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283287 Los(e)/Seite
Los 1
A 9ct gold, garnet and colourless gem set ring, a blue gem set single stone ring, a wedding ring, a gold mounted oval shell cameo brooch, designed as the bust portrait of a lady, with a safety chain and a gold mounted oval shell cameo pendant, designed as the bust portrait of a lady, detailed 585.
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Frederick Yeats Hurlstone RBA, (1800-1869), 'Portrait of Sir Robert Peel, Bart sitting at his desk', three-quarter length, oil on canvas, 18" x 14". Footnote: Robert Peel was born at Peelfold, Lancashire in 1750. He father was the owner of a calico printing firm, Haworth, Peel and Yates in Blackburn. Robert was educated in London and then joined his father's company and was made a partner at the age of 23. The company was a great success and Peel established a new factory in Tamworth, Staffordshire. By the 1790's, Peel was one of the country's leading industrialists and employed over 15,000 workers. In 1790, he was elected as MP for Tamworth and he was instrumental in bringing the 1790 Factory Act to fruition. This legislation forbade the employment in cotton mills of any children under nine and limited the hours of those aged between 9 and 16 to twelve hours per day.
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George Morland, (1763-1804), 'Pigs at a trough', oil on panel, signed with initials and dated 1797, 12" x 16.5Ó. Footnote: From a very early age, Morland showed a remarkable ability with some early sketches shown at the Royal Academy in 1773 when George was just ten years old. He was apprenticed to his father, Henry Robert Morland, (1719-1797) a London portrait painter where he stayed for five years. He rejected the advances of several leading artists of the day including Romney, who offered to take Morland into his studio for three years with a salary of £300 per annum. Morland was one of the first to avoid direct patronage and commissions and to paint purely at his own sweet will. His domestic scenes of country folk were often painted entirely from his imagination and, though lacking any intellectual content, were extremely popular with the general public. Though successful financially, Morland lead a self indulgent lifestyle secretly moving studios around London to avoid his creditors. This high living eventually took its toll and he died in a debtor's prison of a brain fever in 1804.
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Richard Wilson, (1714-1782), 'An Italianate landscape with ruined church, a view over a river with castle beyond', oil on canvas, 12" x 16". Footnote: Regarded as the master of British 18th century landscape painting, Wilson was born in Penygoes and began his career as a portrait artist in London by 1740. In the 1750's, he travelled to Venice, Rome and Naples, bringing back many drawings which he used constantly during his later years in England. He was inspired by the classical compositions of Claude and Poussin. He introduced the classical, romantic portrayal of landscape to Britain and found his subjects in his native Wales as well as the countryside around London. Wilson was a founder member of the Royal Academy where he exhibited between 1769 and 1780.
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CIRCLE OF THOMAS HICKEY A portrait of a gentleman wearing a powdered wig, a dark coat, a red waistcoat and a white stock, half-length, oval, oil on panel, 11.5" x 9", in the original giltwood and gesso frame with a beaded inner border. According to the family the sitter depicts Morgan Rice, Esq. Lord of the Manor of Tooting, Graveney (1720-1794) and High Sheriff of Surrey, 1772. The reverse of the panel is inscribed in pencil "Mrs Rice".
Los 1
CIRCLE OF THOMAS HICKEY A portrait of a lady, half length, oval, oil on canvas, 11.5" x 9.25", in the original beaded and gadrooned giltwood frame. The reverse of the stretcher bears two labels. One for R & W Clarke of 40 & 41 Grand Parade, Cork and the other identifying the sitter as "Mrs Rice (nee Burnnett)".
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283287 Los(e)/Seite