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Auction Description for Cheffins: The Fine Art Sale
Viewing Notes:
Sunday 2nd March 10.00-12.00 Monday 3rd March 10.00-17.00 Tuesday 4th March 10.00-18.00 Wednesday 5th March 09.00-10.45 Thursday 6th March 09.00-10.45
Sale Notes:
www.invaluable.com/cheffins

The Fine Art Sale

by Cheffins


313 lots with images

March 6, 2014

Live Auction

Clifton House

1 & 2 Clifton Road

Cambridge, CB1 7EA United Kingdom

Phone: +44 (0)1223 213343

Fax: +44 (0)1223 271949

Email: fine.art@cheffins.co.uk

313 Lots
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Benjamin Burnell (British, fl.1790-1828) The Wyld Children signed lower left

Lot 392: Benjamin Burnell (British, fl.1790-1828) The Wyld Children signed lower left "Benjamin Burnell, Nov. 1819"

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Description: Benjamin Burnell (British, fl.1790-1828) The Wyld Children signed lower left "Benjamin Burnell, Nov. 1819" pencil and coloured chalks on buff paper h:53 w: 41 cm Provenance: Christie's, London (according to the Dictionary of Portrait Painters) Literature: The Dictionary of Portrait Painters in Britain up to 1920, by Brian Stewart and Mervyn Cutten, pub. 1999, illus. p.116.

Condition Report: A little discolouration but fine.

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Attributed to George Richmond (British, 1809-1896) The Thornton Children of Moggerhanger Park

Lot 393: Attributed to George Richmond (British, 1809-1896) The Thornton Children of Moggerhanger Park

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Description: Attributed to George Richmond (British, 1809-1896) The Thornton Children of Moggerhanger Park pastel , in pretty gilt frames (a pair) h:44 w: 35 cm The children are possibly Armine (1849-1906) and Edward (1846-1899), the children of Edward and Mary Thornton of Moggerhanger.

Condition Report: Some damaged areas - dirty and discoloured and with browning and loss of colour. Possibly Armine and Charles Thornton.

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English School (19th Century) Portrait of Lord Byron

Lot 394: English School (19th Century) Portrait of Lord Byron

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Description: English School (19th Century) Portrait of Lord Byron pencil and watercolour h:24 w: 19 cm

Condition Report: Some foxing spots and a water damage along the top edge.

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Gaetano Gigante (Italian, 1770-1840) A Maid of the Sea, Pozzuoli, near Naples, 1817 signed lower left

Lot 395: Gaetano Gigante (Italian, 1770-1840) A Maid of the Sea, Pozzuoli, near Naples, 1817 signed lower left "Gigante 1817"

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Description: Gaetano Gigante (Italian, 1770-1840) A Maid of the Sea, Pozzuoli, near Naples, 1817 signed lower left "Gigante 1817" watercolour h:27 w: 19 cm Provenance: From the collection of Lord Luke.

Condition Report: Condition appears quite good - one tiny foxing spot along the top edge.

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Herman Frederik Carel ten Kate (Dutch, 1822-1891) Boors carousing in a tavern signed lower right

Lot 396: Herman Frederik Carel ten Kate (Dutch, 1822-1891) Boors carousing in a tavern signed lower right "Herman ten Kate"

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Description: Herman Frederik Carel ten Kate (Dutch, 1822-1891) Boors carousing in a tavern signed lower right "Herman ten Kate" watercolour h:17 w: 24 cm Provenance: From the collection of Lord Luke.

Condition Report: Condition appears fine.

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Paul Falconer Poole, RA, RI (British, 1807-1879) A peasant girl collecting kindling inscribed

Lot 397: Paul Falconer Poole, RA, RI (British, 1807-1879) A peasant girl collecting kindling inscribed "P F Poole"

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Description: Paul Falconer Poole, RA, RI (British, 1807-1879) A peasant girl collecting kindling inscribed "P F Poole" watercolour h:33 w: 24 cm

Condition Report: Colours are fine. Inscribed "I am, my dear Mrs Wyndham, yours very sincerely, P F Poole".

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Thomas Bush Hardy, RBA (British, 1842-1897) An old Dutch fort; and Brest Harbour signed lower left

Lot 398: Thomas Bush Hardy, RBA (British, 1842-1897) An old Dutch fort; and Brest Harbour signed lower left "T B Hardy 1896" and inscribed wi...

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Description: Thomas Bush Hardy, RBA (British, 1842-1897) An old Dutch fort; and Brest Harbour signed lower left "T B Hardy 1896" and inscribed with title watercolour (a pair) h:24 w: 34 cm Provenance: From a Bedfordshire country house.

Condition Report: Perhaps a little loss of colour. The Brest inscription is difficult to read and the signature is faint on this one - fine on the Dutch Fort.

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Eyre Simmons (British, fl.1902-1914) The Barbican, Plymouth, looking north; and the Barbican, Plymouth, looking south both signed lo...

Lot 399: Eyre Simmons (British, fl.1902-1914) The Barbican, Plymouth, looking north; and the Barbican, Plymouth, looking south both signed lo...

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Description: Eyre Simmons (British, fl.1902-1914) The Barbican, Plymouth, looking north; and the Barbican, Plymouth, looking south both signed lower left "Eyre Simmons" watercolour (a pair) h:18 w: 25 cm

Condition Report: Some browning around the edges where the mount is. Colours not bad - a little spotting to both, and dirt on the glass.

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Luca Papaluca (Italian, 1890-1934) Shrimp, Royal Motor Yacht Club, in two positions, off The Bay of Naples,

Lot 400: Luca Papaluca (Italian, 1890-1934) Shrimp, Royal Motor Yacht Club, in two positions, off The Bay of Naples,

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Description: Luca Papaluca (Italian, 1890-1934) Shrimp, Royal Motor Yacht Club, in two positions, off The Bay of Naples, gouache (a pair) h:31 w: 44 cm

Condition Report: Paper crinkling and old stretcher bar mark can be seen on one. A little staining and dirt under the glass.

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Charles Napier Hemy (British, 1841-1917) Gathering storm signed lower right

Lot 401: Charles Napier Hemy (British, 1841-1917) Gathering storm signed lower right "C N Hemy"

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Description: Charles Napier Hemy (British, 1841-1917) Gathering storm signed lower right "C N Hemy" watercolour, in a maple frame h:32 w: 46 cm

Condition Report: VE 250 - old Christie's stencil on the reverse. Perhaps a little discolouration to the sky.

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Charles John de Lacy, NBA (British, 1856-1936) The Pool of London, with Tower Bridge beyond signed lower left 'Charles J De Lacy NBA...

Lot 402: Charles John de Lacy, NBA (British, 1856-1936) The Pool of London, with Tower Bridge beyond signed lower left 'Charles J De Lacy NBA...

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Description: Charles John de Lacy, NBA (British, 1856-1936) The Pool of London, with Tower Bridge beyond signed lower left 'Charles J De Lacy NBA' watercolour h:57 w: 43 cm Provenance: From the collection of Lord Luke.

Condition Report: Condition appears fine.

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§ Frank Watson Wood (British, 1862-1953) HMS Dauntless signed and dated lower right 'Frank Wood 1921

Lot 403: § Frank Watson Wood (British, 1862-1953) HMS Dauntless signed and dated lower right 'Frank Wood 1921

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Description: § Frank Watson Wood (British, 1862-1953) HMS Dauntless signed and dated lower right 'Frank Wood 1921' watercolour h:23 w: 36 cm Provenance: From the collection of Lord Luke. HMS Dauntless was launched from the yards of Palmers Shipbuilding and Iron Company in Jarrow on 10 April 1918 and commissioned on 22 November 1918.

Condition Report: Condition appears fine.

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§ Frank Watson Wood (British, 1862-1953) HMS Revenge signed and dated lower right 'Frank Wood 1918

Lot 404: § Frank Watson Wood (British, 1862-1953) HMS Revenge signed and dated lower right 'Frank Wood 1918

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Description: § Frank Watson Wood (British, 1862-1953) HMS Revenge signed and dated lower right 'Frank Wood 1918' watercolour h:23 w: 41 cm Provenance: From the collection of Lord Luke. HMS Revenge (pennant number 06) was the lead ship of the Revenge class of battleships of the Royal Navy, the ninth to bear the name. She was launched during World War I in 1915. Although the class is often referred to as the Royal Sovereign class, official documents of 1914-1918 refer to it as the Revenge class. She was commissioned in 1916, just before the Battle of Jutland.

Condition Report: Condition appears fine.

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Eliot H Marten (British, exh. 1886-1901) The Cumberland Fells; and A Glimpse of Ullswater both signed lower left and lower right

Lot 405: Eliot H Marten (British, exh. 1886-1901) The Cumberland Fells; and A Glimpse of Ullswater both signed lower left and lower right "E...

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Description: Eliot H Marten (British, exh. 1886-1901) The Cumberland Fells; and A Glimpse of Ullswater both signed lower left and lower right "E H Marten" watercolour (a pair) h:35 w: 25 cm

Condition Report: Perhaps a very small loss of colour, but fine. Pretty old gilt frames.

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Myles Birket Foster, RWS (British, 1825-1899) The Pass of Llanberis, Wales signed with monogram lower left

Lot 406: Myles Birket Foster, RWS (British, 1825-1899) The Pass of Llanberis, Wales signed with monogram lower left "MBF"

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Description: Myles Birket Foster, RWS (British, 1825-1899) The Pass of Llanberis, Wales signed with monogram lower left "MBF" watercolour h:10 w: 14 cm Provenance: The Walsingham Gallery, Stone Gate Farm, Walsingham, Norfolk.

Condition Report: Condition appears fine.

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Charles Peter Pill (British, 19th Century) Italian Street Scenes signed lower left

Lot 407: Charles Peter Pill (British, 19th Century) Italian Street Scenes signed lower left "Charles Peter Pill 1891"

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Description: Charles Peter Pill (British, 19th Century) Italian Street Scenes signed lower left "Charles Peter Pill 1891" watercolour (a pair) h:54 w: 37 cm

Condition Report: Colours are quite good.

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Captain Frederick Varley (British, 19th-20th Century) - An Arab with his donkey by the Nile; and A Camel with Arabs by the Nile both s.

Lot 409: Captain Frederick Varley (British, 19th-20th Century) - An Arab with his donkey by the Nile; and A Camel with Arabs by the Nile both s.

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Description: Captain Frederick Varley (British, 19th-20th Century) An Arab with his donkey by the Nile; and A Camel with Arabs by the Nile both signed centre bottom "F Varley" watercolour (a pair) h:50 w: 39 cm

Condition Report: Colours are very good - in modern frames.

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Giovanni Barbaro (Italian, 1864-1915) - Camels in an Egyptian marketplace; and Snake Charmer in a Marketplace both signed lower right..

Lot 410: Giovanni Barbaro (Italian, 1864-1915) - Camels in an Egyptian marketplace; and Snake Charmer in a Marketplace both signed lower right..

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Description: Giovanni Barbaro (Italian, 1864-1915) Camels in an Egyptian marketplace; and Snake Charmer in a Marketplace both signed lower right "Giovanni Barbaro" watercolour (a pair) h:30 w: 75 cm

Condition Report: Under glass. Colours are fresh and good.

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Follower of John Ruskin (British, 1819-1900) High Crag, Buttermere, 1881, with another sketch of Bushes, Pendine, to the reverse ins...

Lot 411: Follower of John Ruskin (British, 1819-1900) High Crag, Buttermere, 1881, with another sketch of Bushes, Pendine, to the reverse ins...

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Description: Follower of John Ruskin (British, 1819-1900) High Crag, Buttermere, 1881, with another sketch of Bushes, Pendine, to the reverse inscribed lower left with title watercolour h:18 w: 25 cm Provenance: Private collection.

Condition Report: Unframed. Two corners stuck down to card.

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Arthur Anderson Fraser (British, 1861-1904) The Old Boat House, Hemingford Grey, with Willow Cottage signed lower right with initial...

Lot 412: Arthur Anderson Fraser (British, 1861-1904) The Old Boat House, Hemingford Grey, with Willow Cottage signed lower right with initial...

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Description: Arthur Anderson Fraser (British, 1861-1904) The Old Boat House, Hemingford Grey, with Willow Cottage signed lower right with initials "AAF 1889" watercolour h:18 w: 38 cm Provenance: Chris Beetles Ltd., 8-10 Ryder Street, St James's, London, SW1.

Condition Report: Colours are clear and good.

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A Verutti (Italian, 19th Century) -  The Grand Canal, Venice  - signed lower right

Lot 414: A Verutti (Italian, 19th Century) - The Grand Canal, Venice - signed lower right "A Verutti"

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Description: A Verutti (Italian, 19th Century) The Grand Canal, Venice signed lower right "A Verutti" watercolour h:24 w:38 cm

Condition Report: Under glass with perhaps a little loss of colour.

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William Daniell (British, 1769-1837) Yarmouth Quay signed with initials lower left 'WD

Lot 415: William Daniell (British, 1769-1837) Yarmouth Quay signed with initials lower left 'WD

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Description: William Daniell (British, 1769-1837) Yarmouth Quay signed with initials lower left 'WD' pencil heightened with wash h:20 w: 27 cm Provenance: From the collection of Lord Luke.

Condition Report: Some discolouration to the sky, and a little fading.

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Circle of Paul Sandby (British, 1725-1809) A View of St James's Gate, London, from Cleveland Row, with a Sedan Chair passing by and...

Lot 416: Circle of Paul Sandby (British, 1725-1809) A View of St James's Gate, London, from Cleveland Row, with a Sedan Chair passing by and...

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Description: Circle of Paul Sandby (British, 1725-1809) A View of St James's Gate, London, from Cleveland Row, with a Sedan Chair passing by and a Cart being unloaded pen, ink and watercolour h:26 w: 34 cm Provenance: From the collection of Lord Luke.

Condition Report: A little faded and delicate, one small horizontal tear into top border . Some discolouration.

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§ Charles Spencelayh (British, 1865-1958) His Birthday signed lower right

Lot 417: § Charles Spencelayh (British, 1865-1958) His Birthday signed lower right "C Spencelayh" and dated 3.10.25

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Description: § Charles Spencelayh (British, 1865-1958) His Birthday signed lower right "C Spencelayh" and dated 3.10.25 pencil h:61 w: 51 cm Provenance: Private collection, Hertfordshire. Other Notes: Charles Spencelayh was an acclaimed genre and figurative painter, depicting late Victorian domestic life through meticulously detailed paintings of interiors, with cluttered rooms that recorded the tastes of the day. He is said to have used his experiences of visiting poorer families in Rochester and Chatham as the inspiration for his richly detailed interior paintings; remembering the cramped arrangement of these small homes. A particular element of his work included the reproduction of popular Victorian paintings hanging on the walls within his created interiors. Born in Rochester (the home of Charles Dickens), Spencelayh began his education at what is now the Royal College of Art, before continuing his training in Paris, where he exhibited at the Paris Salon. He regularly submitted pictures for exhibition at the Royal Academy, showing over 30 pieces from 1912 until his death in 1958, and winning the 'Picture of the Year' award in 1939 for 'Why War'. Spencelayh was hugely successful in his career, playing an important role in a number of artistic organisations, such as Vice-President of the British Watercolour Society and Honorary Member of the Birmingham Royal Society of Artists. Exhibiting widely in the UK, including national institutions such as the Royal Institute of Oil Painters, he also showed at provincial galleries such as the Walker Art Gallery and Manchester City Art Gallery. He was commissioned by Queen Mary to produce a miniature of King George V for her featured doll house at the Wembley Arena Exhibition in 1924.

Condition Report: Unframed and with foxing all over.

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§ Charles Spencelayh (British, 1865-1958) Polly not forgotten signed lower left

Lot 418: § Charles Spencelayh (British, 1865-1958) Polly not forgotten signed lower left "Charles Spencelayh" and dated 10.10.29

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Description: § Charles Spencelayh (British, 1865-1958) Polly not forgotten signed lower left "Charles Spencelayh" and dated 10.10.29 pencil h:50 w: 40 cm Provenance: Private collection, Hertfordshire. The present drawing is a preparatory sketch for Spencelayh's oil of "Polly not forgotten" in the Guildhall Museum, Rochester, Kent.

Condition Report: Some foxing all over, dirt under the glass and several creases to the paper.

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§ Charles Spencelayh (British, 1865-1958)

Lot 419: § Charles Spencelayh (British, 1865-1958) "Your country needs you" signed lower right "Charles Spencelayh" and dated 5.9.44

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Description: § Charles Spencelayh (British, 1865-1958) "Your country needs you" signed lower right "Charles Spencelayh" and dated 5.9.44 pencil h:39 w: 49 cm Provenance: Private collection, Hertfordshire. The present drawing is a preparatory sketch for Spencelayh's original painting of "Your country needs you" now in the Northampton Museum and Art Gallery.

Condition Report: A little discolouration and one foxing spot. Dirt under the glass.

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§ Charles Spencelayh (British, 1865-1958) Alexandra Rose Day signed lower right

Lot 420: § Charles Spencelayh (British, 1865-1958) Alexandra Rose Day signed lower right "Charles Spencelayh" and dated 21.9.26

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Description: § Charles Spencelayh (British, 1865-1958) Alexandra Rose Day signed lower right "Charles Spencelayh" and dated 21.9.26 pencil h:50 w: 38 cm Provenance: Private collection, Hertfordshire.

Condition Report: Some foxing and with dirt under the glass.

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§ Charles Spencelayh (British, 1865-1958) There's beauty in all things signed lower left

Lot 421: § Charles Spencelayh (British, 1865-1958) There's beauty in all things signed lower left "Charles Spencelayh" and dated 17.8.42

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Description: § Charles Spencelayh (British, 1865-1958) There's beauty in all things signed lower left "Charles Spencelayh" and dated 17.8.42 pencil h:48 w: 40 cm Provenance: Private collection, Hertfordshire.

Condition Report: Some discolouration and with dirt under the glass and two panel pins as well.

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§ Charles Spencelayh (British, 1865-1958) The Laughing Parson signed lower right

Lot 422: § Charles Spencelayh (British, 1865-1958) The Laughing Parson signed lower right "C Spencelayh" and dated 20.6.24

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Description: § Charles Spencelayh (British, 1865-1958) The Laughing Parson signed lower right "C Spencelayh" and dated 20.6.24 pencil on buff paper h:49 w: 38 cm Provenance: Private collection, Hertfordshire. The present drawing is a preparatory sketch for Spencelayh's "The Laughing Parson" now in the Grundy Art Gallery, Blackpool, Lancashire.

Condition Report: Small foxing spots overall, the largest under his feet.

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John Constable, RA (British, 1776-1837) - Flatford Lock with Flatford footbridge and Bridge Cottage in the distance, circa 1805-1807 i.

Lot 422A: John Constable, RA (British, 1776-1837) - Flatford Lock with Flatford footbridge and Bridge Cottage in the distance, circa 1805-1807 i.

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Description: John Constable, RA (British, 1776-1837) Flatford Lock with Flatford footbridge and Bridge Cottage in the distance, circa 1805-1807 inscribed lower left "Flatford Mill" pencil on buff paper h:14 w: 19 cm Provenance: Probably Leggatt Brothers, London, 1899: H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) This drawing was made by Constable from the tow path of the river Stour at Flatford very close to the lock. Flatford footbridge can be glimpsed in the distance to the left of the roof and gables of Bridge Cottage. Flatford Mill is just out of the composition to the right (the drawing is inscribed 'Flatford Mill' lower left, but this appears to have been added by another hand). Constable more often painted or drew Flatford Lock from the other side (usually from the 'island' on the river Stour at Flatford) or indeed, from the opposite direction. However, he did also paint a very similar view to this one in oils on paper, around 1811 (Royal Academy of Arts; see Graham Reynolds, The Early Paintings and Drawings of John Constable, 1996, Yale University Press, no.11.31, plate 915). Furthermore, another very similar view of the lock from this point was painted in 1814 by Constable's friend, John Dunthorne Senior (c.1770-1844), the local plumber and glazier in East Bergholt who was also an amateur artist (Colchester Museum and Art Gallery; repr and discussed in Constable: Paintings, Watercolours and Drawings, Tate Gallery, 1976, exhibition catalogue by L.Parris, I.Fleming-Williams and C. Shields, no. 339). The trees on the left of the composition with a deep fork, identified as black poplars by naturalist and author, Richard Mabey (Flora Britannica, 1996, p.134), appear in many of Constable's paintings, for example in the famous picture in Tate Britain, Flatford Mill ( 'Scene on a Navigable River'),1817. John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: Paper has water mark upper right-hand corner. On laid paper. Stuck down to board.

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John Constable, RA (British, 1776-1837) Storm Clouds c. 1815-18

Lot 423: John Constable, RA (British, 1776-1837) Storm Clouds c. 1815-18

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Description: John Constable, RA (British, 1776-1837) Storm Clouds c. 1815-18 pencil and charcoal h:8 w: 12 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) Like the drawing made at Binfield above, this tiny sketch no doubt comes from a dismantled sketchbook. Dateable to c.1815-18 on stylistic grounds, it probably shows a view near East Bergholt, which Constable continued to visit and sketch after his marriage in 1816, making trips there in 1817 and 1818. Like so many of the drawings he made in his sketchbooks, this is almost a complete composition in itself, even if it seems chiefly to have been made in the first instance to capture the dramatic effects of a stormy sky. John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: Condition appears fine. Stuck down to board.

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John Constable, RA (British, 1776-1837) Heavy Horse at rest beside a plough, 1816 inscribed by the artist in pencil lower left

Lot 424: John Constable, RA (British, 1776-1837) Heavy Horse at rest beside a plough, 1816 inscribed by the artist in pencil lower left "Binf...

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Description: John Constable, RA (British, 1776-1837) Heavy Horse at rest beside a plough, 1816 inscribed by the artist in pencil lower left "Binfiled Decr. 6 1816" pencil on paper h:9 w: 11 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) Literature: Ian Fleming-Williams, 'John Constable: the Honeymoon Sketch-book', The Old Water-Colour Society's Club, LXI, 1986, pp.5-25 (no.22); Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, New Haven and London, 1996, no.16.85, plate 1344 In 1809 Constable had fallen in love with Maria Bicknell, the grand-daughter of the Rector of East Bergholt, Dr Rhudde. Owing to her family's opposition, however, the couple were unable to marry until the autumn of 1816. They took their honeymoon in Osmington in Dorset staying with Constable's close friend Archdeacon John Fisher and his new wife Mary (née Cookson). On their return to London they then stayed at Binfield in Berkshire with Mary Fisher's father, Dr William Cookson. This tiny drawing was originally made in a small, pocket-sized sketchbook - now, like most of Constable's sketchbooks, dismantled - used by the artist in 1816, and about half of which was devoted to views made on his honeymoon. The contents of the book have been reconstructed in an article by Ian Fleming-Williams published in 1986. When sketching outside East Anglia, Constable tended to be attracted to the same sorts of subjects that were familiar to him from his Suffolk childhood, such as for example the heavy horse, cart and plough seen here on a country lane near Binfield. John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: Small brown stain (?) upper right-hand corner. Numbered "1914" upper left-hand corner. Stuck down to board.

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John Constable, RA (British, 1776-1837) Study of Trees c. 1802-3

Lot 425: John Constable, RA (British, 1776-1837) Study of Trees c. 1802-3

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Description: John Constable, RA (British, 1776-1837) Study of Trees c. 1802-3 pencil on buff laid paper h:18 w: 24 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) One of the most important early influences on Constable's drawing style was that of fellow Suffolk artist, Thomas Gainsborough ( 1727-88 ). In 1799, when staying with friends in Ipswich, Constable explored the surrounding countryside and found it of great inspiration 'for a landscape painter', declaring 'I fancy I see Gainsborough in every hedge and hollow tree' (letter to J.T.Smith, 18 August 1799; John Constable's Correspondence: II: Early Friends and Maria Bicknell (Mrs Constable), ed R.B.Beckett, Suffolk Records Society, Ipswich 1964, p.16). However, it was not until Constable met George Frost ( 1742-1821), probably around 1802, that he began making drawings in close imitation of Gainsborough's style. Frost was a clerk at the Ipswich Blue Coach Office and was a passionate admirer and collector of Gainsborough's drawings, as well as a talented amateur draughtsman. Constable struck up a friendship with Frost, and the two artists would often make sketches together in imitation of Gainsborough's manner, or even make copies after some of Gainsborough's drawings in Frost's collection. Indeed, Frost's and Constable's drawings produced at this period have often become confused (see I. Fleming-Williams and L.Parris, The Discovery of Constable, 1984, pp.159-77). In this example, Constable experiments with two different characteristics of Gainsborough's early drawing style, his distinctive diagonal shading to represent masses and forms, and the use of wriggly lines to define the contours of foliage. John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: A white mark upper left-hand corner. Stuck down to board.

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John Constable, RA (British, 1776-1837) River meadows with willows and cattle, circa 1803-5

Lot 426: John Constable, RA (British, 1776-1837) River meadows with willows and cattle, circa 1803-5

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Description: John Constable, RA (British, 1776-1837) River meadows with willows and cattle, circa 1803-5 pencil heightened with red chalk on laid paper h:12 w: 23 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) In his early career Constable would often go sketching in and around East Bergholt and its adjacent villages. However some of the drawings he made on these excursions have little by way of distinctive topographical features and therefore can be difficult to identify with any certainty. This view looking across meadows towards a cluster of houses in the middle distance (their roofs picked out in red chalk) and a windmill on the far right hand horizon is just such an example. It may have been drawn in the fields to the east of East Bergholt owned by Constable's father, Golding, which extended for some distance behind East Bergholt House, the Constable family house which Golding had had constructed in the centre of the village in 1772. The drawing is dateable to c.1803-5 on the basis of its style, which shows Constable still working in Gainsborough's manner, though the open panoramic format owes much to the influence of the watercolour artist Thomas Girtin (1775-1802). John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: On laid paper with watermark. One foxing spot just above the biggest tree. A little browning around the edges from the mount. There is the outline of a cloud. Stuck down to board.

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John Constable, RA (British, 1776-1837) Cottage with a figure, circa 1830-35

Lot 427: John Constable, RA (British, 1776-1837) Cottage with a figure, circa 1830-35

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Description: John Constable, RA (British, 1776-1837) Cottage with a figure, circa 1830-35 pencil and ink, with scratching out h:7 w: 12 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to present owner (please refer to introduction by Anne Lyles for further information on provenance) See note for lot 428 John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: A little browning around the edges. Stuck down to board.

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John Constable, RA (British, 1776-1837) Windmill with storm clouds, circa 1830-1835

Lot 428: John Constable, RA (British, 1776-1837) Windmill with storm clouds, circa 1830-1835

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Description: John Constable, RA (British, 1776-1837) Windmill with storm clouds, circa 1830-1835 pen and ink with scratching out h:7 w: 12 cm Provenance: Probably Leggatt Brothers, London, 1899; H.A.Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) Constable's primary drawing tool was the simple lead pencil. However, he often added watercolour or monochrome washes to his drawings, sometimes in combination with pen and ink or scratching out. Subjects treated in monochrome washes or pen and ink tend to proliferate in Constable's later years, whether these are landscapes taken from the life or, more frequently, compositions that are clearly imaginary or else which show him working out new ideas. These two pen, ink and wash drawings, of a cottage on a lane and a windmill on the brow of a hill, appear to fall somewhere between these two categories. For they seem to be Constable's imaginary reworkings, or remembrances, of compositions either of his own or by other artists. The cottage on a lane, for example, is not dissimilar in compositional type to his painting of Sir Richard Steele's Cottage in Hampstead, 1832 ( Yale Center for British Art, New Haven; Graham Reynolds, The Later Paintings and Drawings of John Constable, Yale University Press, New Haven and London, 1984, no 32.6, plate 821); and the windmill subject is close in composition both to The Mill by Rembrandt in the National Gallery of Art, Washington D.C. ( which Constable probably saw when it was on public exhibition in London in 1806) as well as to a number of Constable's earlier windmill subjects, for example of Brantham and Stoke Windmill near Ipswich, themselves perhaps partly inspired by Rembrandt's composition. John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: Condition appears fine. Stuck down to board.

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Attributed to Lionel Constable (British, 1828-1887) Trees by the edge of a Field

Lot 429: Attributed to Lionel Constable (British, 1828-1887) Trees by the edge of a Field

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Description: Attributed to Lionel Constable (British, 1828-1887) Trees by the edge of a Field pencil on buff paper h:17 w: 25 cm Provenance: Probably Leggatt Brothers, London, 1899; H A Sutch; Leggatt Brothers, 1952; by descent to the present owner (please refer to introduction by Anne Lyles for further information on provenance) As noted above, two of Constable's children, Lionel Constable and Alfred Constable (1826-1853) were also artists, and drawings by each of these became mixed up with examples by John Constable during the nineteenth century when they were still owned by the latter's descendants. Lionel Constable's hand is today more easily identifiable than Alfred's thanks to research undertaken on Lionel in the 1970s by Leslie Parris and Ian Fleming-Williams and their related publications ('Which Constable?', The Burlington Magazine, CXX, 1978, ppp.566-79; and Lionel Constable, exhibition catalogue, Tate Gallery, 1982). Although Lionel's drawings are often very close in style to those of his father, John, his style is generally more tentative, and he tends to use a narrower range of compositional types as well as resorting to stylistic mannerisms. This drawing is very close to other sketches by Lionel which show a line of trees on the edge of a field gradually diminishing in size as they recede into the distance, thus creating the key perspective line in the composition (see for example no 51 in Tate catalogue, Near Stoke by Nayland, Tate). It is also similar in other ways to a drawing by Lionel, Looking to Harrow, in the Fogg Art Museum( repr Burlington Magazine, 1978, ill.32). John Constable RA at Cheffins Fine Art, 5th & 6th March 2014 Introduction by Anne Lyles: This remarkable group of drawings - seven by John Constable, and one attributed to his son, Lionel Constable - can be traced back to the stock of London fine art dealers Leggatt Brothers, who handled a large quantity of Constable's sketches in oil, watercolour and pencil in the late nineteenth and early twentieth centuries. The vendor's father purchased this group of drawings from Leggatt Brothers in 1952, for £500. The drawings had been committed for sale by H.A. Sutch. Sutch was also a London art dealer who, together with Fredrick C. Williams, had been in partnership with William Lawson Peacock with premises in Duke Street St James and Bond Street as well as in Princes Street, Edinburgh. Following Peacock's death in 1921, Sutch and Williams opened a gallery of their own, the United Arts Gallery, at 23a Bond street, where Sutch specialised in the Old Master side of the business ( American Arts News, vol 20, no.5, Nov 12, 1921). As well as these eight drawings, Sutch is also recorded as having owned two other Constables: one, a pencil drawing, Dedham: Rain coming on, now in the Henry E. Huntington Library and Art Gallery, San Marino, California (G.Reynolds, The Early Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1996, no.14.75, plate 1220); the other, a watercolour, Bristol House and Terrace, Putney Heath, in a private collection (G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, Yale University Press, New Haven & London, 1984, no.18.18, plate 45. Sutch's name is mistakenly given under the provenance for this entry as H.S.Sutch, but is correctly referred to as H.A. Sutch in Reynolds's earlier Catalogue of the Constable collection in the Victoria & Albert Museum, 2nd edition, 1973, HMSO, pp.119-20 where he discusses another version of Bristol House in that collection). The latter work, Bristol House and Terrace, Putney Heath (R.18.18)- although one of three versions of the subject - is very likely to have been the example shown, as no. 109, in an important exhibition of Constable's work mounted by Leggatt's in 1899, Pictures & Water-Colour Drawings by John Constable R.A. Exhibited at Messrs Leggatt's Gallery 77, Cornhill, London (see Reg Gadney, John Constable 1776-1837: A catalogue of Drawings and Watercolours, with a selection of Mezzotints by David Lucas after Constable for 'English Landscape Scenery' in the Fitzwilliam Museum, Cambridge, Arts Council of Great Britain, 1976, p.86). Indeed, it seems likely that Sutch acquired his version of Bristol House at that exhibition, and probably the Constable drawing now in the Huntington as well (item no. 175 in the 1899 catalogue has a remarkably similar title, Dedham (Rain coming up) ). Indeed, it seems highly probable that Sutch acquired the eight drawings catalogued here at the 1899 Leggatt's exhibition as well (or if not at the exhibition itself, then probably soon afterwards). The 1899 display was made up of works consigned for sale by two of Constable's grand-children, Hugh and Clifford Constable. Amongst the works included in the exhibition were some drawings which, although assumed by the two brothers to be by their grand-father, have since been identified as by one or other of Constable's artist sons, Lionel and Alfred (I. Fleming-Williams and L. Parris, The Discovery of Constable, Hamish Hamilton, 1984, pp.95-6 and L.Parris and I. Fleming-Williams, Lionel Constable, The Tate Gallery, London 1982). The fact that one of the eight drawings discussed here is almost certainly by Lionel Constable is another reason for assuming that Sutch acquired the group from Leggatts in 1899 or soon afterwards. Furthermore, it is interesting to note that the eight drawings have for many years been mounted and framed together in two sequences of four drawings per mount, and the 1899 exhibition catalogue similarly included numbered items of three or four drawings grouped together in series (numbers 96 and 99 are both listed in the catalogue as 'Four Pencil Drawings', and number 177 is listed as a 'Set of Four sketches'). - Anne Lyles, February 2014

Condition Report: Some browning around the mount. Stuck down to board.

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John Inigo Richards (British, 1731-1810) A Farmhouse and Yard

Lot 433: John Inigo Richards (British, 1731-1810) A Farmhouse and Yard

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Description: John Inigo Richards (British, 1731-1810) A Farmhouse and Yard oil on canvas h:42 w: 57 cm Provenance: Thos. Agnew and Sons Ltd., 43 Old Bond Street, London, SW1, 1966.

Condition Report: Painting has been lined. Prominent craquelure in the sky, and a few scattered retouchings.

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After Giovanni Francesco Barbieri, il Guercino (Italian, 1591-1666) The Return of the Prodigal Son

Lot 434: After Giovanni Francesco Barbieri, il Guercino (Italian, 1591-1666) The Return of the Prodigal Son

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Description: After Giovanni Francesco Barbieri, il Guercino (Italian, 1591-1666) The Return of the Prodigal Son oil on canvas, in an original 19th century frame h:61 w: 73 cm Provenance: Private collection, Norfolk. Other Notes: Guercino's original is in the Villa Borghese, Rome. A version is also in the Kunsthistorisches Museum, Vienna.

Condition Report: A 19th Century copy, restored, relined and cleaned. Oil on canvas which has been recently treated due to a tear in the surface - canvas is now very tight with no evidence of tears or damage. Paint layer is in a stable condition with small areas of wear and abrations. Varnish is even and semi-matte

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Hans Juriaensz van Baden (Dutch, 1604-1663) Interior scene with figures signed on the arch centre right

Lot 435: Hans Juriaensz van Baden (Dutch, 1604-1663) Interior scene with figures signed on the arch centre right "H J van Baden" and dated 16...

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Description: Hans Juriaensz van Baden (Dutch, 1604-1663) Interior scene with figures signed on the arch centre right "H J van Baden" and dated 1637 above a door to the left oil on panel in a black and gilded frame h:37 w: 48 cm Provenance: Private collection near Cambridge

Condition Report: Quite dirty and with discoloured varnish. Old panel has a crack horizontally 1/3 up from the bottom.

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Follower of Paul de Vos (Flemish, 1595-1678) A Boar Hunt

Lot 436: Follower of Paul de Vos (Flemish, 1595-1678) A Boar Hunt

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Description: Follower of Paul de Vos (Flemish, 1595-1678) A Boar Hunt oil on canvas h:80 w: 118 cm

Condition Report: Canvas is lined. Paint layers are abraded and worn in many areas, with a few scattered losses of paint and craquelure. Several areas of over paint and general strengthening.

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Manner of Francesco Trevisani (Italian, 1656-1746) The Madonna and Child

Lot 437: Manner of Francesco Trevisani (Italian, 1656-1746) The Madonna and Child

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Description: Manner of Francesco Trevisani (Italian, 1656-1746) The Madonna and Child oil on canvas h:117 w: 90 cm Provenance: The Brackenbury family, Skendleby Hall, Lincolnshire, and by descent at Brackenbury Hall since 1827.

Condition Report: Nine old repaired tears and holes in canvas, which have been patched on the reverse and some filled and retouched on the front. Others not done too well such as tear on shoulder. One new hole to the centre, and lower centre (pictured). Unframed. Various scuff marks, one on the Virgin's knee, one lower right-hand corner. Prominent craquelure and cupped surface to paint layer. Old stretcher bar marks can be seen from the front. Late 18th Century. There is quite a bit of Guido Reni in the Virgin's head and in her drapery.

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Attributed to George Morland (British, 1763-1804) Two Doleful Pigs in a Sty signed lower right with initials

Lot 438: Attributed to George Morland (British, 1763-1804) Two Doleful Pigs in a Sty signed lower right with initials "GM" on the fence

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Description: Attributed to George Morland (British, 1763-1804) Two Doleful Pigs in a Sty signed lower right with initials "GM" on the fence oil on canvas, in a maple frame h:28 w: 36 cm

Condition Report: Oil on coarse weave canvas, unlined. A damage by the initials "GM", approx 1 inch in length running vertically, and another small one along the bottom edge. Dirty and with uneven varnish which has been abraded on left hand side. One scuff mark in the background upper right-hand corner. Paint layer very worn in many areas.

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Follower of Frans Snyders (Flemish, 1579-1657) - A Pyle Tasselled Game Cock in a Landscape - oil on canvas

Lot 439: Follower of Frans Snyders (Flemish, 1579-1657) - A Pyle Tasselled Game Cock in a Landscape - oil on canvas

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Description: Follower of Frans Snyders (Flemish, 1579-1657) A Pyle Tasselled Game Cock in a Landscape oil on canvas h:67 w:88 cm Provenance: From a Cambridge collection. There is a Spanish proverb that translates as "Each rooster sings on its own dung-heap", which lends the meaning that everybody is the master of their own home.

Condition Report: Lined canvas. Craquelure overall. Quite dirty. Needs a new varnish. Stiff lining. Wear and abrasion in thinner passsages of paint. Several areas of retouching and strengthening. Thinnish paint.

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David Horatio Winder (British, 1855-1933) A Group of Sheep, Morning signed lower centre

Lot 440: David Horatio Winder (British, 1855-1933) A Group of Sheep, Morning signed lower centre "D H Winder 1895"

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Description: David Horatio Winder (British, 1855-1933) A Group of Sheep, Morning signed lower centre "D H Winder 1895" oil on canvas h:60 w: 90 cm

Condition Report: Unlined. One old repaired tear in the sky, upper right. A little dirty. Paint layer in good condition.

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Richard Henry Brock (British, 1871-1943) An Excursion signed lower left

Lot 441: Richard Henry Brock (British, 1871-1943) An Excursion signed lower left "R H Brock 1911"

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Description: Richard Henry Brock (British, 1871-1943) An Excursion signed lower left "R H Brock 1911" oil on canvas h:54 w: 74 cm Provenance: Acquired by the vendor at Christie's, London, 25 September 1992, Lot 132. Exhibited: Anglo-German Exhibition, 1913. Brock's address is given as Arundine House, Madingley Road, Cambridge.

Condition Report: Condition appears fine. A little dirty. MF 955 old Christie's stencil.

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James Clarke (British, 1858-1943) Sheep and hens in a stable signed lower right with initials

Lot 442: James Clarke (British, 1858-1943) Sheep and hens in a stable signed lower right with initials "JC"

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Description: James Clarke (British, 1858-1943) Sheep and hens in a stable signed lower right with initials "JC" oil on canvas h:29 w: 39 cm Provenance: Private collection, Suffolk.

Condition Report: Canvas is unlined, the condition is good and unvarnished.

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Charles Sillem Lidderdale, RBA (British, 1831-1895)

Lot 443: Charles Sillem Lidderdale, RBA (British, 1831-1895) "The Trysting Place" signed lower left with monogram "CSL '75"

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Description: Charles Sillem Lidderdale, RBA (British, 1831-1895) "The Trysting Place" signed lower left with monogram "CSL '75" oil on canvas h:102 w: 70 cm Provenance: Christie's, London, sale, 15 April 1893, when probably acquired by James Henry Cecil Hozier (1857-1929), 2nd Baron Newlands, and thence by descent through his widow's family. Exhibited: Pictures from Barrowfield Lodge, 1931, No.36, Portrait of a Girl by a Stile Literature: The Catalogue of the Pictures from Barrowfield Lodge, 1931, No. 36. A very similar composition by Lidderdale entitled "The Trysting Place" is in the Laing Art Gallery, Newcastle- Upon-Tyne. The present painting, however, is slightly larger, having been extended by the artist along the bottom edge, and can be considered the prime original as it is dated three years before in 1875. The position of the body and the placing of the hands upon the fence, the dress and the wooded background are all different. In addition, the present painting has carved into the top rail of the fence what are presumably the initials of the girl waiting to meet her lover, "EN".

Condition Report: Unlined. The canvas has been extended approx 3in from the bottom, and this line of extension is now cracking horizontally. Although an original addition this area is suffering from flaking and loss. Canvas tension is quite slack. Drying cracks in dark paint passages are due to artist's use of materials. Possibly a few very light retouchings in flesh covering craquelure. Varnish layer slightly discoloured and matte. Surface dirt and fly spots on varnish. Old stretcher bar marks can be seen from the front. Old exhibition No.36 on the gilt frame. 738 J (?) - old Christie's stencil number from 15 April 1893.

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Edwin Thomas Roberts (British, 1840-1917) A Young Fruit seller holding a Rosary signed lower right

Lot 444: Edwin Thomas Roberts (British, 1840-1917) A Young Fruit seller holding a Rosary signed lower right "E Roberts"

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Description: Edwin Thomas Roberts (British, 1840-1917) A Young Fruit seller holding a Rosary signed lower right "E Roberts" oil on canvas h:44 w: 34 cm Provenance: From a private collection, Suffolk.

Condition Report: Lined canvas. Thin layer of yellowed varnish with a few scattered retouchings. A little cracking to the right-hand side by her kerchief. Gilt slip but no frame.

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§ Joseph Lucian Davies, RI (British, 1860-1951) Across the lake signed lower left

Lot 445: § Joseph Lucian Davies, RI (British, 1860-1951) Across the lake signed lower left "Lucian Davies"

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Description: § Joseph Lucian Davies, RI (British, 1860-1951) Across the lake signed lower left "Lucian Davies" oil on canvas h:51 w: 46 cm Provenance: Private collection.

Condition Report: Unlined canvas. Slight disruption to paint at upper right corner. Might benefit from a new varnish. Generally in good condition.

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