swatercolor on paper14 x 11.5 cm (5 1/2 x 4 1/2 in.)signed in Cyrillic lower rightEXPERTISE Accompanied by a certificate of authenticity signed by Lidiya Torstensen of the Independent Scientific Research Expertise center named after P.M. Tretyakov. (Copy available upon request).
Los 264
ANATOLIY ZVEREV (RUSSIAN 1931-1986)Self-Portrait, 1983watercolor on paper47 x 35 cm (18 1/2 x 13 3/4 in.)signed and dated upper centerPROVENANCEEstate of a Prominent Chicago PhysicianThence by descent in the familyLOT NOTESThe vast majority of Russian artworks from this estate collection were purchased by the parents of the current owner from Elena Kornetchuk at International Images, LTD. in Sewickley, PA (formerly Russian Images, Ltd.). Kornetchuk was an intrepid and widely admired dealer of Russian art, with direct personal contacts amongst the elite Soviet artists of the day, whose works she sold legally to the West. As of 1978, Kornetchuk secured an exclusive agreement with the Soviet foreign trade agency to export and sell art from the USSR to the USA.This lot is being sold without reserve.
Los 279
ANDREY GENNADIEV (RUSSIAN B. 1947)Portrait of the Artist`s Wife, 1982oil on canvas90 x 60 cm (35 3/8 x 23 5/8 in.)signed with monogram lower right; signed and titled in Cyrillic Portrait of Natasha on versoPROVENANCEInternational Images, Ltd., SewickleyEstate of a Prominent Chicago Physician (acquired from the above in 1990 for $27,050)Thence by descent in the familyEXPERTISEAccompanied by a Certificate of Authenticity signed by Elena Kornetchuk, President of International Images. (Available upon request).LOT NOTESThe vast majority of Russian artworks from this estate collection were purchased by the parents of the current owner from Elena Kornetchuk at International Images, LTD. in Sewickley, PA (formerly Russian Images, Ltd.). Kornetchuk was an intrepid and widely admired dealer of Russian art, with direct personal contacts amongst the elite Soviet artists of the day, whose works she sold legally to the West. As of 1978, Kornetchuk secured an exclusive agreement with the Soviet foreign trade agency to export and sell art from the USSR to the USA.This lot is being sold without reserve.
Los 381
A BATENIN PORCELAIN FACTORY, CYLINDRICAL CUP AND SAUCER WITH A FEMALE PORTRAIT, ST.PETERSBURG, 1818-1832the massive cylindrical cup with handle, porcelain, gold ground, overglaze design, factory mark S.Z.K.B. in Cyrillic, St.Petersburg, 1818-1832, height with handle: 12 cm. ( 4 3/4 in.), diameter of saucer: 17.5 cm. ( 6 7/8 in.)
Los 69
FERNAND BOILAUGES (FRENCH 1891-1991)Group of Three Primitive Paintings with Family Scenes, each oil on panelPROVENANCERoss L. Peacock Gallery, New YorkPrivate Collection, New York (purchased from the above by the current owner in 1976)Thence by descent in family comprising:a) Au Souvenir de Paris, 33 x 55 cm (13 x 21 5/8 in.), signed lower left; b) Family Portrait in a Forest, 41 x 33 cm (16 1/8 x 13 in.), signed lower left; c) La Promenade, Bois de Boulogne, 33 x 55 cm (13 x 21 5/8 in.), signed lower right
Los 92
ENGLISH SCHOOL 17TH CENTURYPortrait of a Boy, 1653oil on board104 x 70 cm (41 x 27 1/2 in.)dated and inscribed A:3 upper rightPROVENANCEAcquired through inheritance by the descendants of Alexander Ivanovich Nelidov (1835-1910), Russian Ambassador to Turkey, Italy and FranceCollection of the Nelidov family to the present day This lot is being sold without reserve.
![Rousseau (J.J.) transl. by Thomas Martyn Letters on the Elements of Botany; Addressed to a Lady, 1815, [bound with] Martyn (T](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/c214c271-d79d-452c-d7d2-0ed3f42536f5/468x382.jpg)
Los 122
Rousseau (J.J.) transl. by Thomas Martyn Letters on the Elements of Botany; Addressed to a Lady, 1815, [bound with] Martyn (Thomas), Thirty-Eight Plates with Explanations; intented to Illustrate Linnaeus's System of Vegetables .., 1817, thirty-eight hand-coloured plates, half calf (rubbed); Lee (James), An Introduction to the Science of Botany, Chiefly Extracted from the works of Linnaeus .., 1810, portrait frontis, twelve plates, full leather (worn); Anon., Journal of a Naturalist, 1829, seven plates as called for (some double page), original cloth (worn, joints split) (3)
Los 142
Holyoake (Manfred) The Conservation of Pictures, 1870, original cloth gilt; Hay (D.R.), The Laws of Harmonious Colouring adapted to Interior Decorations ..., 1847, sixth edition, frontis composed of coloured triangles, original cloth; Galvayne (Sydney), The Horse ..., 1888, portrait frontis, 24 plates, original cloth; Alcock (Mary), Poems, 1799, contemporary calf; with twenty-six other volumes including a bound volume of tracts (30)
Los 143
Duke of Windsor An interesting archive of letters, photographs, sketches, medals, cigarette case etc. belonging to Harold Holder (1911-81), bodyguard to the Duke of Windsor, including; Royal Duties - commences with a letter describing his appointment to protection work while in Special Branch, and the need to fly at short notice to join the Duke in Lisbon for travel to the Bahamas where the Duke was to be Governor. A press cutting describes the urgency caused by German attempts to prevent the ex-king leaving Europe, Photographs commencing upon arrival in Nassau (1940), recording the Duke and Duchess in the Bahamas and on visits to the USA and Canada, One portrait is signed by both, others depict visits to a war factory in Detroit, and to New York's Chase National Bank, City Hall, Park Avenue, etc. (1941). Other visits include Miami, Washington and Palm Beach as well as to a ranch in ?Alberta, Canada. A white metal cigarette case with the Duke's armorial contains a presentation inscription to Sgt. Holder (1940). Numerous stamps and visas in his passport record his travels with the Royals and a travelling expenses sheet signed by the Duke is present.. Harry Holder then joined the RAF and trained as a Navigator with the Royal Canadian Air Force in 1944, his log book records his training and subsequent operations in Malaya, Singapore, Cocos and India (1945-6), there are also photographs of his Hawker Tempest, which he crash landed. An interesting typed letter signed by the Duke of Windsor in April 1948 discusses Harry's plans to relocate to the USA and the difficulties of finding work as 'a foreigner' but offers to contact 'my old friend Mr Edgar Hoover' on his behalf. From 1951 to 1958, Harry served with the Special Branch of the Malayan Police (Asst. Superintendent) during the uprising against British Colonial Rule. Included is a Pewter salver recording his service. From 1958-64, he served in Nigeria, during independence. A collection of military badges and medals includes four Defence Medals, four War Medals (1939-45), two 1939-45 Stars, the France and Germany Star, The Burma Star, two General Service Medals with Malaya Clasps, a strip of miniature medals replicating most of the above, a Nigeria Independence Medal 1960 and a quantity of Red Cross Society medals. Another talent of Harry Holder is shown in a collection of colourful original artwork, including childrens illustrations with verse, cartoons, pencil sketches, etc, many signed and dated in the 1940's. Also included are family photographs, postcards (one signed by the Duke and Duchess), letters and cards, ephemera, etc. Personal inspection recommended (qty)
Los 149
Napoleon III Oevres de Napoleon III, 1856, Paris, four volumes, all edges gilt, calf gilt with Napoleon's crown and bees in gilt to boards; Mackay (Alex.), The Western World; or, Travels in the United States in 1846-47 .., 1849, three volumes, one folding map (of two), calf gilt; Stow (John), The Abridgement of the English Chronicle ..., 1618, Company of Stationers, lackings blanks A1 and A8, bookplate of Mark Masterman Sykes (Sledmere), calf (upper joint cracked); Bacon (Francis), Baconiana. Or Certain Genuine Remains of Sir Francis Bacon .., 1679, portrait frontis, lacks B1 (section title page), calf; with nineteen others (28)
![[ROME] PRENNER (G.G.de) Illustri Fatti Farnesiani Coloriti nel Real Palazzo di Caprarola, folio, engr. titled, dedication, in](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/eff40840-3908-4370-b585-626ec6bfe658/468x382.jpg)
Los 169
WILSON (H.) Navigation New Modell'd, 8vo, portrait frontis., 10 folding plates (1 torn), contemp. calf, 4th Edn., L., 1741; MERCATOR (N.) Nicolai Mercatoris Holsati, è Soc. Reg. Institutionum astronomicarum libri duo, De Motu Astrorum Communi & Proprio …, 8vo, text illus., (marginal worming), contemp. calf, London, 1676; WHISTON (W.) A New Theory of the Earth, 8vo, frontis., 7 plates, calf (worn), L., 1696; KEILL (J.) An Introduction to the True Astronomy …, 8vo, 29 folding plates, calf (cover off), 2nd Edn., L., 1730; and a defective copy of Moxon's A Tutor to Astronomy and Geography, 3rd Edn., 1674 (5)
![[COOKERY] RAFFALO (E.) The Experienced English Housekeeper, 8vo, portrait frontis. (pasted to front boards), 2 folding plates](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/d8d4efcf-8e9b-4627-d610-54da9c4364b9/468x382.jpg)
![[CHARLES I] Eikon Basilike. The Pourtraicture of His Sacred Majesty, 8vo, red/black printed title, folding engr. frontis., 1](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/82bad65e-48cb-4181-9434-9a74e68358b2/468x382.jpg)
Los 189
[CHARLES I] Eikon Basilike. The Pourtraicture of His Sacred Majesty, 8vo, red/black printed title, folding engr. frontis., 1 plate, separate title for the ''Apophithegmata'', contemp. black calf (rebacked), l., 1649; [CHARLES I] A Large Declaration concerning the Late Tumults …, folio, engraved portrait frontis., license leaf at end, contemp. calf with Garter Arms (worn, covers off), L., 1639 (2)
Los 207
SPOTSWOOD (J.) History of the Church of Scotland, folio, portrait frontis., covers blindstamped with rose and lozenge devices (spine and clasps gone), L., 1645; ANDREWES (Lancelot) XCVI. Sermons, folio, calf (v. worn), 2nd Edn., L., 1631; BROWN (F.) Letters of the Renowned Father Paul, 8vo, portrait frontis., calf, L., 1693; and 15 others, folio et infra (18)
![[CHINA] LE COMTE (L.) Nouveaux Memoires sur l'Etat Present de la Chine, 2 vols, 12mo, 1 portrait and 20 plates, (incl. two ha](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/ae402236-548b-4b88-c9f3-8db041c28d3d/468x382.jpg)
Los 233
[CHINA] LE COMTE (L.) Nouveaux Memoires sur l'Etat Present de la Chine, 2 vols, 12mo, 1 portrait and 20 plates, (incl. two half plates, i.e. 1 sheet with two images cut and placed at the appropriate places in the text), folding word table at p. 298, vol. 1, (split down the fold), contemp. sprinkled calf with gilt arms of a cardinal to covers (spines worn, separating), 3rd Edn., Paris, 1697 (2)
Los 235
MUNSTER (S.) - Cosmographia - ''Sei Libri della Comografia Universale'', folio, pictorial title with portrait verso, 11 ff., 9 double-page woodcut maps (incl. world hemisphere, but with marginal repairs), pp. 1237 (1) [lacking pp. 89-92, 101-104, 169-72, 179-1282, 207-211, 215-218, 389-392, 449-52, 497/8, 503-6, and etc., etc.], irregular register and pagination, profuse woodcut illus. [Of the other double-page maps, only Constantinople present], contemp. blindrolled calf (repaired), Basel, Pietro, [1558] (with all faults)
Los 49
Dante Alighieri La Divina Commedia di Dante Alighieri, corretta spiegata e difesa dal P. Baldassarre Lombardi ..., 1815-17, Rome, four volumes, quarto, portrait frontis, three plates, all edges gilt, straight grained morocco gilt bindings (light damp mould to bindings, one board scuffed); Lesage, Histoire de Gil Blas de Santillane, 1809, Longman, Hurst .., four volumes, quarto large paper copy, plates on India paper, all edges gilt, morocco gilt (damp mould to boards) (8)
![Herodotus Herodoti Musae, sive Historiarum Libri IX ..., 1817, [with] Lexicon Herodoteum, 1824, Treuttel et Wurtz, seven volu](https://cdn.globalauctionplatform.com/9fd9d905-cd26-425d-8478-a87700f25d9c/85a4101e-4198-48e1-c8b9-f3c78fbfe700/468x382.jpg)
Los 369
Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request
Los 376
English School, 18th Century Portrait of Charlotte Orlebar, wife of Richard Orlebar, Esq. inscribed centre left "Charlotte, Wife of / Richard Orlebar Esq. / 1782" oil on canvas, oval 65 x 52cm (25 x 20in) Provenance: By descent within the family of the sitter at Hinwick House, Bedfordshire Cleaned at some stage. Some craquelure and suface dirt.
Los 377
Attributed to Daniel Gardner (British, 1750-1805), Portrait of Lady Wishart (married 1775), née Lady Jane Leslie (1753-1829) with her daughter Williamina Stuart Belshes Wishart, later Lady Forbes (1776-1810), inscribed to the reverse, inscribed "Lady Wishart and Child" to the reverse, pastel 31 x 26cm (12 x 10in)We are grateful to Mr Neil Jeffares for identifying the sitters and suggesting an attribution to Gardner. Foxed.
Los 379
English School, circa 1600 Portrait of a lady with her small spaniel beside her, an earring in her left ear depicting Cupid, holding a fan, with a writing tablet at her waist oil on panel 88 x 67cm (34 x 26in) Provenance: By family descent in a London private collection Literature: For similar portraits see: Violet A Wilson, Queen Elizabeth's Maids of Honour and Ladies of the Privy Chamber, London: John Lane The Bodley Head Ltd., 1922 - Portrait of Ann Russell, Lady Herbert, p.259 (Collection of the Duke of Beaufort); Portrait of Mary Fytton, Maid of Honour to Queen Elizabeth, frontispiece (from the Collection at Arbury) Sir Roy Strong, The English Icon: Elizabethan and Jacobean Portraiture, The Paul Mellon Foundation for British Art, 1969, Nos. 296-298 - Portraits of Elizabeth Brydges, Lady Kennedy (one at Woburn Abbey, and a full length at Ditchley Park) The sitter is presumably a member of the Court and quite possibly one of the Queen's Maids of Honour, judging by her dress. As a young bride joining the magnificent Court of Elizabeth I, Gloriana, the sitter is wearing pearls which were thought to be the Queen of gems at the time, and she appears to be a girl aged 15 to 20, an heiress of high rank. The present portrait appears to be a marriage portrait - the sitter has her small dog beside her - a symbol of fidelity - and in her left ear hangs an earring depicting Cupid aiming his arrow at a flaming heart. The sitter is wearing some extremely interesting jewellery. The pearl attire on her high padded hair, composed of spiral motifs with peapods, is in the "cosses de pois" style originating in Paris circa 1600, but in use before that. From the central pod hangs a red stone - probably either a spinel or ruby drop attached to a diamond cluster with pearls falling down to her brow. To disguise flaws, diamonds were placed in settings lined with black foil - hence artists painted these stones black with a dot of white paint to convey lustre. Earrings were not necessarily worn in pairs at that time. Unusually this is figurative with Cupid holding his bow to fire an arrow at a flaming heart target. This theme fits with the small dog on the sitter's lap, representing fidelity. Her pearl necklace is standard de luxe for the time but here the swags give emphasis. There is a band of ruby/garnets and pearl clusters at her neckline - with an armlet of similar design composed of clusters linked together, as in a chain. The girdle may be composed of pearl and red stone clusters. The sitter is holding a material bag containing ivory tablets for writing little notes/aide memoires. It would appear to be embroidered inter alia with a pansy meaning 'kind thoughts' (from the French pensée) and showing Prudence looking into her mirror portrayed below a heart. These jewels with fan and book, wired collar, lace cuffs and white satin dress make a statement of wealth, rank and fashion by a newly married English woman circa 1600. Indeed, the choice of white material and pearls (for virginity) and red stones (for love) may well be purposeful. The sitter wears a tightly boned low-neck bodice and farthingale skirt made of richly embroidered Italian silk, trimmed with brocade and ribbons. Similar portraits have appeared at auction in recent years - an early 17th century English School portrait of Lady Parker, which sold for £52,000 at Mitchells of Cockermouth, Cumbria, on 3rd-4th September 2015; and English School, circa 1595-1605, Portrait of Elizabeth Howard, sold from Cowdray Park, West Sussex, at Christie's, London, 13-15 September 2011 for £145,240. We are grateful to Diana Scarisbrick MA, FSA, Jewellery Historian, and to Sir Roy Strong for their assistance with the catalogue entry. A Dendrology report by Ian Tyers is available - Contact Department. On Eastern Baltic oak. Greener and Co. of Liverpool - old framer's label Two small paint losses - tiny - upper right hand corner. Very old panel in three pieces, has wooden rivets. Panels are bowing slightly. 19th Century gilt frame has various chips. Oil on panel. The panel is formed from three boards in vertical alignment. There are butterfly inserts on the reverse of the panel reinforcing the joins. The left hand panel join has a slight concave warp and there is fill and retouching along the length. There is blistering and flaking in the upper right corner. The thin paint layers are worn in some areas such as the hair, but generally in a good condition for the age of the painting. There are scattered retouchings along the joins and other areas. There appears to be some retouching in the face which appears slightly yellow. The varnish is yellowed and semi-matte. The frame has suffered extensively from flaking to the gilding.
Los 380
Joseph Brook of Bury (British, 18th Century), Portrait of Lady Barbara Hervey (1709-1727) as a small child, with an Italian greyhound, before a ledge with roses on it inscribed along the top "Lady Barbara Hervey" oil on canvas 30 x 24cm (12 x 9in)Lady Barbara Hervey (1709-1727) was the twelfth child of John Hervey, 1st Earl of Bristol (1665-1751), and the ninth by his second wife, Elizabeth Felton (1676-1741). She is buried at Ickworth, Suffolk. We are grateful to David Sherlock for his assistance.Provenance: Nowton Court, Suffolk (the Oakes residence) and by descentLiterature: Edmund Farrer, 'Portraits in Suffolk Houses' (1908), p. 271.Condition: Lined which has resulted in horizontal bands of creasing being seen from the front.Oil on canvas which has been lined onto a secondary canvas support. The lining has caused minor undulations across the canvas. The paint layer is stable. The varnish is slightly dull and yellowed, but even overall. Old retouchings have discoloured and are slightly mismatched to the original.
Los 381
Joseph Friedrich August Darbes (German, 1747-1810) Portrait of Sir George Gunning, Bt (1763-1823) as a boy signed lower left "Darbes / 1774" oil on canvas 54 x 41cm (21 x 16in) Provenance: From a Suffolk country house Other Notes: Sir George Gunning, 2nd Baronet (1763-1823), of Horton, Northamptonshire, was an English politician. He was a Member of Parliament for Wigan 21 June 1800 - 1802, Hastings 1802 - 1806; and East Grinstead 9 March 1812 - May 1812 and 1812 - 1818. Sir George Gunning married Lady Elizabeth Bridgeman, daughter of the Earl of Bradford, in 1794. Oil on canvas which has been lined, the canvas tension is good and the canvas is in plane. The paint layer has a network of age craquelure, some cracks are slightly raised but stable. Areas of retouching are well matched to the original. The varnish is clear, even and semi-matte, the appearance is good. There are a few chips and losses to the gilding on the frame.
Los 383
English School, 19th Century Portrait of a Trooper of the Yorkshire Hussars, a Yeomanry unit, holding a pistol oil on canvas, in a maple frame 92 x 71cm (36 x 28in) Other Notes: We are grateful to Christopher Bryant for his assistance with the catalogue entry. Oil on a fine linen canvas which is unlined. The craquelure pattern is visible on the reverse of the canvas. There is a tear near the bottom of the canvas and a few minor undulations. The paint layer is actively flaking and there is extensive loss in the lower half. The varnish is very yellowed, dull with scattered staining and fly spots. There is some cracking to the veneer on the frame.
Los 384
English School, 19th Century Portrait of Henry Vigne, Master of the Epping Harriers, as a young man, in a black coat and blue cravat oil on canvas in a gilt swept frame 75 x 63cm (29 x 25in) Provenance: By descent within the family of the sitter Other Notes: Henry Vigne lived at The Oaks, Woodford, Essex. Some craquelure overall. Old stretcher bar marks can be seen from the front.
Los 386
Circle of George Knapton (British, 1698-1778) Portrait of Mrs Mary Gem (née Harvey) of Brandwood, Worcestershire, head and shoulders, in a blue dress, pearls in her hair, wearing a pearl necklace, and holding a book 74 x 61cm (29 x 24in) Provenance: By descent within the family of the sitter Inventory No. 37708 to the reverse
Los 389
Circle of William Egley (1789-1870) A miniature portrait of a young gentleman in a gilt metal frame with curled hair compartment to reverse, on ivory desk stand, 5cm (2in) oval; a Victorian miniature of a gentleman in black waistcoat jacket, oval, 6.5cm (2.5in), cased; a George III ebonised circular snuff box, the cover set with a miniature of a lady, 6 cm (2.25in); and another of a boy in a blue waistcoat, inscribed to the reverse "W Walker", oval, 5cm (2in), framed (4) watercolour on ivory (4)
Los 390
E D Smith (British, fl. 19th Century) A portrait miniature of Orbell Ray Oakes (1768-1837) in blue jacket and yellow waistcoat, seated by a table, with a view of Nowton Church, Suffolk, beyond, in a Regency gilt ormolu frame, inscribed to the reverse with the sitter's name, dates, and "Purchased Nowton 1832"; with another smaller of a silhouette of a boy signed "E D Smith delt. 1835" watercolour on ivory, rectangular, the larger in a red leather case (2) 12.50 x 10cm (5 x 4in) Provenance: By descent within the family of the sitter
Los 392
Charles Jervas (Irish, circa 1675-1739) Portrait of Sir Robert Walpole (1676-1745) 1st Earl of Orford, seated, three-quarter length, in Chancellor's Robes, wearing the Insignia of the Order of the Bath and with the embroidered silk purse of the Chancellor's Seal seen on a table beside him inscribed in a later hand lower left "Sir Robert Walpole KG / Earl of Orford / Chancellor of the Exchequeur / Obit. March 18.1745/6 / Aged 69" oil on canvas, in a very fine carved and giltwood contemporary English frame 124 x 100cm (48 x 39in) Provenance: Presumably one of the portraits commissioned by Susan Hamond (fl. 1687-1763), Sir Robert Walpole's sister, in 1725 from Charles Jervas [Vouchers 1725 (Bundle) Cholmondeley (Houghton Papers), Cambridge University Library] and thence by descent at Westacre High House, Norfolk from 1761 when the Hamonds moved there from nearby South Wootton; and thence by descent to the present owner Other Notes: Sir Robert Walpole, born at Houghton, educated at Eton and King's College, Cambridge and who is considered England's first "Prime Minister", was one of this country's greatest statesmen. He was a Member of Parliament for over forty years from 1701-1742. He was Secretary of War from 1708 - 1710; Treasurer of the Navy from 1710 - 1711; he was expelled from the House of Commons after the Whig downfall of 1712 and committed to the Tower of London on spurious charges. On the Party's return to power, he became both First Lord of the Treasury and Chancellor of the Exchequer from 1715 -1717 and again from 1721 -1742. He revived the Order of the Bath in 1725, in which both he and his son (see Lot 394) were installed and the following year he became a Knight of the Garter. In the late 1730s both his policies and person were increasingly under attack. Following his defeat in the House of Commons, Walpole resigned all his employments and was created Earl of Orford. Walpole was an important art collector - and it was probably due to his influence that Jervas was appointed the King's Principal Painter in 1723. Sir John Plumb, in his book "Sir Robert Walpole, The King's Minister", Volume 2, The Cresset Press, pub. 1960, explains how Walpole always took great pride in having his Bath and Garter Stars painted onto already existing portraits. In 1725, Walpole had been instrumental in persuading George I to reintroduce the Order of the Bath. It is as a Knight of the Bath, with its crimson sash, that Walpole is shown here. This portrait - and that of his first wife, Catherine Shorter, (see Lot 393) - are most probably those referred to in the single surviving document in the Walpole Papers {Vouchers 1725 (Bundle) Cholmondeley (Houghton Papers), Cambridge University Library} which records Jervas' association with Sir Robert. Dated 20 October 1725, Jervas was providing Susan Hamond, Walpole's sister, with framed portraits of Sir Robert and Lady Walpole, presumably to commemorate his recent restoration of, and elevation to, the Order of the Bath. Susan Hamond is the direct ancestor of the present owner. A version of the present picture, subsequent to its sale at Sotheby's (23 November 2006, Lot 36) claimed the Birkbeck (via Susan Hamond) provenance, that this pair have a more convincing claim to, since they come by direct descent from Susan Hamond who is recorded as paying Jervas for portraits of Walpole and his wife. The present portrait will be included in Caroline Pegum's forthcoming catalogue raisonne on Charles Jervas. Lovely English frame - matches that of Lady Walpole. Crested piece missing to the top of Sir Robert's frame. Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is in a stable condition with a regular age craquelure pattern. The varnish is matte and dull with an uneven gloss surrounding the age cracks. There is a layer of surface dirt and some fly spots. The frame is missing the decorative moulding at the upper corners.
Los 393
Attributed to Charles Jervas (Irish, circa 1675-1739) Portrait of Catherine, Lady Walpole (1682-1737) in a white dress and a blue silk wrap, three quarter length, standing in a landscape oil on canvas, in a very fine carved and giltwood contemporary English frame 124 x 100cm (48 x 39in) Provenance: Presumably one of the portraits commissioned by Susan Hamond (fl. 1687-1763), Sir Robert Walpole's sister, in 1725 from Charles Jervas [Vouchers 1725 (Bundle) Cholmondeley (Houghton Papers), Cambridge University Library] and thence by descent at Westacre High House, Norfolk from 1761 when the Hamonds moved there from nearby South Wootton; and thence by descent to the present owner Other Notes: Catherine Shorter of Bybrooke, Kent, was the daughter of a wealthy timber merchant and in 1700 married Robert Walpole (see Lot 392) who in the following year entered Parliament for the first time. This portrait, like that of Sir Robert, her husband, is probably one of the two referred to in the single surviving document referring to Jervas in the Walpole papers [refer provenance] which records Jervas' association with this sitter's sister-in-law, Susan Hamond of South Wootton, who is known to have paid Jervas for a pair of portraits in 1725. Susan Hamond is the direct ancestor of the present owner. An almost identical picture of Lady Walpole, attributed to Charles Jervas, now hangs at Strawberry Hill having previously been at Wolterton Hall, Norfolk, the home of Horatio Walpole (1678 - 1757) brother of Sir Robert Walpole. We are grateful to Caroline Pegum of the National Portrait Gallery and Silvia Davoli of Strawberry Hill House for their assistance with this catalogue entry. Oil on canvas which has been lined. There are minor undulations at the corner of the painting. The canvas has good tension. The paint layers are thinly applied and the canvas texture is prominent across the surface which may have been emphasised due to the lining. The varnish is matte and slightly yellowed but even. There are scattered areas of retouching. The frame is in a good condition.
Los 394
Charles Jervas (Irish, circa 1675-1739) and John Wootton (British, 1682-1764) Portrait, presumed to be of, Robert Walpole, later 2nd Earl of Orford (1701-1751) standing, three-quarter length, holding a hunting whip and wearing the Insignia of the Order of the Bath, horses and hounds watering in a landscape beyond oil on canvas, in a fine contemporary carved and giltwood English frame 120 x 100cm (47 x 39in) Provenance: Presumably the sitter's aunt, Susan Hamond, of South Wootton and then from 1761 at Westacre High House, Norfolk and thence by descent to the present owner Other Notes: The identity of the sitter is apparently first proposed by Andrew Moore in "A Capital Collection: Houghton Hall and the Hermitage, with a Modern Edition of "Aedes Walpolianae", Horace Walpole's Catalogue of Sir Robert Walpole", Mellon Centre for Studies in British Art, pub. 2002, where it is illustrated and attributed to John Wootton. Wootton's pictures of the sitter's father "Prime Minister" Walpole and 1st Earl of Orford, are invariably collaborations with Richardson, with the latter doing the portrait and Wootton the landscape. An attribution to Richardson here seems implausible. As the presumed sitter became Ranger of Richmond Park and a Knight of the Bath in 1725, it would seem more plausible that as this date exactly coincides with when Jervas is known to have been commissioned to paint portraits of his father and mother (see Lots 392 and 393) that this too is a work by Jervas and just like that pair it has descended from Susan Hamond, née Walpole, sister of the 1st Earl. It is believed there is a similar portrait at Houghton Hall, Norfolk; another similar portrait, according to the late Sir Oliver Millar and the present owner, was sold at Christie's, 28 April 1950 (Lot 81) as of an Unknown Nobleman and attributed to Wootton. Sir Oliver Millar in April 1961 doubted the Wootton attribution for the present painting. The present portrait will be included in Caroline Pegum's forthcoming catalogue raisonne on Charles Jervas. Label to the reverse incorrectly gives the sitter as Sir Robert Walpole, Prime Minster, father of the sitter No. 14 to the reverse. Oil on canvas which has been lined. The tension is good and the picture is in plane. The paint layer is in a good, stable condition. There are a few small paint losses. The varnish is matte and yellowed. There is a layer of surface dirt which includes mould spores. There are a few scattered areas of retouching which are slightly discoloured and mainly located in the background. The mitres of the frame are opened, some dirt and staining on the gilded surface.
Los 395
Charles Jervas (Irish, circa 1675-1739) Portrait of Viscountess Townshend of Raynham (née Dorothy Walpole, 1686- 1726), holding her coronet, with a view of Westminster Hall beyond oil on canvas 184 x 145cm (72 x 57in) Provenance: Presumably one of the portraits commissioned by Susan Hamond (fl. 1687-1763), Sir Robert Walpole's sister, in 1725 from Charles Jervas [Vouchers 1725 (Bundle) Cholmondeley (Houghton Papers), Cambridge University Library] and thence by descent at Westacre High House, Norfolk from 1761 when the Hamonds moved there from nearby South Wootton; and thence by descent to the present owner Other Notes: Dorothy Townshend was a sister of Sir Robert Walpole. She was born at Houghton and married Charles, 2nd Viscount Townshend in 1713; she died in 1726. Her sister, Susan, married Anthony Hamond of South Wootton who subsequently acquired Westacre in 1761. A full length portrait of her husband in peer's robes has, since the Raynham Hall Heirlooms Sale (March 5th 1904, Lot 83), hung in the National Portrait Gallery where it has generally been considered to be by Sir Godfrey Kneller. The present portrait was, unlike the other portrait, not in the 1904 Raynham sale. More probably this portrait was given by the sitter - or possibly her estranged husband when he accused her of adultery with Lord Wharton - to her sister, Susan Hamond, and then has descended directly to the present owner. The patronage of Charles Jervas extended beyond that of Sir Robert Walpole (see Lot 392) to his sister and brother in law, the Viscount and Viscountess Townshend. On the occasion of their marriage in 1713, Charles Jervas was commissioned to paint a portrait of Dorothy Townshend to hang in the supper parlour at Houghton Hall. Another portrait by Charles Jervas was sold in the Strawberry Hill Sale (Wednesday 18th May 1842, Lot 37). This portrait is currently on display there, being a long term loan from the Dulwich Picture Gallery. Dorothy Townshend herself commissioned Jervas to produce a full length portrait of her husband in Garter robes in 1724 (present whereabouts unknown) and a version of this portrait was commissioned for John Hobart of Blickling Hall where it remains today. He was also commissioned for providing Raynham Hall with full length portraits of King George II and Queen Caroline (March 7th 1904, Lots 174 and 175) and for completing a half length portrait of Viscount Townshend; and for turning a half length of Lord Townshend's mother by Sir Peter Lely into a full length (see Edward Bottoms, 'Charles Jervas, Walpole and the Norfolk Whigs', Apollo, February 1997). For comparison, please see the Portrait of Anne Tufton, Countess of Salisbury, by Charles Jervas at Hatfield House, Hertfordshire. By family tradition Lady Townshend's ghost still haunts Raynham Hall where it is known as the Brown Lady. The present portrait will be included in Caroline Pegum's forthcoming catalogue raisonne on Charles Jervas. Oil on canvas which has been lined. The canvas tension is good, there is a minor undulation at the upper right corner but overall the picture is in plane. The paint layer is in a good condition overall. There are scattered retouchings in areas of flesh which have darkened and become matte. They appear to be covering areas of abrasion rather than loss to the original. The varnish is matte, yellowed and dull. There is a layer of surface dirt present across the surface. The gilding on the frame is slightly worn but generally the frame is in a good condition.
Los 396
Circle of Henry William Pickersgill (British, 1782-1875) Portrait of Mrs Anthony Hamond (1806-1900), née Mary Anne Musters of Annesley Park, Nottinghamshire, wearing a blue dress, red cloak, pearls in her hair, seated, three-quarter length oil on canvas, unlined, in a good English frame 75 x 62cm (29 x 24in) Provenance: By descent within the family of the sitter Westacre High House, Norfolk and thence by descent to the present owner Other Notes: Mary Anne Musters married Anthony Hamond of Westacre in 1828 at Colwick Hall, Nottinghamshire. The present portrait is thought to have been painted in 1840. John Musters, Mary Anne's father, was a keen huntsman and was Master of the Pytchley hunt in Northamptonshire. It was through hunting that the Musters family met the Hamond family of Norfolk. Three of the Musters children subsequently married Hamond siblings. Unlined. Bitumen problems. Needs attention. Face nicely painted and a grand frame Oil on canvas which is unlined. The canvas has a supplier's stamp for Charles Roberson with a tax stamp. The canvas is slightly slack on the stretcher. The paint layer shows drying defects with uneven surface texture and wide drying cracks. The varnish is very yellowed with some staining and surface dirt. The frame is in a poor condition with losses to the moulding and tarnishing.
Los 397
Attributed to Jonathan Richardson (British, 1665-1715) Portrait of a man, head and shoulders, in a red velvet coat and day cap, possibly a self-portrait of the painter oil on canvas 48 x 38cm (19 x 15in) Provenance: Westacre High House, Norfolk, and by descent to the present owner L-shaped scratch to his red shirt and another scratch to the right-hand side. Oil on canvas which has been lined. There is a deformation along the lower edge caused by debris trapped between the canvas and the stretcher. There is an old tear in the canvas which has been repaired at the lower left corner. The paint layer has wide drying cracks and an uneven age craquelure pattern. There are numerous retouchings in the background and also covering horizontal scratches across the sitter's nose. There are numerous scuffs and scratches in the paint layer. The varnish is dark, dull and dirty. There is a thick layer of surface dirt. The frame is in a good condition.
Los 398
Balthasar Denner (German, 1685-1749) Portrait of a gentleman in a brown coat oil on canvas 72 x 59cm (28 x 23in) Provenance: Westacre High House, Norfolk, and by descent to the present owner Other Notes: Previously attributed to Thomas Gainsborough, we are grateful to Hugh Belsey for identifying the present portrait as the work of Balthasar Denner. Cleaned in June 1958. Restorer said: "Slight damage to top left of head. Repaired and retouched". Oil on canvas which has been lined. There are old losses in the paint layer at the upper edge which have been retouched. There are a few other scattered retouchings in the background which have darkened and become very glossy. The varnish is dull and matte. The gilding on the frame is actively flaking with several areas of loss.
Los 399
Mather Brown (American, 1761-1831) Portrait of Sir Edward Astley, 4th Bt. (1729-1802) of Melton Constable Hall, Norfolk oil on canvas, unlined, oval 73 x 60cm (28 x 23in) Provenance: Westacre High House, Norfolk, and by descent to the present owner Literature: Sir Frederick Duleep Singh, Portraits in Norfolk Houses, Norwich: Jarrold and Sons, 1928, Volume 2, p.372; Dorinda Evans, Mather Brown (1761-1831) - An Early American Artist in England, Middletown, Conn. Wesleyan University Press, 1982, p.68 (in the Library at Westacre High House) Other Notes: Mather Brown was a portrait and historical painter, born in Boston, Massachusetts, but active mostly in England. Brown was the son of Gawen and Elizabeth (Byles) Brown, and descended from the Reverend Mr Increase Mather on his mother's side. He was taught by his aunt and around 1773 (age 12) became a pupil of Gilbert Stuart. He arrived in London in 1781 to further his training in Benjamin West's studio, entered the Royal Academy schools in 1782 with plans to be a miniature painter, and began to exhibit a year later. The present portrait was painted in 1790 when Sir Edward Astley was 61 years of age. Tax stamp on the back of the canvas. Canvas maker's stamp "J Poole, High Holborn, British Linen. 1508-23-85". Cleaned in June 1958. Cleaner reported: "Unlined canvas, two small patches on back of canvas". Chips to the frame. Two old repaired tears. Oil on canvas which is unlined. There is an artist's suppliers stamp for J Poole on the reverse and a tax stamp. The canvas has two patch repairs on the reverse. The painting is attached to a rectangular wooden stretcher, some keys are missing and canvas tension is slightly slack. Apart from the small tears in the canvas, the paint layer is in a good condition. There are small areas of retouching covering the areas of damage. The varnish is dull and yellowed, but even. There is a layer of surface dirt present. The frame is missing a section of the moulding along the upper edge. There are a few scattered losses to the gilding.
Los 400
Studio of Robert Walker (British, 1607-1658) Portrait of Oliver Cromwell (1599-1658), Lord Protector of England oil on canvas 74 x 62cm (29 x 24in) Provenance: Possibly purchased from the Townshend Heirlooms Sale, Raynham Hall, 1904, Lot 196; at Westacre High House, Norfolk, and by descent to the present owner A studio variant of the three-quarter length portrait of Cromwell and his page by Robert Walker, exists in a number of versions. It is thought the prime version hangs in the National Portrait Gallery, London (inv. no. NPG 536). Cleaned June 1958 - restorer said "considerable repainting around eyes and mouth" No. 4 on the reverse Oil on canvas which has been lined. The tension is good. The paint layer has wide drying cracks in the dark background. The paint layer is stable. Red underdrawing can be seen around the features of the sitter marking out the composition beneath the paint layer. There appear to be two campaigns of restoration with some overpaint lying beneath the varnish and some on top. There is overpaint in the sitter's face and some in the background. The varnish is poor and has developed a network of age cracks, it is dull and slightly yellowed. The frame is in a good condition, some wear to the gilding.
Los 401
After Sir Peter Paul Rubens (Flemish, 1577-1640) Portrait of Michael Ophovius (1570-1637), standing, half-length, in Dominican robes, gesturing with his right hand oil on panel 116 x 84cm (45 x 33in) Literature: Prince Frederick Duleep Singh, Portraits in Norfolk Houses, Westacre High House, Norwich: Jarrold and Sons, 1928, Volume II, p. 380, No. 34 Other Notes: Born in Hertogenbosch, also historically known in French as Bois-le-Duc, Michael Ophovius was a prominent figure of the age, having published two treatises in 1603 and negotiated the handing over of the town of Neusden in 1623. He was notably employed by Archduchess Isabel Clara Eugenia for Dutch affairs and was protected by her husband, Albert VII, Archduke of Austria. He went on to become the Bishop of his hometown in 1626, and later of Antwerp. Ophovius was a close friend and confessor of Peter Paul Rubens. The present portrait is after Rubens' famous original in the Mauritshuis in the Hague (No.252). Unlike the original, the sitter in this version wears a cross. A well-known studio copy is in the Rubenshuis in Antwerp. A 17th century panel. Cleaned in 1958. Oil on a large wooden panel which is formed from three boards in vertical alignment. The panel is in a good condition with little sign of movement along the panel joins. The paint layer is in a good, stable condition. Below the sitter's right hand is an area of raised paint. The varnish is yellowed and matte but even. There is a thick layer of thick surface dirt. The frame is in a good condition.
Los 402
Studio of John Vanderbank (British, 1694-1739) Portrait, said to be Elizabeth, Countess of Pembroke, circa 1740, three-quarter length, standing, wearing pearls in her hair and a ruby and pearl necklace, before a red drapery and a distant landscape oil on canvas 125 x 100cm (49 x 39in) Provenance: Westacre High House, Norfolk, and by descent to the present owner Literature: Prince Frederick Duleep Singh, Portraits in Norfolk Houses, Norwich: Jarrold and Sons, 1928, Volume II, p.379, No. 29, where given erroneously as "Elizabeth Herbert, Countess of Pembroke, 1737" Other Notes: The sitter is traditionally said to be Elizabeth, Countess of Pembroke (see Literature). If, however, the sitter is a Countess of Pembroke, from the date of the painting and their respective dates, it can only be either the Hon. Mary Howe (died 1749), third wife of the 8th Earl of Pembroke, who, after his death, married the Hon. John Mordaunt, or the Hon. Mary Fitzwilliam, wife of the 9th Earl of Pembroke, who after his sudden death, married Major North Ludlow Bernard. Sir Oliver Millar, Surveyor of the Queen's Pictures, confirmed the attribution to Vanderbank in April 1961. Slightly over-cleaned. Oil on canvas which has been lined and attached onto a new strecher. The canvas tension is good and the picture is in plane. The paint layer is in a good, stable condition. There is some retouching in the sitter's face which lies under the varnish. The varnish is very yellowed, dull and uneven. There is a layer of surface dirt present. (Inscription - the Duchess of Cleveland verso) - circa 1740.
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