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283284 Los(e)/Seite
Los 308
George Owen Wynne Apperley (1884-1960)Portrait of the artist's wife, Hilda, signed and dated 1909, inscribed verso, oil on canvas, 42 x 32, unframed A few minor flakes of paint loss to lower areas, and some scuffing and paint loss to edges and corners (unframed), otherwise appears in good condition.
Los 360
English school (17th century)Portrait of a lady, bust length, in fur lined dress with lace collar, oil on panel, 35.5 x 27cm in foliate and fleur de lys carved wood and gilt frame Ex. Lot 11 16/5/18 Chiswick Auctions The portrait has undergone a recent restoration, and there is evidence of extensive overpainting in particular to the left side of the face and the entire decolletage area but with several further smaller areas. There are a couple of knocks to the surface, by the sitter’s ear to the left of them.See photo of restoration.
Los 390
Ambrose Mcevoy (1878-1927)Portrait of a young man, pencil and watercolour, 36 x 29.5cm Exh: Walker Art Gallery, Liverpool; Beaux Arts Gallery Irish Art Exhibition; Institution of British Drawings; Bucharest Biennial International Art Exhibition, Venice 1932 Appears in good condition overall. There are a couple of very minor light brown spots to the face.
Los 233
A Queen Anne pewter royal portrait spoon, circa 1705 The end of the stem cast with a portrait bust of Queen Anne, flanked by the cipher ‘A R’, boyes support a crown above Anne’s head, rat-tail and lace-foliage decoration to rear of oval bowl, repaired, length 18.8cm Provenance: Former Hindhaugh Collection
Los 174
Civil War Interest: A Charles I Royalist pewter medallion, circa 1642-49 Of oval form, cast with a portrait profile of Charles I, crowned and with shoulder length hair, within a beaded surround, the reverse inscribed, in relief, ‘GOD BLESS KING CHARLES 16....’ For a very similar example see the British Museum Collection, London, acc no. M.7298
Los 408
Follower of Quentin Massys (Louvain c.1465 - Antwerp 1530) Portrait of a Man, bust length, in a black hat and a fur trimmed coat Oil on panel, gold ground 30.5 x 22.5cm (12" x 9") Provenance: Presented to Gunther Henle, 1964 English Private Collection With William Thuillier, 14 Old Bond Street, London Tony Chapman Collection, West Yorkshire A letter from William Thuillier to Tony Chapman reads: Strange attributed this picture to the Master of the Holy Kinship, Horst Vey proposed an attribution to the Master of Frankfurt. Although an attribution to Quentin Massys is plausible and this portrait is clearly closely related to those of Massys, no portraits can be given to this Master with certainty, and those that have been attributed to him show some disparity. Wilenski in Flemish Painters (London 1960) lists The Banker and his Wife of 1514 in the Louvre, Profile of an Old Man of 1513 in the Musee Jaquemart Andre, Paris, Portraits of Erasmus and Aegidius of 1517 which are presumed to be in the Corsini collection, Rome, and at Longford Castle. The Antwerp dealer H.de Neyt owned in 1642 An old Man with a young girl and a Fool by 'Quinten', while the Chicago Art Institute has A Man with a Pink Painter attributed to by some Massys, and also mentioned by Wilenski. The artist of our panel may not even have been Netherlandish since Massys' influence was pervasive in the area of the Lower Rhine and Westphalia, and the painter of this portrait could possibly have been from that region, perhaps from the circle of Barthel Bruyn the Elder.
Los 693
A 16th century impressive oak court cupboard, French, circa 1560-80 Having a back of fifteen panels, including a top row of five panels, each carved with guilloche arcade on fluted pillars, atop a gadrooned and punch-decorated carved frieze, raised on Corinthian capital bulbous end-columns, centred by small cupboard, enclosed by a female Romayne-type portrait panel carved boarded door, and with twin-panelled sides, flanked by Corinthian capital stop-fluted pilasters, and an open recess, a tall open boarded undertier below, enclosed by addorsed baluster-turned end columns, with raised nulled-carved base rail, 204cm high, 175cm wide, 50cm deep Provenance: Formerly with the Blumka Gallery, New York. Reputedly former collection of Dr Albert Figdor This is a court cupboard in the true sense of the word - designed principally for display, probably for use in 'The Great Hall’ of a large manor house.
Los 114
SIR THOMAS LAWRENCE (BRITISH 1769 - 1830) PORTRAIT OF JOHN PORTER, BISHOP OF CLOGHER Oil on canvas 74 x 61cm (29 x 24 in.) Provenance: Anonymous sale, 1 December 1932 (according to label verso) Sale, Mark Lawson Antiques, Saratoga, USA, 21 November 2021, lot 623aLiterature: K. Garlick, Sir Thomas Lawrence, A Complete Catalogue of the Oil Paintings, Oxford 1989, p.654, No. 658 Condition Report: The canvas is unlined. There is surface cracking but the paint layer appears to be stable and in good original condition, with the surface impasto well preserved. Under UV light, there are some scattered spots of restoration in the sky and lines around the chin and collar. It has been cleaned and re-vanished.Condition Report Disclaimer
Los 142
ELIZE FLORENCE BRIDELL-FOX (BRITISH 1824-1905) ALGIERS Oil on canvas Signed and dated '1865' (lower right) 33 x 25cm (12 x 9¾ in.) Eliza Florence Bridell Fox (1824-1903), known as 'Tottie', was a British painter and teacher. After initially considering a career on the stage but being advised that she was too small, she took up art at the age of twenty. While her father believed in the value of an education for women, he felt that the art of drawing was unnecessary, leading Eliza to study by herself, initially becoming a copyist. After receiving encouragement from fellows artists, she finally convinced her father to let her study for three years at Sass' Academy under the directorship of Francis Stephen Cary. In 1847, Eliza graduated and her pastel portrait of her father was shown in 1847 at the Royal Academy. She then started to hold drawing evenings at home in her father's library where she and other women artists could draw from "undraped" nude models. After a few years she began instruction with the purpose of educating women to the point that they would qualify for admittance to the Royal Academy Schools, and one of her students, Laura Herford, succeeded on the basis of a drawing that only included her first initials. Herford was admitted to the Antique School as the first woman to do so. In 1849, she first met Elizabeth Gaskell, who had recently gained much notice through her first novel Mary Barton, and they subsequently became close friends.In 1858, Eliza went to Rome, where she was introduced to, and married artist Frederick Lee Bridell the following year. She remained in Italy, painting alongside her husband and accompanying him on trips until he died in 1862. In the period following her husband's death, she took a long trip to Algiers where she continued to make portraits of both visitors and natives, including the work offered here. In 1871, she remarried a second time to her cousin George Edward Fox, and resumed her maiden name. Condition Report: The canvas has not been lined. There is a patch to the lower left corner (verso), and some areas of wax (also verso), particularly to the lower framing edge. There is a vertical line of retouching to the left edge which is visible when held up to a natural light. Inspection under UV reveals no further evidence of restoration or repair.Condition Report Disclaimer
Los 87
CIRCLE OF JOHN VANDERBANK (BRITISH 1694 - 1739) LADY LUCY MONTAGU, COUNTESS OF GUILDFORD (1709-1734) Oil on canvas, oval 34 x 29cm (13¼ x 11¼ in.) A similar, three quarter length portrait of the same sitter was sold at Christie's, Jasper Conran: The Collection Part I, 14 September 2021, lot 77 Condition Report: The canvas has been lined. Fine surface cracking but the paint layer appears to be stable. Inspection under UV reveals small spots of retouching to the sitter's chest and forehead. There is also possibly a wash of retouching to the left side of the background as this fluoresces blue under UV.Condition Report Disclaimer
Los 14
FOLLOWER OF REMBRANDT PORTRAIT OF A MAN IN ORIENTAL DRESS Oil on canvas 51.5 x 40cm (20¼ x 15½ in.) Condition Report: The canvas has been lined. Surface cracking and scratches throughout. Uneven surface to the framing edges and this is particularly visible along the upper edge. Inspection under UV is difficult to read as there is a thick layer of varnish but there appears to be scattered retouching throughout, particularly to the edges. Condition Report Disclaimer
Los 239
JULES JOSEPH LEFEBVRE (FRENCH 1836 - 1911) PORTRAIT OF ARTHUR LOUIS JULES EUGENE MAGUET (1852 - 1873) Oil on canvas Signed with initials (upper left) 43.5 x 31cm (17 x 12 in.)Provenance: Sale, SVV Dupont & Associés, Morlaix, 9 August 2016, lot 418 Sale, Paris Ouest Encheres, 20 September 2018, lot 133 Day & Faber, London Condition Report: The canvas has been lined. Some fine surface cracking but the paint layer appears stable. Inspection under UV reveals scattered areas of retouching. The face and head is largely untouched but there appears to be repaired tearing across the sitter's shirt. Condition Report Disclaimer
Los 112
HENRY SINGLETON (BRITISH 1766-1839) FAMILY FISHING PORTRAIT Oil on canvas 61 x 73cm (24 x 28½ in.)Provenance: Michael Leslie Fine Arts, East Sussex, 1995, where purchased by the present owner Condition Report: The canvas has been lined. Surface cracking throughout, with a more pronounced area corresponding to the right stretcher edge. There is an old repair with associated over-paint (approx.3cm) to the hem of the lady's dress. Inspection under UV reveals some very light scattered retouching (one small spots to the left of the gentleman's hat visible in natural light), the heaviest being to the aforementioned area of repair. Overall the work appears to be in good restored condition and is ready to hang.Condition Report Disclaimer
Los 69
FOLLOWER OF MARY BEALE PORTRAIT OF A YOUNG WOMAN IN SIDE PROFILE Oil on panel 33.5 x 23cm (13 x 9 in.) Provenance: From the Strachey Collection, Sutton Court, Somerset, by descent to the present owner Condition Report: There is some surface cracking and the paint is beginning to lift on the left edge and there is some flaking in that area. Under UV light, there is some abrasions and retouching to the image. Most of these are in background areas. The face appears to be untouched. There is some surface dirt and discoloured varnish. Condition Report Disclaimer
Los 62
AFTER SIR ANTHONY VAN DYCK TRIPLE PORTRAIT OF CHARLES I Oil on canvas 90 x 110cm (35¼ x 43¼ in.) UnframedAfter the original 1635-36 work in the Royal Collection, London. Condition Report: The canvas has been lined. Losses to the corners. Fine surface cracking but the paint layer appears stable, if a little flat. Surface scratches to the background above the central figure's head. Under UV light there are scattered areas of retouching across the image but these are all relatively minor and not apparent to the naked eye. Cleaned and re-varnished.Condition Report Disclaimer
Los 66
FOLLOWER OF SIR GODFREY KNELLER A PORTRAIT OF EDWARD STANLEY, 11TH EARL OF DERBY (1689-1776) Oil on canvas 100 x 125cm (39¼ x 49 in.) Condition Report: The canvas has been lined and on a later stretcher which is providing good support. Fine surface cracking across the image which has been cleaned and re-varnished. There is an old repair to the upper right corner (approx. 10cm x 6cm) which can be seen in a raking light. Inspection under UV reveals scattered spots of retouching, especially to the sitter's coat and above his head, as well as to the aforementioned area of repair. Condition Report Disclaimer
Los 67
ENGLISH SCHOOL (17TH CENTURY) PORTRAIT OF MILES CORBET BARRISTER Oil on canvas, oval 81 x 64cm (31¾ x 25 in.)Miles Corbet Barrister (1595 - 1662) was an English politician, recorder of Yarmouth and regicide. Between 1640 and 1653, he succeeded his brother as MP for Yarmouth, and was one of the 59 men who signed Charles I's death warrant. In 1644, he was made clerk of the Court of Wards, and in 1649, Oliver Cromwell granted the estate of Malahide Castle to Barrister after the Cromwellian Conquest of Ireland. The castle was returned to its original owners in 1660 with the restoration of Charles II.With the restoration of Charles II, Barrister and his co-conspirators were considered regicides and many of them, including Barrister, fled England. Seeking refuge in the Netherlands, he assumed he would be safe, but together with fellow regicides John Okey, and John Barkstead, he was arrested by the English Ambassador and returned to England, where at his trial he was found guilty and executed on 9 April 1662. Condition Report: The canvas has been relined and is on a later stretcher which is providing good support. Stretcher marks and surface cracking is visible across the image. The paint is beginning to lift in the background areas. Under UV light, there are scattered spots of inpainting in the darker pigments of the background, and also on the sitters face and hair. It has been cleaned, although now has some surface skirt and some vanish. There is a small section of the frame missing, which is illustrated in the catalogue.Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer
Los 222
FRANK BRAMLEY (BRITISH 1857 - 1915) PORTRAIT OF A YOUNG BRETON WOMAN Oil on canvas 61 x 51cm (24 x 20 in.) Provenance: Sale, Sotheby's, London, British and Continental Pictures - Including a Collection of Works by Rosa, Auguste, and Juliette Bonheur, 3 October 2007, lot 111 The Collection of The Bowerman Charitable Trust Condition Report: The canvas has been lined. Fine surface cracking but the paint layer appears to be in good original condition and the impasto is well preserves. Rubbing and abrasions to the framing edges. Inspection under UV reveals a layer of uneven varnish, as well as some scattered retouching throughout, including to an area of possible previous repair to the upper left of the background, and just to the edge of the sitter's head.Condition Report Disclaimer
Los 227
GASTON LA TOUCHE (FRENCH 1854-1913) SELF PORTRAIT Oil on canvas Signed, dedicated, and dated 'A ma chir Jacqueline, April 1913' (upper left) 60 x 40cm (23½ x 15½ in.) UnframedPainted three months before the artist's death on 12 July 1913.Provenance: The collection of the artist's son, Pascal La Touche The collection of Guy Weill Goudchaux Literature: S.B. Maclennan, Gaston La Touche: A Painter of Belle Époque Dreams, Woodbridge, 2009, pp. 130-131, pl. 109, illustrated, captioned 'Courtesy Guy Weill Goudchaux, Munich' Condition Report: The canvas has not been lined. There is a surface scratch (approx. 6cm) to the right of the sitter's red pocket square. Rubbing and abrasions to the framing edges. Inspection under UV reveals a thick green varnish but no evidence of restoration or repair. Overall, the work appears to be in good original condition. Condition Report Disclaimer
Los 72
CIRCLE OF SIR PETER LELY (BRITISH 1618-1680) PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS LOUISE DE KEROUAILLE, DUCHESS OF PORTSMOUTH, THREE-QUARTER LENGTH, IN A PLUM COLOURED DRESS AND BLUE SHAWL, HOLDING A SHELL, SEATED IN A LANDSCAPE WITH A CASTLE BEYOND Oil on canvas 127 x 102cm (50 x 40 in.) Provenance: The Hon. Mrs Ernest Guinness and by descent to her daughter The Hon. Mrs Aileen Plunket, Luttrellstown Castle, Clonsilla, Co. Christie's house sale, Dublin, 26-28 September 1983, lot 504 The sitter has traditionally been identified as Louise de Kerouaille. She bares a close resemblance to the sitter in the portrait catalogued by Becket as being of the Duchess of Portsmouth (R. B. Becket, Lely, London 1951, no. 421). This portrait, now in the Tate Gallery (no. T00755) is however now thought to be of Margaret Hughes (d. 1719), the actress and mistress to Prince Rupert. Condition Report: The canvas has been lined and this has caused the surface around the framing edges to become uneven, particularly at the lower left edge. Rubbings, abrasions, and surface scratches throughout. Re-varnished and cleaned. Inspection under UV reveals scattered retouching throughout including an old repair to the sitter's dress in the lower right quadrant (approx. 5cm). There is also a green cloudy varnish which may be concealing further retouching. Condition Report Disclaimer
Los 150
ATTRIBUTED TO EMILE SIGNOL (FRENCH 1804-1892) PORTRAIT OF TWO CHILDREN, TRADITIONALLY IDENTIFIED AS MARIE LABBÉ (1845-1916) AND HER BROTHER Oil on canvas Signed and dated '1850' (lower left) 99 x 69cm (38¾ x 27 in.) While Emile Signol painted several portraits, including that of Dagobert I, King of Austrasia, Neustria and Burgundy, at the Musée National des Châteaux de Versailles, he primarily made his name as a history painter working in an austere, neoclassicist style. After studying under Antoine-Jean Gros, he first exhibited at the Paris Salon in 1824 and would win the prestigious Prix de Rome in 1830. He held a first seat position at the Académie des Beaux-Arts in Paris from 1860, where Pierre-Auguste Renoir would study under him only two years later. Signol was made Officer in the Legion of Honour in 1865. Condition Report: The canvas has been lined. Fine surface cracking across the image. The paint layer is stable. There is a diagonal surface scratch (approx. 10cm) to the lower right corner. Under UV light there are scattered areas of retouching to the edges and background. there is also retouching to both children's hair and forehead, The largest is a broad line approx. 5cm long. The work has been cleaned and re-varnished.Condition Report Disclaimer
Los 15
MANNER OF GIOVANNI CARIANI PORTRAIT OF A YOUNG MAN IN A WHITE CHEMIE Oil on canvas 47 x 36cm (18½ x 14 in.) Condition Report: The canvas has been lined. The canvas appears to have been previously extended along the upper edge. Stretcher marks and surface cracking however the paint layer appears to be stable. There are some small spots of paint loss to the background and on the sitter's hair. Inspection under UV reveals extensive areas of retouching across the image. The broadest areas to the left side of the sitter's face and mouth, and in a diagonal line in the bottom left corner.Condition Report Disclaimer
Los 76
SIR JOSHUA REYNOLDS (ENGLISH 1723-1792) PREPARATORY SKETCH FOR THE PORTRAIT OF THE HON JOHN TUFTON Graphite and wash. 19 x 15cm (7¼ x 5¾ in.)Bearing partial watermark, bottom of Britannia and Lion within a circle fence.Provenance: Probably the sale at Christie's, 26th May 1821, property of Sir Joshua's niece Mary Dowager, Marchioness of Thomond, his principal Heiress, where over 450 drawings and nine sketch books were sold in a total of fifteen lots, most of the drawings and sketches by Reynolds extant derive from the sale The Collection of Alison Barker, 1951 - 2021, London and Chichester, London Barrister and lifetime collector Literature: David Mannings, Sir Joshua Reynolds, A Complete Catalogue of his Work ,Yale 2000, P. 450, under no. 1776. Fig.1201 The present lot is a preparatory sketch for the circa 1776 portrait of John Tufton aged 3. It was commissioned by Sackville Tufton, 8th Earl of Thanet, and is now in a private collection.The Tufton family and Reynolds appear to have had a good relationship with the artist painting portraits of John Tufton's elder brothers, mother, and father's mistress. The Tufton family was prominent in cricket and other sporting activities. Between 1793 and 1798, Tufton was an active cricket player mainly associated with Marylebone Cricket Club. In 1796, at the age of 23 John Tufton became Member of Parliament for Appleby in Cumbria where the family lived. He held the seat until his premature death in 1799. Condition Report: Some very light spots of surface dirt. Light undulation to the sheet. Otherwise, the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
Los 58
ENGLISH SCHOOL (CIRCA 1600) PORTRAIT OF AN ELIZABETHAN LADY WITH LACE COLLAR Oil on panel Inscribed with a coat of arms (upper left) 148 x 87cm (58¼ x 34¼ in.) Condition Report: The reverse of the panel with applied central support (see online image). The paint wearing thin in some areas. There is a vertical crack, with associated flaking and paint loss running the length of the canvas through the sitter's face and dress. Other smaller cracking also present, particularly to the lower edge of the panel. Rubbing, abrasions, surface scratches, cracking, isolated spots of loss, and surface dirt can be observed throughout. Some of the heavier scratches and cracks with over-paint which can be seen in natural light, particularly around the sitter's shoes where there is also an area of loss (approx. 2.5cm). There is a notable scratch (approx. 12cm) to the panel just to the left of the sitter's right hand. Inspection under UV reveals scattered retouching throughout, particularly to the background areas, together with a green cloudy varnish. Condition Report Disclaimer
Los 89
FOLLOWER OF JAMES NORTHCOTE PORTRAIT OF RICHARD HALL CLARKE (1750-1821): AND PORTRAIT OF HIS WIFE MARY HALL CLARKE (NÉE WERE) (1758-1844) Oil on canvas Each 72 x 61.5cm (28¼ x 24 in.) A Pair (2) In Carlo Maratta frames.Richard Clarke Hall was the only surviving son of Richard Clarke and Mary of Bridwell, In 1773 he married Mary, daughter of John Were of Burrington, Western Peverell, They were married at Halberton church, where they are both buried.
Los 119
ENGLISH SCHOOL (19TH CENTURY) PORTRAIT OF A GENTLEMAN IDENTIFIED AS WILLIAM LEWISHENNING Oil on canvas 74 x 61cm (29 x 24 in.)Provenance: Frome Whitfield House, Dorchester, DorsetWhitfiled House was the home of the Henning family since the early 1700s. The original house was Tudor origin, but was rebuilt in the Regency period, together with East and West Wings.
Los 85
ENGLISH SCHOOL (18TH CENTURY) GIRL WITH A ROBIN; GIRL WITH A DOG Oil on panel, oval, a pair 23.5 x 19cm (9¼ x 7¼ in.) (2) Condition Report: Both panels with surface scratching, surface dirt, and cracking. The cracking is particularly heavy to the portrait with the dog. The girl with a robin has also started to bow slightly, and the upper edge does not sit flush in its frame. Inspection under UV reveals scattered retouching to both panels, together with a green cloudy varnish.Condition Report Disclaimer
Los 65
JOHAN BAPTIST CLOSTERMAN PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS SAMUEL PEPYS Oil on canvas 75 x 62cm (29½ x 24¼ in.) Condition Report: The canvas has been lined. Surface cracking throughout, but the paint layer seems to be stable. Inspection under UV reveals scattered areas of retouching to the background and on the sitter's wig. The face and ruff seem to be untouched. Cleaned and re-varnished. Condition Report Disclaimer
Los 223
VITTORIO MATTEO CORCOS (ITALIAN 1859 - 1933) PORTRAIT OF A GIRL IN A YELLOW SHAWL Oil on canvas Signed and dated '90' (upper right) 60.5 x 46cm (23¾ x 18 in.) Provenance: Sale, Bonhams, Fine 19th Century European Paintings, 20 November 1997, lot 90 Sale, Sotheby's, 19th Century European Art, 29 October 2002, lot 73 The Collection of The Bowerman Charitable Trust The Jewish community of the Tuscan seaport of Livorno produced two notable artists whose lives spanned the 19th and 20th centuries: Vittorio Corcos and Amadeo Modigliani. Corcos enjoyed a long and prosperous career, dying at the age of 74 in 1933. Modigliani struggled to sell his work and died little-known at the age of 35 in 1920. Modigliani is now one of the most famous artists of the 20th century and Corcos, at least outside Italy, is best remembered for his rather conventional society and royal portraits, however there has been a renewed interest in the artist over the last ten years or so, due in part to the 2014 at the Palazzo Zabarella in Padua, 'Corcos: Dreams of the Belle Epoque'. The show included more than 100 works by the artist, 27 of which were shown publicly for the first time. Eighteen works in the show had not been exhibited for more than half a century, demonstrating beyond doubt that Corcos produced some breathtakingly beautiful and idiosyncratic images, of which Portrait of a girl in a yellow shawl is one of these remarkable works. Like many boys born to patriotic Italian families in 1859, Vittorio owned his name to the triumph of Victor Emmanuel II and his French allies over the Austrian occupiers of northern Italy in the Second Italian War of Independence. Vittorio was a naturally gifted artist and at the age of sixteen was admitted directly into the second year at Florence's Academia di Belle Arti. Two years later, with monies raised by the people of his hometown, the young artist moved on to Naples, where he studied with Domenico Morelli. In 1880, the purchase of one of Corcos' pictures by King Umberto I, provided him the necessary funds to make the essential journey to Paris. Upon arriving in Paris, Corcos immediately introduced himself to Giuseppe de Nittis, who along with Giovanni Boldini, was the most successful Italian artist to relocate in Paris. At de Nittis' salon, the young Corcos was introduced to Degas, Manet, Caillebotte, and Daudet along with many other leading artistic figures of fin-de-siècle Paris. De Nittis was also instrumental in introducing Corcos to the Maison Goupil. Corcos signed a contract with the French dealers which relieved him of all financial concerns, and he continued to supply Goupil with pictures even after his return to Italy in 1886. In the meantime, Corcos became increasingly in demand as a portrait painter, painting portraits of Mussolini, Puccini, and Queen Amelie of Portugal among others.A self-portrait of the artist can be seen in the Uffizi Gallery, Florence. Condition Report: The canvas has not been lined. Stretcher marks visible. Some surface cracking. Inspection under UV reveals some retouching, largely to the background areas. There is a green cloudy varnish which may be concealing further overpaint. Overall, the work appears to be in good condition commensurate with age, and ready to hang. Condition Report Disclaimer
Los 117
JOHN RUSSELL (BRITISH 1745 - 1806) PORTRAIT OF A LADY HOLDING A ROSE Pastel 58.5 x 44.5cm (23 x 17½ in.)Provenance: Purchased by collector Captain Gerald Pendred circa 1975 Thence by descent Their sale, Mellors & Kirk Auction House, Nottingham, Fine Art, Pictures, and Prints, 26 November 2021, lot 1569
Los 68
CIRCLE OF SIR PETER LELY (ENGLISH 1618-1680) PORTRAIT OF ELIZABETH, DAUGHTER OF SIR WILLIAM JAMES ESQ Oil on canvas 46 x 38cm (18 x 14¾ in.) Provenance: From the Strachey Collection, Sutton Court, Somerset, by descent to the present owner As an adult the sitter married Thomas Pelham Esq. Condition Report: The canvas has an old re-line. There are minor spots of loss and abrasions across the image and the paint is thin in places where you can almost see the canvas weave coming through. Inspection under UV reveals some fine spots of retouching to the sitter's face and neck, and broader areas to the background. There is a layer of dirt and discoloured varnish.Condition Report Disclaimer
Los 84
ATTRIBUTED TO THOMAS HUDSON (ENGLISH 1701-1779) PORTRAIT OF VICE ADMIRAL CHARLES WATSON Oil on canvas 75 x 62cm (29½ x 24¼ in.) Provenance: From the Strachey Collection, Sutton Court, Somerset, by descent to the present owner Condition Report: The canvas has been lined and is on a new stretcher, providing good support. Surface cracking throughout,with some associated lifting from the paint. Stretcher marks visible. Rubbing and abrasions to the framing edges. Abrasions to some areas including around the sitter's mouth. There is an area of overpaint visible in natural light (approx. 5cm) and the upper left edge. There is an L-Shaped repaired tear to the lower left quarter (approx. 6cm). Inspection under UV reveals scattered retouching throughout. Would benefit from having the line taken off and a new one put on.Condition Report Disclaimer
Los 224
ENGLISH SCHOOL, 19TH CENTURY A portrait of a Peer depicted full-length standing in an interior, wearing the coronation robes of a Baron over military dress uniform, oil on canvas, 40cm x 152cm (unframed on stretcher)Provenance: The Neave Estate, formerly of Dagnam Park, Essex.Note: By repute the portrait depicts Lord Dinorben. Born William Lewis Hughes 1767, son of the Rev Edward Hughes whose wife Mary Lewis inherited the hugely valuable Parys copper mine in Anglesey. After he inherited, William built a vast new house at Kinmel, his parent’s home, with the income from the mine. Created Baron Dinorben in 1831, one of his 11 children, Gwen, married Sir Arundell Neave, 4th baronet. Dinorben died in 1852.
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283284 Los(e)/Seite