GEORGE PERCY JACOMB-HOOD (BRITISH 1857-1929) THE WATER NYMPHS signed and dated G.P. JACOMB HOOD / 1909 lower leftoil on canvas91.5 x 72.4cm; 36 x 28½in116 x 94cm; 45 3/4 x 37in (framed)Property from a Private Collection, CumbriaProvenanceSale, Christie's, London, 3 June 1988, lot 98 (purchased by the present owner)Jacomb-Hood was one of many artists who had a studio in Manresa Road, Chelsea at the end of the nineteenth century. He counted himself as being 'one of a little colony which included J.J. Shanon, Henri La Thangue, Harvard Thomas, William Llewellyn, Frank Short, Frank Brangwyn and Fred Pomery.' A founding member of the Chelsea Arts Club in the autumn of 1890, he described its initial premises on the Kings Road: 'The ground floor and basement of a house next-door to the Town Hall, and the studio at the back of it in the tenancy of a jovial and talented Scots painter, 'Jimmie' Christie, were rented... The studio formed a mess room for meals, and the room upstairs was for newspapers, chess and general socialbility.' (Caroline Dakers, The Holland Park Circle, Artists and Victorian Society, London, 1999, p. 225).Born in Surrey, Jacomb-Hood studied at the Slade and then under Jean-Paul Laurens (1838-1921) in Paris. His preferred subject matter was mythological scenes such as the present example, and he also earnt his living as an accomplished portrait painter. A founder member of the New English Art Club, Jacomb-Hood also supplied illustrations for the Illustrated London News and The Graphic. He exhibited his work widely: in London at the Royal Academy, the Royal Society of British Artists, the Royal Institute of Oil Painters, the Royal Society of Portrait Painters, the Fine Art Society, the Ridley Art Society and the Grosvenor Gallery. Elswhere across the country he showed at the Royal Birmingham Society of Artists, the Royal Glasgow Institute of the Fine Arts, the Walker Gallery, Liverpool, the Manchester Academy of Fine Arts and the Royal Hibernian Society, Dublin. He also exhibited regularly at the annual Paris Salon. His work is in museums and public galleries across the UK.
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ITALIAN SCHOOL (MID-18TH CENTURY) PORTRAIT OF A GENTLEMANoil on canvas, framed as an oval86 x 66cm; 33 3/4 x 26in96.5 x 82.5cm; 38 x 32 1/4in (framed)Property of a LadyProvenanceRobin Duff OBE, Meldrum House Hotel, Old Meldrum, Aberdeen (acquired by the early 1980s; Robin Duff was the last Laird of Old Meldrum) Thence by descent to the present owner, niece of the above
Robyn Denny (1930-2014)Portrait Series A:1, 2 & 3Three lithographs printed in colours, 1973, All signed in pencil, numbered from the edition of 30, (9/30, 10/30 and 11/30)Published by Bernard Jacobson Gallery, London, on wove paper, with full margins, each sheet 79 x 58.5cm ***Artists resale rights may apply to this lot***
A CAMEO BRACELETin gold plate, comprising a series of eight carved cameos depicting classical women, c.16.0cm; together with a micro mosaic brooch in a stylised surround, secured with a pin clasp and safety chain, c.5.4cm; and a painted ceramic portrait brooch in a stylised surround, c.5.3cm, (c.58.4g gross weight) (3)
Jack the Ripper Interest-A quantity of hardback books to include signed copies; a 1995 First Edition Jack the Ripper Anatomy of a Myth by William Beadle, a 1999 First Edition The Man Who Hunted Jack The Ripper by Nicholas Connell and Stewart Evans, a 2005 First Edition Portrait of a Contender by Montague Druitt, a 1987 First Edition Jack the Ripper Summing Up and Verdict by Colin Wilson and Robin Odell and a 2003 First Edition Ripper Diary The Inside Story by Linder, Morris and Skinner together with other books. Location:GIf there is no condition report shown, please request
BRITISH SCHOOL (19TH CENTURY) PORTRAIT OF A LADY IN A WHITE DRESS Oil on canvas, feigned oval 72 x 58cm (28¼ x 22¾ in.) Condition Report: The canvas is relined and presents a few superficial scratches near the borders of the oval. UV light reveals a thin uneven varnish applied, two small dotted retouches near the nose and next to the right eye. In addition, larger retouching is present on the neck, on the right arm and on the dress, at the right of the sleave; such retouches are of about 5 to 6 cm wide. Condition Report Disclaimer
λ LIONEL DALHOUSIE ROBERTSON EDWARDS (BRITISH 1878-1966) AN EQUESTRIAN PORTRAIT Oil on canvas Signed and indistinctly dated (lower right) 48 x 74cm (18¾ x 29 in.) Provenance: By descent through the family of the sitter Condition Report: The canvas has not been lined. Some light surface throughout, as well as traces of a dirty varnish. Canvas is a little loose. Stretcher marks visible. Inspection under UV reveals traces of the aforementioned varnish, as well as some very fine infilling corresponding to the stretcher marks.Condition Report Disclaimer
FOLLOWER OF JAN ANTHONISZ VAN RAVESTEYN PORTRAIT OF A GENTLEMAN, BUST LENGTH, IN A LACED TRIMMED BLACK DOUBLET Oil on panel 36.5 x 27cm (14¼ x 10½ in.) Condition Report: UV light presents an unevenly applied varnish scattered across and various retouches. The most evident is near the left border, where a superficial crack starting from the upper left corner and continuing for about 13 cm down has been covered with paint; further retouches are present on the visage of the sitter, most noticeably on the forehead, and a few dotted retouches near the nose; in addition, further retouching is present on the right side of the head, in the hair, and scattered across the black doublet. To conclude, the panel presents a few dagames near the borders. Condition Report Disclaimer
ATTRIBUTED TO MICHAEL DAHL (SWEDISH 1659-1743) PORTRAIT OF KATHARINE BRISTOW, AGED 17 Oil on canvas, feigned oval Bears signature 'Dahl' (lower right); with 19th century inscription 'KATHARINE BRISTOW AETAT 17, MARRIED TO GEORGE DASHWOOD OF HEVENINGHAM ESQ, 1711, AETAT 21 / BY DAHL / LINED AND RESTORED BY C. AMBROSE TAVISTOCK STREET COVENT GARDEN 1840' (verso) 76.5 x 64cm (30 x 25 in.) Provenance: From a Private Collection in NorthamptonshireGeorge Dashwood (1680 - 1758) was the Tory MP for Stockbridge. His father, Sir Samuel Dashwood (1643 - 1705) became the Mayor of London in 1702. Katharine (1690-1779), also came from a family of politicians; her father being Robert Bristow (1662 - 1706), MP for for Winchelsea. Here two brothers, Robert (1688-1737) and John (1701-1768) were also MPs. Upon his death in 1758, Katharine served as Lady of the Bedchamber to Queen Charlotte, the Queen Consort of George III. Condition Report: The canvas is relined and presents a visible craquelure at the corners of the painting, external to the feigned oval. UV light reveals a thick varnish in the background area, a few retouches on the forehead of the sitter, a small dotted retouch on the side of the mouth, a horizontal retouch of about 5cm at the height of the neck, and scattered smaller retouches on the clothing. In addition, there seems to be some strengthening at the contours of the upper section of the figure. To conclude, where there is the line of the oval, there is some superficial scratching, maybe caused by the abrasion of a previous oval frame. Condition Report Disclaimer
ALLAN RAMSAY (SCOTTISH 1713-1784) PORTRAIT OF HENRY HAWLEY (1685 - 1789) Oil on`canvas, feigned oval 74 x 61cm (29 x 24 in.)Provenance: Waddington Galleries Ltd, London Sale, Sotheby's, London, 11 July 1990, lot 44 Sale, Christie's, Horsenden Manor, 22 September 1997, lot 658Literature: Alastair Smart, Allan Ramsay; A Complete Catalogue of his Paintings, p.133, illustrated.This portrait is recorded in 1990 having a label attached to the reverse inscribed 'Henry Hawley elder brother of James Hawley/M.L. He died a Widower without issue on y [sic] 28th Augt 1756, and is buried at Bloworth Midx.' The sitter was possibly the grandson of the 1st Lord Hawley, who became a distinguished soldier, fighting campaigns in Europe, at Fontenoy and Detingen, as well as closer to home. After the 1745 Jacobite Rebellion, the Duke of Cumberland made him Commander-in-Chief in Scotland where he was renowned for his brutal behaviour. In 1748, Hawley was appointed Governor of Inverness, a position he held until 1752, the same year in which he became Governor of Portsmouth, a role he retained until his death. He died unmarried in 1759, leaving his property, West Green House near Hartley Wintney in Surrey to the son of his housekeeper. The late Professor Alastair Smart dated this portrait to circa 1747-8. Condition Report: The canvas has been relined which is providing good support. There is fine surface cracking across the image. but the paint layer is stable. Under UV light there is a jagged vertical line running from the right of the sitters head down onto his shoulder. There is also a short horizontal line running from the centre of the left edge. The varnish layer is discoloured and has fine surface cracks which have become opaque in places and appear as white blotches on the surface. Condition Report Disclaimer
ROBERT HOME (BRITISH 1752-1834) PORTRAIT OF LIEUTENANT-COLONEL WILLIAM SYDENHAM AND HIS WIFE, WITH ST THOMAS'S MOUNT, MADRAS IN THE BACKGROUND Oil on canvas 77.5 x 92.1cm (30½ x 36¼ in.)Painted circa 1791.Provenance: Arthur Tooth, London, 1946-7 (advertisement in The Connoisseur, March 1946) Private collection, UK Literature: Mildred Archer, India and British Portraiture 1770-1825, London 1979, pp.306-8, pl.212 William Sydenham (1752-1801), the son of Samuel Sydenham and Alice (née Chapman) of Minehead, came from a distinguished Devonshire family. He joined the East India Company's Madras Artillery as a Cadet in 1768. In 1776 he married Amelia Prime, niece of General Horne, who had also served with the Artillery in India. In 1786, at the time of the war with Tipu Sultan of Mysore, Sydenham was promoted to Lieutenant-Colonel in command of the First Battalion at St Thomas's Mount near Fort St George, Madras, which can be seen in the background of this painting. Home was a fine landscape painter and detailed landscape backgrounds give extra vividness to his portraits. William Sydenham was promoted to Major-General, Commandant of Artillery and AuditorGeneral of Fort St George in January 1801, but died in June of that year. Robert Home was an important recorder of British India in the late eighteenth and early nineteenth century. He studied with Angelica Kauffmann and between 1773 and 1778 worked in Italy. He exhibited twenty paintings at the Royal Academy between 1770 and 1789. His wife died in 1790 and the following year travelled to Madras to seek his fortune, just as General Cornwallis was setting off with the Grand Army for the Third Mysore War against Tipu Sultan. Home accompanied the campaign, making sketches of the forts and engagements; he later produced prints of Select Views in Mysore (1794) and paintings of Lord Cornwallis receiving the sons of Tipu Sultan as hostages and The death of Colonel Moorhouse (both c.1793-4; National Army Museum, London). Influenced by Thomas and William Daniell, who visited Madras in 1792, Home produced a number of landscapes which show exquisite attention to architecture and Indian life. In 1795 Home moved to Calcutta; he made a happy second marriage and his children joined him in India, all four sons becoming members of the East India Company's army. Home, a punctual, amiable and hardworking man, became the chief portrait painter in Calcutta. He painted the Governor-General of India, Marquis Wellesley, and his brother Major-General the Hon. Sir Arthur Wellesley (the future Duke of Wellington), as well as other generals and judges. He made a short visit to Dacca in 1799 to paint the Nawab Nasrat Jang. Home's successful portrait practice was threatened by competition from Thomas Hickey, who arrived in Calcutta in 1807, and by the dashing and eccentric George Chinnery, who arrived in 1811. In 1814 Home took up the post of Court Painter to the Nawab of Oudh at Lucknow. He worked for the Anglophile Nawab Ghazi-ud-din Haidar for thirteen years, painting portraits and court life, and designing Ghazi's crown when he was made King of Oudh in 1819, as well as carriages, boats, furniture, even an elephant goad. Home retired to a 'handsome establishment' at Cawnpore after Ghazi-ud-din's death in 1827, dispensing 'extensive hospitality to the residents of the station' until his own death at the age of eighty-two in 1834 Condition Report: The canvas has been lined. Light craquelure throughout however the paint surface appears stable. There is an old repair (approx. 5cm) running vertically through one of the soldiers to the left of the canvas, and this is visible in natural light. There is a further, very small patch of overpaint visible in natural light, to the sitter's skirt (approx. 5mm). Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching and infilling throughout.Condition Report Disclaimer
JOHN DAWSON WATSON (BRITISH 1832-1892) PORTRAIT OF A CHILD WEARING A BROWN CAPE Oil on board, oval mount Signed with monogram and dated '1858' (lower right) 14 x 12cm (5½ x 4½ in.) Provenance: Sale, Rupert Toovey Auctioneers, 11 April 2002, lot 1510 Condition Report: The painting presents a few superficial scratches most evident on the sides of the oval. UV light reveals no evident retouching or varnish. Once unframed, there are some parts which are visibly damaged, where a few sections of paper have been glued on the borders. The monogram signature and date are visible once the painting has been unframed. Condition Report Disclaimer
JAMES ABBOTT MCNEILL WHISTLER (AMERICAN 1834- 1903) NUDE MODEL RECLINING (M.1606) Chalk and pastel on brown paper Signed with butterfly monogram (lower centre) 17.5 x 28cm (6¾ x 11 in.) Executed in 1900. Provenance: In the artist's studio at his death and bequeathed to his sister-in-law Miss R. Philip Miss Rosalind Birnie Philip (1873-1958) P & D Colnaghi & Co Ltd., London, 1943 The collection of Sir Bruce S. Ingram (1877 - 1963) O.B.E., M.C., bt. 2nd June 1943 The collection of Professor Luke Herrmann (1933-2016) Thomas Agnew & Son Ltd., London, 1974 From a Private Collection Exhibited: London, Thomas Agnew & Son Ltd., Liverpool, Walker Art Gallery, Glasgow, Glasgow Art Gallery and Museum, Whistler: The Graphic Work: Amsterdam, Liverpool, London, Venice, 1976, no. 55 New York, M. Knoedler & Co, Inc., Notes, Harmonies and Nocturnes: Small Works by James McNeill Whistler, 29 November - 27 December 1984, no. 60 London, Tate Britain, Degas, Lautrec and Britain, 6 October 2005 - 15 January 2006, touring exhibition to Washington, The Phillips Collection, 18 February - 14 May 2006, no. 86. Literature: M. MacDonald, Whistler: The Graphic Work: Amsterdam, Liverpool, London, Venice, Agnew's, London, Walker Art Gallery, Liverpool, and Glasgow Art Gallery and Museum, Glasgow, 1976, cat. No. 55 M. MacDonald, Notes, Harmonies, and Nocturnes: Small Works by James McNeill Whistler, M. Knoedler and Co., New York, 1984, cat. No. 60, illustrated M. MacDonald, Whistler Pastels and Related Works in the Hunterian Art Gallery, Hunterian Art Gallery, University of Glasgow, 1984, p. 30 M. MacDonald, James McNeill Whistler, Drawings, Pastels and Watercolours, New Haven, 1995, No. 1606 A. Gruetzner Robins and R. Thomson, Degas, Sickert and Toulouse-Lautrec. London and Paris, 1870-1910, Tate Britain, London, 2005-2006, No. 86, pp. 159,160, illustrated M. MacDonald, G. Petri, James McNeill Whistler: The paintings, a catalogue raisonné, University of Glasgow, 2020, website at ., no. M.1606. The present work is one of three pastels depicting Ethel Warwick, all drawn on 4 June 1900 at the artist's studio, 8 Fitzroy Street, according to Birnie Philip. It has not been possible to identify who Ethel Warwick was, even though she also modelled for Philip Wilson Steer (1860-1942), sitting for his paintings, Hydrangeas, 1901 (Fitzwilliam Museum, Cambridge) and Portrait of Miss Ethel Warwick, 1902 (South African National Gallery, Cape Town) This study is more fully worked up than either of Whistler's other studies of Ethel, both of which are in the Hunterian Museum and Art Gallery. In one, the model is apparently sleeping, with one arm tucked under her head (M.1604). It appears to have been rapidly executed, mainly in black, with a few coloured highlights. The third pastel shows Ethel in a more provocative pose, holding an apple in her left hand, with her arm draped over the back of the sofa (M.1605). Her figure has been worked up in coloured pastel, as has the detail of the apple, whilst the background is lightly sketched in. There is a further similar study of an unidentified model asleep, in the Terra Museum of American Art, Chicago which was also with Rosalind Birnie Philip and at Agnew's at the same time in 1974. As with so many of his pastels, he worked over another drawing with which he was dissatisfied. The present study is drawn over a study of a woman in blue against a yellow background, drawn lengthways. The present drawing has been signed with Whistler's lively butterfly monogram, based on a stylised design of his initials, which the artist developed in the late 1860s, following criticism of his overtly conspicuous signature. It became so synonymous with his work, that collectors who owned work that predated his use of the butterfly, sent their work to him to have it added retrospectively. His fascination with Japanese aesthetics must have played a role in its formation and it was carefully positioned as part of the overall composition and not merely a maker's mark. The artist's friends and biographer's Joseph and Elizabeth Pennell recalled seeing unfinished works with a highly finished butterfly included, emphasising the importance of the monogram in the overall scheme. Whistler's pupil, Mortimer Mempes recalls so regularly discussing where it should be positioned, that it used to be a little joke between us, and after some months of habit I was invariably able to put my finger on the spot where the butterfly should be placed to create the balance of the picture (M. Mempes, Reminiscences of Whistler, London, 1903, p..254). The design of his monogram evolved over the years and was altered to reflect the artist's mood, or specific events, for example at the time of his trial versus Ruskin, the butterfly had a sting in its tail. When in 1888, he was married, it had a stylised trefoil on its top to resemble his wife's initials and to symbolise luck. The present sheet formed part of several notable collections. Rosalind Birnie Philip (1873-1958) was Whistler's sister-in-law who acted as his secretary and model during his life and executrix and heir on his death. In 1938 she donated a substantial part of Whistler's collection to the University of Glasgow, with further gifts in 1955 and on her death. Apparently, towards the end of his life, Whistler had specified to his dealers that nothing should go to an English Collection, preferring instead that his work go to French, Scottish or American collectors. Glasgow was a fitting location; the city and university had long been supportive of the artist. The Corporation of Glasgow made Whistler's first public institutional purchase, buying his portrait of Thomas Carlyle and the University of Glasgow awarded Whistler an honorary degree shortly before he died. Sir Bruce Ingram (1877-1963) was a journalist, entrepreneur and newspaper editor. He formed a notable collection of art and on his death, left 40 British works on paper to his friend and former employee Professor Luke Herrmann (1933-2016). Early in his career, Herrmann worked for Ingram at the Illustrated London News and was encouraged by Ingram in his growing interest in art. Herrmann went on to serve as Assistant Keeper at the Ashmolean Museum, Oxford and Professor of History of Art at Leicester University and was the author of several works on British Art. For a condition report on this lot, please contact our Picture department directly, at pictures@dreweatts.com.
RICHARD BUCKNER (BRITISH 1812-1883) PORTRAIT OF MARY SNEADE Oil on canvas Signed (lower right) 125.5 x 100cm (49¼ x 39¼ in.) Mary Sneade was the only child of Rev. John Olive and married the 9th Earl of Cavan in 1863 Condition Report: The canvas has not been lined. Light craquelure throughout, and this has started to lift in the upper right quadrant which has resulted in spots of loss. There is also an uneven varnish which can be seen in natural light. Rubbing and abrasions to the framing edges. Stretcher marks visible. Some spots of surface dirt throughout. There is a small pin-sized hole, and associated flaking (approx. 3mm) to the right sleeve of the lady's dress. There appears to be a small area of repair to the sitter's dress in the lower right corner with some associated craquelure, and overpaint which is visible in natural light. Inspection under UV light reveals scattered in-filling throughout, as well as overpaint to the aforementioned area of repair. There is also a thick varnish which may be hiding further restoration. Framed measurements 158.5 x 133 cmCondition Report Disclaimer
ARTHUR HUGHES (BRITISH 1832-1915) PORTRAIT OF THE ARTIST WILLIAM BELL SCOTT (1811 - 1870) Oil on canvasboard laid to board 25 x 35.5cm (9¾ x 13¾ in.)Painted in October 1886.Provenance: The collection of Eleanor Margaret Courtney-Boyd, niece of Alice Boyd Thence in 1946 to her sister Evelyn May Courtney-Boyd Gifted by her to a private collection circa 1965Literature: Fredeman 1967, pp.15, 30, 34 H. Taylor, p.2 Roberts, Leonard, Arthur Hughes, His Life and Works, A Catalogue Raisonne, p.202, No. 215A second, finished version of this portrait painted on canvas, from the same year is listed in Roberts, p. 202, No 215.2., ill. p. 105, pl. 86. Condition Report: Rubbing and abrasions to the framing edges. One or two spots of surface dirt throughout, together with some light surface scratching. There is a more concentrated area of surface dirt/staining to the side of the sitter's face and neck (see online images). Inspection under UV light reveals a green cloudy varnish throughout, but no further evidence of restoration or repair.Condition Report Disclaimer
SCHOOL OF SIR GODFREY KNELLER (BRITISH 1646-1723) PORTRAIT OF WILLIAM DOUGLAS, 3RD DUKE OF HAMILTON, 1ST EARL OF SELKIRK Oil on canvas 120 x 97cm (47 x 38 in.) Provenance: Sale, Christie's London, Old Pictures, 10 June 1932, lot 73 The Collection of Sir Archibald Murray Unknown sale, 11 December 1949, lot 118 The Collection of Peter Moss of Purley by 1973, who offered the picture to the National Portrait Gallery Sale, Philips, London, Fine English Paintings, 19 May 1981, lot 37 Sale, Worsfolds of Canterbury, 12 - 14 October 1982, lot ? Correspondence between Mr Purley and the National Portrait Gallery suggests that the full-length version of this portrait was on display at the Scottish National Portrait Gallery on loan from the Hamilton Gallery. At the same time, Christopher Wood suggested that the correct cataloguing for the present lot should be School of Sir Godfrey Kneller. Condition Report: The canvas has been lined. Craquelure, and light surface scratching throughout. Rubbing and abrasions to the framing edge. Some scattered spots of retouching, particularly along the left edge, which can be seen in a natural light. These are small and minimal though. Inspection under UV light suggests some retouching, however a heavy varnish makes the extent to which any overpaint has been applied hard to read.Condition Report Disclaimer
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865) THE STUDY OF CAPTAIN POWELL, FOR STEEPLECHASE CRACKS Oil on panel Signed, inscribed, and dated 'Captain Powell 1846' and 'Captn Powell Original sketch for picture 'Steeplechase Cracks' by J F Herring Sen' (upper right and lower left respectively) 42 x 30cm (16½ x 11¾ in.)This work is a study for Herring's celebrated painting The Steeplechase Cracks, 1846, which is in The Royal Collection and was formerly in the collection of the late Queen Elizabeth, The Queen Mother.The picture shows a field of twelve taking a jump in a point-to-point. The 12th Earl of Strathmore is depicted on his horse Switcher. The collection also includes preparatory portrait sketches for the picture including The Earl and also Jem Mason, the winner of the 1839 Grand National. (John Cornforth, Queen Elizabeth, The Queen Mother at Clarence House, 1996, P.81-2)The Steeplechase Cracks was engraved by J. Harris and published by Messrs. Fores in 1852 as no. 2 of the National Sports Series. A similar sketch by Herring for The Steeplechase Cracks, of the highly successful Irish amateur jockey Allan McDonough, was sold as part of the Bill Blass Collection (Sotheby's, New York, 21-23 October 2003, lot 313)Provenance: Captain Powell, and thence by descent. Condition Report: There is an area of discolouration to the lower framing edge (see images), however it is unclear whether this is original to the conception of the work. There is a surface scratch (approx. 10cm) to the background left of the sitter's face. Inspection under UV reveals some light scattered retouching, predominantly to the pale blue pigment around the sitter. Unexamined out of glazed frame. Condition Report Disclaimer
FOLLOWER OF GIOVANNI BELLINI PORTRAIT OF A MAN WITH BLUE EYES Oil on panel 31 x 23.5cm (12 x 9¼ in.) Unframed Condition Report: The panel presents a visible craquelure across the whole surface. UV light reveals a yellowing and uneven varnish applied across the whole panel, various retouches on the right hand cheek of the sitter, on the eyes, and on the upper section of the left cheek. Under UV light various sections fluoresce, maybe caused by the strengthening of the colour, especially the white section of the eyes, lips, and creases of the neck. Furthermore, a few scattered retouches are present on the black gown, and various surface scratches are visible near the borders, and especially in the lower bottom section of the panel: such scratches are of about 3cm wide. Condition Report Disclaimer
FOLLOWER OF PETER TILLEMANS WILLIAM STONE ESQ RIDING IN A LANDSCAPE Oil on panel With later inscribed sheet (affixed verso) 57 x 88cm (22¼ x 34½ in.) The inscription reads: "A portrait of William Stone Esq of Stonebridge, Sussex on his way to his grazing land at Sunrise attended by Wapham a Butcher of Uckfield. This picture was painted on an a panel of oak wainscot in the Dining Room at Stonebridge by John Hamilton Mortimer of Norfolk Street, London about A.D 1760 - was given by William Thomas Stone to his cousin Edward Allfrey of Devonshire Place London in A.D 1817 and by him sent to his uncle David Stone Esq of New Place - to be placed in his Dining Room and descend to the Family."
WILLIAM POWELL FRITH (BRITISH 1819-1909) PORTRAIT OF A YOUNG LADY, POSSIBLY KATE DICKENS (1839-1929) Oil on canvas, oval Signed and dated '1862' (lower right) 29 x 23cm (11¼ x 9 in.)Exhibited: The Mercer Art Gallery, Harrogate, June 2019, no.11.Literature: Richard Green and Jane Sellars, William Powell Frith, The People's Painter, London 2019, p.28, fig. 17. Frith often used oval canvases, by the artist materials maker Robeson to paint portraits of his friends and family. The sitter is most likely to be someone within his close circle, perhaps Kate Dickens, the daughter of Charles Dickens, and herself a painter of portraits and genre. Her first husband was the author Charles Allston Collins, younger brother of Wilkie Collins. After his death, Kate married another artist, Charles Edward Perugini.
ARTHUR HUGHES (BRITISH 1832-1915), TRYPHENA FOORD, THE ARTIST'S WIFE Oil on canvas 38 x 27cm (14¾ x 10½ in.)Provenance: By descent to the artist's granddaughter Agnes Cecily Nadézhda White Thence gifted to a private collection in 1975 Roberts suggests this could be Emily Hughes, and lists another version of this unfinished portrait, as being oil on canvas laid to panel, p. 194, No. 175 (ill.)
MICHAEL DAHL (SWEDISH 1659-1743) PORTRAIT OF ANNE BODVELL, NÉE DAVIES, (1668-1757) Oil on canvas Transcribed to the reline 'Mrs Dodvell of Bodven, Dahl Pinxt' (verso) 124 x 100cm (48¾ x 39¼ in.) Provenance: The sitter, thence by descent to her son William Bodvell Thence by descent to his cousin Margaret Lewis, Llys Dulas, Anglesey Thence by descent to her cousin William Lewis, Llys Dulas, Anglesey Thence by descent to his niece Mary Lewis, Llys Dulas, Anglesey Thence by descent to her son William Hughes, 1st Baron Dinorben Thence by descent to his daughter the Hon Gwyn Hughes, Lady Neave, Llys Dulas and Dagnam Park Thence by descent to her son Sir Thomas Lewis Hughes Neave, 5th Baronet Thence by descent to Sir Arundell Neave, 6th Baronet, Pelham Place, Hampshire Thence by descentLiterature: John Steegman, A Survey of Portraits in Welsh Houses, Cardiff, 1957, Vol I. pp. 7-8, No. 5 Anne Bodvel was born in 1668, the only daughter and heiress of Hugh Davies of Madryn and niece and heiress of her maternal uncle Owen Hughes of Beaumaris and Llys Dulas. After the death of her son, William Bodvel, he named his cousin Margaret Lewis of Llys Dulas as his heir. Consequently, this portrait would have been hanging at Llys Dulas at the latest from William's death in 1759, until the family sold the property in the 1950sLlys Dulas was a modest property which included the land covering half of Parys Mountain. The Hughes family fortunes were changed immeasurably when it was discovered in the mid-18th century that the mountain contained Europe's largest copper mine, making the Hughes family vast fortune, and eventually earning them a peerage. This work is typical of Michael Dahl's portraiture of the early 18th century and has remained in the family since is it was painted.
ATTRIBUTED TO BARTHOLOMEW DANDRIDGE (BRITISH 1691- CIRCA 1755) PORTRAIT OF A GIRL WITH A BASKET OF FLOWERS Oil on canvas 76.2 x 60.3cm (30 x 23½ in.)Provenance: Believed to have belonged to Major General Henry White Hitchins (1822-1890) & Mrs Hitchins (Alice, nee Tyler, 1839-1916) of East Lodge, Brighton. In a mid-18th century English carved & gilded frame Bartholomew Dandridge was particularly accomplished when depicting children as he had an ability to capture a dignified sense of individuality, and this charming portrait of the mid-1740's exemplifies his stylistic debt to the light rococo spirit & colouring of early 18th century French painting. The distinctively polite gesture made by the sitter's right hand appears to be a direct quote taken from the portraiture of the celebrated French rococo artist Nicholas de Largilliere (1656-1746). In the self-portrait/family group that he painted circa 1710 (Louvre), his young daughter is posed in a strikingly similar way, although she holds a sheet of music rather than a basket of flowers. Condition Report: The canvas is relined and presents a visible craquelure across the whole surface, most noticeably on the neck and breast of the sitter. UV light reveals various retouches, such on the visage, on the right of the cheek, and on the chin. Further retouching is present on the arm of the sitter, where patches of about 3cm in width are present, and various retouching in the background area, most evidently in bottom left corner, where the ground has been repainted. To conclude, an uneven applied varnish covers the canvas. Condition Report Disclaimer
ANTHONY FREDERICK AUGUSTUS SANDYS (BRITISH 1829-1904) PORTRAIT OF A YOUNG GIRL WEARING A PENDANT Pencil and coloured chalks, oval mount Signed with monogram (lower right); variously inscribed 'Lady C. Mouton/1 Belgrave Square/SW ' to sheet (under mount) 47 x 38cm (18½ x 14¾ in.) Provenance: P&D Colnaghi & Co., London
CIRCLE OF THOMAS GAINSBOROUGH RA. .(1727-1788) Portrait of Thomas Walford, half-length, wearing a moss green jacket, oil on canvas, 30 x 24 inA label on the reverse states 'Thomas Walford. The 'S line (?)' Patent 8 Oct 1777'The sitter, while living in the Parish of St. John , Clerkenwell.. was granted by King George 111, a patent in October 1777 for ''an engine for the plaiting, inter-weaving of Laces, Curtains and other lines in the most perfect manner both round and flat, and a variety of other articles in that way by far cheaper than ever yet made and so as to be very advantageous to the Trade and Commerce of this Country'Provenance: Walford’s patented machine is said to have been installed on the premises of the Company James Austin and Sons Ltd, c.1780. Provenance: The portrait remained in the ownership of the Austin family until the closure of the family firm in 1944. F.G. Austin, Esq. F.C. Austin, Esq Thence by descent to the present vendor
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