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Click here to subscribeGeorge Owen Wynne Apperley (1884-1960)The Arch of Titus, signed, inscribed 'Roma' and dated 1913, watercolour heightened in white, 63 x 76cm Sheet slightly wrinkled to upper part. Light brown staining to sky area and foxing with a patch of paler sky top left corner. Has possibly suffered from damp at some stage.
George Owen Wynne Apperley (1884-1960)'Sunset Giudecca Canal, Venice', signed and dated 1911, inscribed with title verso, watercolour and gouache, 43 x 56cm; and one further similar - 'The Giudecca at Sunset', 56 x 43cm, both unframed (2) 298Picture A – Scattered areas of light foxing. Laid to board. Lightly time stained.Picture B – (Santa Maria della Salute). Glue residue to margins. Laid down.
Elyse Ashe Lord (1900-1971)'Kingfisher', etching with hand-colouring, signed in pencil and numbered 70/75 to the margin, 30 x 31cm; and one further by the same hand 'Reading', 28 x 25cm (2) Kingfisher – scattered areas of very light foxing. One or two light surface marks. Mount grubby and frame in state of disrepair with no glass.Reading – one or two light surface dots. Mount slightly grubby with thunderflies. Otherwise generally good.
Harry Barr (1896-1987)Still life – yellow and orange chrysanthemums in a terracotta vase upon a table, signed, oil on canvas, 75 x 54.5cm Chrysanthemum – paint flaking and cracks especially to upper area. Horizontal scratch approximately 2 inches left of vase. Light surface scratches to upper right centre edge.
James Webb (c.1825-1895)French fishing trawlers off Calais, oil on canvas, 49.5 x 64.5cm Has been lined, cleaned, and varnished. Some very minor fine cracking to the paint in the sky and some repair with light retouching, in particular to the sky to the right of the mast. Not examined under UV light.
Harry Barr (1896-1987)The harbourside, oil on canvas, 51 x 61cm; and a further similar study of sailing boats, 51 x 61cm (2) Harbourside – condition good. One or two light surface spots or very minor scratches.Sailing boats – scratches to edges of canvas particularly to corners but also centre right. One or two light surface spots. Otherwise, okay.
Henry John Yeend King (1854-1924)'Bibury, Gloucestershire', signed, oil on canvas board laid to panel, 35 x 51cm Inscribed to artist's letter headed paper verso and dated 24/2/04 Light surface craquelure more noticeable over river section, one or two scattered marks or abrasions but otherwise good.
Joseph Witham (1831-1912)The Thames Sailing Barge and Match, signed, oil on canvas, 57.5 x 94cm The Thames Sailing Barge Match, held annually and inaugurated in 1863 Lined, spots of mould to lining verso. Scattered areas of possible light re-touching. Small indent to sky left of centre, fine cracking and ingrained discolouration. Vertical cracks to centre area. Surface dirt and varnish discolouration. Not examined under UV.
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.
A rare and small early 19th century sheet iron and glass ‘tumbler’ hanging lantern, Anglo-Dutch The hinged conical cowl with small pierced vents, topped by loop handle, atop a glass number, with iron rim supporting the arm of a removable wick holder, height 20cm Literature: For an almost identical example, recorded as English, see J. Caspall, ‘Fire & Light in the Home Pre-1820’ (2000), p. 237, fig. 535
FOLLOWER OF PIETER BRUEGHEL THE ELDER TRAVELLER ON A TRACK IN A ROCKY GORGE Oil on panel 46 x 64cm (18 x 25 in.) Condition Report: The work is made up of two panels and the join is visible both recto and verso. The join at the front also has some associated flaking, overpaint, and paint loss. There are one or two spots of additional paint loss throughout. Some fine surface cracking and scratches throughout the panel. Inspection under UV reveals some light overpainting along the aforementioned panel join, and a green cloudy masking varnish. No other visible evidence of restoration or repair. Condition Report Disclaimer
AFTER SIR ANTHONY VAN DYCK A MOTHER AND DAUGHTER; A FATHER AND SON Oil on panel, a pair 45 x 30cm (17½ x 11¾ in.) (2) Condition Report: Father & Son: Light surface dirt. Fine craquelure throughout. A vertical crack to the centre of the upper edge running down into the back of the father's head circa. 6cm. Two further vertical cracks to the lower edge the largest approx. 20cm. Inspection under UV reveal scattered retouching, most notable to the three cracks and a large area of cracking with associated retouching running vertically through the gentleman's smock. Mother & Daughter: Light surface dirt. Fine craquelure throughout. Inspection under UV reveals a thick green varnish throughout the surface. Light scattered retouching across the surface with some larger areas running along the lower edge. Condition Report Disclaimer
CHARLES EUPHRASIE KUWASSEG (FRENCH 1838-1904) NORMANDY PORT Oil on canvas Signed and dated '1868' (lower right) 54 x 98cm (21¼ x 38½ in.)Provenance: Fine Art of Oakland Ltd, Rutland Condition Report: The work has been lined, and cleaned. Some light spots of surface dirt, and traces of a dirty varnish throughout. Light rubbing and abrasions to the framing edges. Inspection under UV reveals very light scattered retouching predominantly to the sky.Condition Report Disclaimer
FOLLOWER OF JACOB DE WIT CUPIDS BOW; AND AN ALLEGORY OF MUSIC Oil on panel, shaped, a pair Each 15.7 x 40.5cm (6 x 15¾ in.)(2) Condition Report: The panels are in good original condition. There is fine surface cracking but the paint layer appears stable. Under UV light there are some scattered small spots on inpainting, but these are minor. They both have a layer of surface dirt and discoloured varnish. Condition Report Disclaimer
JAN HENDRIK VERHEYEN (DUTCH 1778-1846) A DUTCH TOWN WITH FIGURES BY A MEAT STALL Oil on canvas 62.5 x 53cm (24½ x 20¾ in.) Provenance: E. Stacy-Marks Ltd. Eastbourne Condition Report: The canvas has been lined. Fine surface cracking with a light discoloured varnish. Inspection under UV reveals no evidence of restoration or repair.Condition Report Disclaimer
CECIL CHARLES WINDSOR ALDIN (BRITISH 1870-1935) DOG & CAT (ON A JOURNEY TO LONDON) Ink, watercolour and crayon Signed (lower right) 21.5 x 21.5cm (8¼ x 8¼ in.) Provenance: Private Collection, Gabrielle Pike, by 1972 Private Collection, Peter Gore, gifted by the above Condition Report: The sheet has discoloured slightly. The colours are generally good. Some light undulation to the sheet. Unexamined out of glazed frame.Condition Report Disclaimer
SWEDISH SCHOOL (EARLY 19TH CENTURY) A VILLA IN A EXTENSIVE LAKE LANDSCAPE Oil on canvas 68.5 x 116.5cm (26¾ x 45¾ in.) Condition Report: The canvas has not been lined. Surface cracking and stretcher marks. Also some spots of paint loss along the lower edge, and one or two more to the sky. There is a scratch and small indentation to the upper left corner. Surface dirt and layer of discoloured varnish. Inspection under UV reveals no evidence of retouching or repair but there is a postcode written in UV readable ink to the lower left of the canvas and lower left frame (the latter is visible in natural light)Condition Report Disclaimer
FOLLOWER OF PETER PAUL RUBENS HOLY FAMILY WITH SAINTS ELIZABETH AND JOHN THE BAPTIST Oil on canvas 137 x 112cm (53¾ x 44 in.)Provenance: Sale, Sotheby's, London, Old Master and British Paintings Day Sale, 7 July 2011, lot 217After the 1615 work by Rubens of the same title, now in the Art Institute Chicago, No.1967.229.Several versions of this painting exist suggesting it was an admired composition for private devotion. Condition Report: The canvas has been lined. Surface scratches, rubbing and abrasions, paint cracking and paint loss throughout. Many areas of paint loss with overpaint which has been done in a deliberately obvious manner so that it is visible in natural light (visible in online and catalogue image). There is a vertical line of scuffing and rubbing, with associated loss and subsequent overpaint, running the length of the canvas through Saint John, and the male figure. Inspection under UV reveals an uneven varnish, together with in-filling and overpaint. Condition Report Disclaimer
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
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
WILLIAM HENRY MANDER (BRITISH 1850-1922) OLD BRIDGE AT CAPEL CURIG, NORTH WALES Oil on canvas Signed and dated '00' (lower left), further signed, dated and titled (to canvas verso) 51 x 76.5cm (20 x 30 in.) Provenance: Omell Galleries, LondonExhibited: Southport Art Gallery (label attached verso) Condition Report: The canvas has not been lined. Stretcher marks visible. Some light, scattered spots of surface dirt throughout as well as traces of a dirty / discoloured varnish most notable to the upper right corner. There is a small fleck of paint loss to the upper left edge, but this is hardly noticeable. Inspection under UV reveals on or two very small spots of retouching to the sky. These are also visible in natural light. Overall the work appears to be in good original condition.Condition Report Disclaimer
FLORENTINE SCHOOL (LATE 15TH CENTURY) THE MADONNA AND CHILD WITH THE INFANT ST JOHN THE BAPTIST Oil on panel, arched top 84 x 46cm (33 x 18 in.) Provenance: Purchased in 1911 at a house sale by Mr and Mrs John Mounsey of 13 Melbury Road, Kensington and thence by descent Condition Report: The panel has previously suffered from severe woodworm. Heavy cracking to the panel throughout, including to the Christ child's face. There is a vertical crack running the length of the panel at the left hand side, and this has considerable over-paint which is visible in natural light. Surface dirt, rubbing, and abrasions throughout. Would benefit from a clean, although much of the original pigment is wearing thin. Inspection under UV light reveals retouching throughout however the true extent of retouching is likely hidden due to the applied masking varnish. Please contact the department for additional images.Condition Report Disclaimer
WILLIAM ANDERSON (BRITISH 1757-1837) SHIPS AT ANCHOR Oil on canvas Signed and dated '1831' (lower left) Provenance: Michael Leslie Fine Arts, East Sussex, 1982, where purchased by the present owner Condition Report: The canvas has been lined. Light surface cracking throughout. Inspection under UV reveals scattered retouching and in-filling throughout, particularly around the framing edges.Condition Report Disclaimer
HENRY BERNARD CHALON (BRITISH 1770/1-1849) A BEGGING POODLE Oil on canvas 33 x 26cm (12 x 10 in.) Provenance: Sale, Phillips, London, 24th November 1998, lot 140. David Messum, London. Condition Report: Relined. Fine craquelure scattered across the surface. Right hand stretcher mark visible. Inspection under UV reveals thick varnish and very light retouching to the upper edge. Condition Report Disclaimer
ADAM CALLANDER (ENGLISH FL. 1780-1811) TWO VIEWS FROM ROOK'S NEST, SURREY Gouache One signed and dated '1783' (lower right), the other inscribed, 'View from the Drawing Room at Rook's Nest - the seat of George Clerk Esq - Surrey' (lower right) 48 x 69cm (18¾ x 27 in.) and smaller (2) Provenance: From the Strachey Collection, Sutton Court, Somerset, by descent to the present owner Condition Report: The sheet with the anglers has some spots of discolouration to the centre of the sky. There is also a large diagonal surface scratch (approx. 10cm) to this area. Both sheets with some light discoloration, with light surface dirt, but generally the colours are still good. Light undulation to the sheets under the glazed frame. Unexamined out of glazed frames. Condition Report Disclaimer
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
JAMES BAKER PYNE (BRITISH 1800-1870) MOONRISE AT VENICE Oil on canvas Signed, dated '1849' and numbered 'No. 272' (lower right) 51.5 x 75cm (20¼ x 29½ in.) Provenance: Sale, Sotheby's London, 10th July 1991, lot 85 Condition Report: Lined and cleaned, but with some light spots of surface dirt, largely concentrated lower left. There is a small area to the lower centre-right where the canvas is protruding (approx. 1cm) where something looks to have pushed into it verso. There is no hole but some associated light lifting. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of retouching or repair. In its original frame.Condition Report Disclaimer
CHRISTINE HAMMOND (BRITISH FL. 1886 - 1910) GETTING READY Watercolour, pencil and white heightening Signed and dated '1891' (lower left) 43 x 30.5cm (16¾ x 12 in.) Condition Report: Unexamined out of glazed frame. One or two very light spots of surface dirt but generally the colours are good and the work appears to be in good condition commensurate with age.Condition Report Disclaimer
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
CIRCLE OF SIR JOSHUA REYNOLDS (BRITISH 1723-1792) MASTER BUNBURY Oil on canvas laid on panel 34.2 x 29cm (13¼ x 11¼ in.)After the picture in the Philadelphia Museum of Art.The sitter was Reynolds's three-year-old godson, whose attention the artist captured during the long sittings by telling fairy tales.In an 18th Century carved and gilded frame. Condition Report: The canvas is laid on a panel and is lifting slightly in places, but generally is providing good support. There is some fine surface cracking and minor abrasions on the edges. Under UV light, there are some scattered areas of retouching across the image, although it is quite difficult to read as it is hidden behind a thick layer of dirt and discoloured varnish. Condition Report Disclaimer
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
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
JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GLASGOW DOCKS Oil on canvas Signed and dated `1887+' (lower right) 58 x 88cm (22¾ x 34½ in.)Provenance: Sale, Sotheby's, London, 5th June 1996, lot 71 `Over the last forty years, Atkinson Grimshaw's beautiful, evocative paintings of moonlit suburban lanes, gas-lit city streets, and docksides have emerged as some of the most popular works of the Victorian age' writes Jane Sellers in her introduction to the 2011 exhibition Atkinson Grimshaw, Painter of Moonlight. Docks scenes became one of the artists most recognisable subjects and reflect the importance of trade, empire, and industrialisation in Victorian Britian. Grimshaw turned to his subject matter in the mid-1870s, replacing his earlier Pre-Raphaelite landscapes with cityscapes painted in a Whistlerian manner. By 1885, he had moved from Leeds to London and lived and worked in Manresa Studios in Chelsea where he would have met Whistler, whose studio in Tite Street was nearby. He returned to Leeds in 1887, the year that the present picture was painted. By this time, he was represented by Agnew's, the leading art dealer of the period. His work frequently appeared in their stock books selling through their galleries in London, Manchester, and Liverpool or through their considerable connections in Glasgow. Glasgow provided more than half of Britain's shipping tonnage and a quarter of all locomotives worldwide in the 1870s, leading to it being named "the Second City of the Empire". Most of Grimshaw's dock scenes have similar compositions, with a long central vista of the street, flanked on one side by shops and the other with masts and rigging. They are a masterclass in his ability to depict numerous light sources. The rich golden glow of the shop windows is reflected on the wet pavements and the figures walking by, while the soft moonlight silhouettes the ships at anchor. He repeated the same subjects on various sized canvases, the largest being to the same scale as the present picture. The most comparable example of Grimshaw's Glasgow Docks sold for £480,000, (Sale, Sotheby's London, 10th December 2014, lot 30.). Condition Report: The painting has been strongly lined with a wax adhesive onto a heavy canvas. A false loose linen lining has been pulled onto the stretcher behind this lining. The lining is present to support the canvas in the area of a number of horizontal losses located across the upper foreground. These losses have been filled and retouched but are clearly visible when viewed using transmitted light, (strong light shone through the canvas from the back). The adhesion within the work is sound and the picture is structurally stable.The restoration paint extends beyond the paint losses and appears to have been applied in a rather general way. There is some restoration to the buildings on the left of the picture, to thinness caused by over cleaning. This restoration, although difficult to see under UV examination leaves the brick work and windows of the facade lacking the translucency typical for the artist in such areas.Both of the carriages and the wet ground in front of them bear a considerable amount of retouching. Examination under UV light does not fully show the extent of the retouching present. Measurements with frame: 81 x 111.5cmCondition Report Disclaimer
λ  EDGAR HUNT (BRITISH 1876-1953) A COCKERAL WITH HENS, DUCKS AND CHICKS IN A FARMYARD Oil on canvas Signed and dated '1925' (lower right) 35 x 30cm (13¾ x 11¾ in.) Condition Report: The canvas has been relined. There are some fine surface cracks but the paint layer is stable. Under UV light there are fine lines of retouching across the image which are most probably covering surface cracks. It has been cleaned and revarnished and is presented behind glass. Condition Report Disclaimer
ALFRED DE BREANSKI SENIOR (BRITISH 1852-1928) LOCH AWE Oil on canvas Signed (lower right) 60 x 91cm (23½ x 35¾ in.) Condition Report: Relined. Yellowing varnish causing some discolouration throughout. Inspection under UV reveals very light scattered retouching to the sky. Otherwise appears to be in original condition. Condition Report Disclaimer
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
NICHOLAS CONDY (BRITISH 1793-1857) FIGURES IN A MARKET (TRADITIONALLY IDENTIFIED AS BOROUGH MARKET) Oil on board Signed and dated '1836' (lower centre) 36 x 46cm (14 x 18 in.) Condition Report: Oil on board. Traces of an old, dirty and discoloured varnish to the upper framing edge. Surface cracking throughout with some in-filling visible in natural light, particularly to the upper left quadrant. There is a scratch (approx. 2cm) and associated overpaint which is visible in natural light, to the basket at the lower left corner. Some light rubbing and abrasions. Inspection under UV reveals extensive infilling to the sky, and ground at the foreground, and some lighter scattered retouching to the market buildings and figures. Condition Report Disclaimer
THOMAS SHOTTER BOYS (BRITISH 1803-1874) BREAKWATERS ON A NORMANDY BEACH Pencil, watercolour, gum arabic, bodycolour and with scratching out 10.8 x 18.7cm (4¼ x 7¼ in.) Provenance: The Hon. Mrs Fitzroy-Newdigate Sale, Christie's, London, 14 March 1952, part of lot 208 (to Agnews) With Thomas Agnew & Sons, London, 1953 Major G.F.F. Camberlege, by descent until 1997 With Thomas Agnew & Sons, London M. and Mme. Gerald Bauer Sale, The Collection of Monsieur et Madame Gérald Bauer: British Watercolours from the Golden Age, Christie's, London, 22 January 2003, lot 51 The Rowse Collection Exhibited: London, Thomas Agnew & Sons, 60th Annual Exhibition of Watercolours, 1953, no. 109 London, Thomas Agnew & Sons, 125th Annual Exhibition of Watercolours and Drawings, 1998, no. 67 Lausanne, Fondation de l'Hermitage, L'Âge d'Or de l'Aquarelle Anglaise 1770-1900, 22 January - 24 May 1999, no. 97 Literature: W. Hauptman, L'Âge d'Or de l'Aquarelle Anglaise 1770-1900, Lausanne, 1999, pp. 154-155, no. 97, illustrated in colour Condition Report: The sheet has been laid down. Discolouration throughout, particularly noticeable to the left framing edge. Some light undulation to the sheet. Unexamined out of glazed frame.Condition Report Disclaimer
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
FRIEDRICH NERLY, THE ELDER (GERMAN 1807-1878) THE PALAZZO PISCANI, VENICE Oil on canvas Signed (lower right) 50 x 81.5cm (19½ x 32 in.)Provenance: Purchased by the Great-Grandfather of the present owner, circa 1910, and thence by descent Born Friedrich Nerlich in Erfurt, Germany, in 1807, he moved to Hamburg and his uncle became his first drawing instructor, who introduced him to the house of Johann Michael Speckter, a centre of intellectual and artistic liberalism in early 19th century Hamburg. In 1823 the aesthete Carl Friedrich Freiherr von Rumohr took him under his wing. Nerlich soon became his protégé and in 1828 they travelled to Italy, an experience that left a permanent mark on the artist. He remained there for the rest of his life and he changed his name to Nerly, a pronunciation closer to the Italian language. He lived in Rome of six years and became a leading figure in the German artistic community. He later moved to Venice and the present work is one of Nerly's best Venetian canvases. From his studio in the Palazzo Pisani, near the Campo San Stefano, a favourite meeting point for the Venetians, the earliest was stimulated by breath-taking views of the romantic city. Having become acquainted with Joseph Mallord William Turner, who worked in Venice between 1819 and 1821, Nerly's realism absorbed an element of romanticism, as he adopted a new dramatic effect of light in his panoramas. Condition Report: The canvas has been lined, cleaned and re-varnished. Some creasing to the canvas can be seen in a raking light, largely to the sky and framing edges. This probably occurred as a result of the lining process. Inspection under UV reveals scattered retouching and infilling throughout, most of it concentrated in the sky. Overall, the work is in good, restored condition and ready to hang. Condition Report Disclaimer
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
CHARLES NAPIER HEMY (BRITISH 1841 - 1917) OYSTER DREDGERS Oil on canvas Signed and dated '1897' (lower right), further signed, dated, and inscribed (to canvas verso) 62 x 92cm (24¼ x 36 in.) Condition Report: The canvas has not been lined. Some fine surface cracks throughout. There are several small spots of paint lifting to the waves in the lower left corner, and to the area near the central sailor's head, and to the sky. Some light spots of surface dirt throughout. The impasto is well preserved. Inspection under UV reveals no evidence of restoration or repair.Condition Report Disclaimer
ITALIAN SCHOOL (16/17TH CENTURY) LUCRETIA Oil on panel 52 x 40cm (20¼ x 15½ in.) Unframed Condition Report: The panel is bowed and is riddled with old wood-worm holes, which is visible on the back and front. Although this is not live. There is a groove in the back of the panel and an integral cradle bar. The paint surface has numerous chips, losses and abrasions, and is lifting in places. There are also small losses to the corners of the panel. There is a broad area of filling and retouching along the upper edge. Under UV light, there are scattered areas of retouching from various periods. There is also fine surface cracking across the image. It has thick layer of discoloured vanish and surface dirt. Condition Report Disclaimer
JACOB A. JACOBS (BELGIAN 1812 - 1879) THE TEMPLE OF PHILAE Oil on panel Signed and dated '1861' (lower right) 46 x 41cm (18 x 16 in.) Condition Report: The panel appears to be in good original condition. There are scuffs and abrasions as well as small spots of paint loss to the sky and also in a horizontal line at the base of the temple. Surface cracking throughout. Under UV light there are some small areas of retouching to the edges and in the shadows to the left of the boat. There is a layer of dirt and discoloured varnish.Condition Report Disclaimer
FRENCH SCHOOL (18TH CENTURY) A YOUNG BOY WITH A BASKET OF FLOWERS Oil on canvas 96 x 122cm (37¾ x 48 in.) Condition Report: The canvas has been lined and re-varnished. Craquelure, surface dirt and surface scratched throughout. Rubbing and abrasions to the framing edges together with some associated loss. The stretcher marks are visible together with some corresponding cracking. The paint surface looks stable through. There are some scattered, isolated, areas of loss / flaking throughout the canvas and some of these areas have been repainted. This is visible in natural light. Inspection under UV reveals limited retouching, and a very heavy green cloudy masking varnish which is undoubtedly hiding further restoration. Measurements with frame are 118 x143cmCondition Report Disclaimer
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
AFTER MARMADUKE CRADDOCK A COLLECTION OF FOWL Oil on canvas 120 x 96cm (47 x 37¾ in.) Provenance: Frome Whitfield House, Dorchester, Dorset, home of the Henning family since the early 1700's. The original house was Tudor origin, but was rebuilt in the Regency period, together with East and West Wings. Condition Report: The canvas has been relined. There is fine surface cracking but the paint layer is stable. Under UV light there is scattered retouchings in places, particularly the sky. There are also two small diagonal lines of retouching in the upper left quarter which probably cover two small tears or scratches in the surface. It has been cleaned and re-varnished. Condition Report Disclaimer
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