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Auction Description for Cheffins: The Fine Art Sale - Day Two
Viewing Notes:
Sunday 15th June 10.00-12.00 Monday 16th June 10.00-17.00 Tuesday 17th June 10.00-18.00 Wednesday 18th June 09.00-10.45 & 16.00-17.00 Thursday 19th June 09.00-10.45

The Fine Art Sale - Day Two

(600 Lots)

by Cheffins


600 lots | 592 with images

June 19, 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

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Andrea Sacchi (Italian, 1599-1661), Seated Ignudo, red and white chalk

Lot 491: Andrea Sacchi (Italian, 1599-1661), Seated Ignudo, red and white chalk

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Description: Andrea Sacchi (Italian, 1599-1661) Seated Ignudo: Study for the Never Realised Vault Decoration of S. Luigi dei Francesi, Rome (1653-1660) red and white chalk on buff-coloured paper h:24 w: 19 cm Provenance: Claudio Argentieri (L 846 b). Private collection, Cambridge. The medium of red chalk, with occasional touches of white for the highlights, and the precise handling are characteristic of the figure studies of Andrea Sacchi, whose drawings are amongst the most economical and refined of the Roman Baroque period. The style of his paintings, which are equally sparing and self-disciplined, is often referred to as 'High Baroque Classicism' and was at odds with the ebullient, colourful and mouvementé 'Full Baroque' of his arch-rival Pietro da Cortona. As champions of opposite interpretations of the decorative painting of the day, the two were sometimes pitted against each other in competing decorative projects within the same building, so that their work could be contrasted and compared. Don Tadeeo Barberini did precisely this in the 1630s, when he commissioned rival ceiling frescoes from the two for his palace at the Quattro Fontane, Rome. This drawing is a study for one of the seated nude captives for Sacchi's never-executed decoration of the vault of S. Luigi dei Francesi, Rome, which Cardinal Antonio Barberini commissioned him to paint towards the end of his life, and on which he was at work from 1653-60 (A. Sutherland Harris, 'Andrea Sacchi', Princeton, 1977, pp. 100-101, cat. no. 81). Sacchi made a painfully slow start to the frescoes and little progress had been made by the time of the painter's death. Thereafter the Cardinal seems to have lost interest in the project altogether, so that what little that had been painted was pulled down. Some idea of the appearance of Sacchi's decorative scheme may be surmised from a group of some 31 of the drawings that he made for it in the Royal Library, Windsor Castle (A. Blunt and H. L. Cooke, 'The Roman Drawings of the XVII and XVIII Centuries at Windsor Castle', London, 1960, pp. 98-101, mostly but not exclusively cat. nos. 789-851). Herms were to have appeared to either side of the clerestory windows, with a nude slave bound at the wrists, seated in front of each one. Hitherto, only one drawing outside the Windsor group has been connected with the S. Luigi dei Francesi vault project, the 'Ignudo Seated to the Right of a Window', in the Academia de San Fernando, Madrid (Tome 8, no. 1621, red chalk on grey green paper, 240 x 200 mm; Sutherland Harris, 1977, p. 100-101, pl. 158). The present study appears to be only the second to have come to light. The figure is perhaps more lightly drawn than equivalent studies in red chalk in the Windsor group, but was nevertheless clearly intended for a captive seated to the left of one of the windows. The uncomfortable position of his legs suggests tension within his body, while his arms, forced down together awkwardly between his knees, are consistent with their being bound at the wrists.* We are grateful to Nicholas Turner for his help with the catalogue entry. *Among Sacchi's more finished studies for nude captives seated to the left of the windows, with the figures drawn in an analogous pose, Blunt and Cooke, 1960, no. 795, 800-802 . One of the drawings, Blunt and Cooke, 1960, no. 797, represents six varying poses for the same left-hand seated figure, his arms tied together at the wrists. A similar pose to that in the present drawing, but in reverse, is also found in Blunt and Cooke, 1960, nos. 815-6.

Condition Report: Some foxing overall. Collector's mark lower left-hand corner.

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§ Augustus Edwin John, OM, RA (British, 1878-1961) - Portrait of Alexandra (Alick) Schepeler, red chalk

Lot 492: § Augustus Edwin John, OM, RA (British, 1878-1961) - Portrait of Alexandra (Alick) Schepeler, red chalk

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Description: § Augustus Edwin John, OM, RA (British, 1878-1961) Portrait of Alexandra (Alick) Schepeler red chalk h:35 w: 25 cm Provenance: Private collection, Cambridge. Exhibited: Folio Spring Exhibition, English and French Master Drawings, No.9a. Rebecca John dates the present exceptional portrait of Alick Schepeler to 1906-1907. It is one of an important group of drawings of Alick Schepeler by Augustus John, and from his best period. Three studies of the sitter are in the Fitzwilliam Museum, Cambridge, the Manchester City Art Gallery, and there are several in the USA. Alexandra (Alick) Schepeler was the embodiment of John's romantic ideal; she was part Irish and part German and had been born in Minsk, Russia, in March 1882, making her way to England as a child through Poland. She was employed as a secretary by the Illustrated London News; hard-working and also hard partying at night, she lived for passion, both physical and romantic love. Alick met Augustus John through her friend Frieda Bloch who was studying at the Slade. John and Schepeler kept up a secret correspondence for many years, and throughout many of his other relationships. In 1907, John lived in London for a year and during this time she became his muse. John thought of Alick as an enigma and often compared her to mythological women, most often a water nymph, in his many letters - his "rose of my soul" and "jeune fille mysterieuse et gaie". He called her "Undine" after the female water sprites. We are grateful to Rebecca John for her assistance with the catalogue entry.

Condition Report: Under glass and the corners look to be stuck down, with some discolouration and old glue visible and with a little crinkling.

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Cuzco School (18th Century) Warrior Angels working in the fields with oxen and horses, oil on canvas

Lot 493: Cuzco School (18th Century) Warrior Angels working in the fields with oxen and horses, oil on canvas

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Description: Cuzco School (18th Century) Warrior Angels working in the fields with oxen and horses, and a man flailing corn oil on canvas, in a carved and gilded frame h:49 w: 63 cm Provenance: Private collection, UK.

Condition Report: Coarse weave lined onto thinner canvas. Original canvas appears to be severely degraded - large tear on left hand side where it is no longer strong enough to support the paint layer. The paint layer is severely cupped in many areas, although there are only a few scattered losses overall. Paint layer has some areas of wear and abrasion. Appears to be an abraded varnish layer present. Frame in a good condition.

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Edward Lear (British, 1812-1888) View of Mopolino, pen, ink and wash

Lot 494: Edward Lear (British, 1812-1888) View of Mopolino, pen, ink and wash

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Description: Edward Lear's travels in Italy began in 1837, after developing his career as an ornithological artist first employed by the London Zoological Society, and then by the Earl of Derby, for his private menagerie at Knowsley Hall. The Earl funded Lear's Italian tour, in the hope it would improve his ill health, and further his artistic career, both as a writer and painter. In 1846, on his return to Britain, Lear published his two volumed 'Illustrated Excursion in Italy' after spending time in Sicily and the Abruzzo region of Italy between 1843 and 1845. It was during his time in Abruzzo when the present drawing of Mopolino was made, in October 1844. The artist continued to travel extensively throughout his life, with only a short stay in London, during which time he attended the Royal Academy Schools, and studied under Holman Hunt. He revisited the Mediterranean coast many times, as well as touring Egypt between 1843 and 1849, and India and Ceylon between 1873 and 1875. He worked throughout all his travels; creating coloured pen and ink washes of the surrounding landscapes, inscribing notes on colour and form then and there, as seen in the present drawings, to be then worked up in oils, watercolours or as book illustrations in his studio. In 1870, Lear bought land in San Remo, on the north west coast of Italy, on which he later built 'Casa Emily', said to be named after Tennyson's wife, with whom he was a close friend. It was in September of 1870 that the present drawing of Alba was made, with Lear spending the summer of that year in nearby Certosa di Pesio. He spent much of his remaining years visiting Monte Generoso in Switzerland, and published two further editions of his 'Nonsense books' of limericks and poems; his most well know limerick being 'The Owl and the Pussycat', which he wrote for the children of his long time patron. Lear died in his home in San Remo, after his health was badly affected by a severe attack of bronchitis. Edward Lear (British, 1812-1888) View of Mopolino inscribed "9 October 1844" pen, ink and wash h:18 w: 26 cm Provenance: Thos. Agnew and Sons Ltd., 43 Old Bond Street, Piccadilly, London, W1. Edward Lear's travels in Italy began in 1837, after developing his career as an ornithological artist first employed by the London Zoological Society, and then by the Earl of Derby, for his private menagerie at Knowsley Hall. The Earl funded Lear's Italian tour, in the hope it would improve his ill health, and further his artistic career, both as a writer and painter. In 1846, on his return to Britain, Lear published his two volumed 'Illustrated Excursion in Italy' after spending time in Sicily and the Abruzzo region of Italy between 1843 and 1845. It was during his time in Abruzzo when the present drawing of Mopolino was made, in October 1844. The artist continued to travel extensively throughout his life, with only a short stay in London, during which time he attended the Royal Academy Schools, and studied under Holman Hunt. He revisited the Mediterranean coast many times, as well as touring Egypt between 1843 and 1849, and India and Ceylon between 1873 and 1875. He worked throughout all his travels; creating coloured pen and ink washes of the surrounding landscapes, inscribing notes on colour and form then and there, as seen in the present drawings, to be then worked up in oils, watercolours or as book illustrations in his studio. In 1870, Lear bought land in San Remo, on the north west coast of Italy, on which he later built 'Casa Emily', said to be named after Tennyson's wife, with whom he was a close friend. It was in September of 1870 that the present drawing of Alba was made, with Lear spending the summer of that year in nearby Certosa di Pesio. He spent much of his remaining years visiting Monte Generoso in Switzerland, and published two further editions of his 'Nonsense books' of limericks and poems; his most well know limerick being 'The Owl and the Pussycat', which he wrote for the children of his long time patron. Lear died in his home in San Remo, after his health was badly affected by a severe attack of bronchitis.

Condition Report: A thin line of sun damage around the outer edges, where a frame has been (?) - some loss of colour.

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Edward Lear (British, 1812-1888) -  Fir Trees, pen, ink and wash

Lot 495: Edward Lear (British, 1812-1888) - Fir Trees, pen, ink and wash

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Description: Edward Lear (British, 1812-1888) Fir Trees inscribed lower left "2-3 p.m. 3 March 1869" and with details of colours pen, ink and wash h:17 w: 51 cm Provenance: Thos. Agnew and Sons Ltd., 43 Old Bond Street, Piccadilly, London, W1.

Condition Report: Perhaps some fading and discolouration - the ink of the date on the left is clear - the ink of the annotations on the right hand side is a little faded. It is on buff paper.

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Edward Lear (British, 1812-1888) View of Alba, pen, ink and wash

Lot 496: Edward Lear (British, 1812-1888) View of Alba, pen, ink and wash

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Description: Edward Lear (British, 1812-1888) View of Alba inscribed and dated "5 September 1870, 9 a.m. and 7 p.m." pen, ink and wash h:15 w: 52 cm

Condition Report: Condition appears fine.

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Circle of Henry Morland (British, circa 1716-1797) Two boys with a guinea pig, oil on canvas

Lot 497: Circle of Henry Morland (British, circa 1716-1797) Two boys with a guinea pig, oil on canvas

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Description: Circle of Henry Morland (British, 18th Century) Two boys with a guinea pig oil on canvas h:70 w: 58 cm Provenance: Christie's, London, sale, 22 June 1925 (old label refers). 388 SP.

Condition Report: Scuffed around the edges and loose in the frame. 388 SP old stencil Christie's. Relined at some stage.

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After Sir Anthony van Dyck (Flemish, 1599-1641) Portrait of Queen Henrietta Maria, oil on canvas

Lot 498: After Sir Anthony van Dyck (Flemish, 1599-1641) Portrait of Queen Henrietta Maria, oil on canvas

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Description: After Sir Anthony van Dyck (Flemish, 1599-1641) Portrait of Queen Henrietta Maria (1609-1669) oil on canvas h:60 w: 37 cm Provenance: The Orlebar family, Hinwick House, Bedfordshire.

Condition Report: Paint layer has a raised craquelure network with small areas of flaking and loss, but generally in good condition. Varnish layer is slightly dull but even . One scratch on the chair. Old stretcher bar marks can be seen from the front.

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Circle of Sir Joshua Reynolds (British, 18th Century) Portrait of Emma, Lady Hamilton, oil on canvas

Lot 499: Circle of Sir Joshua Reynolds (British, 18th Century) Portrait of Emma, Lady Hamilton, oil on canvas

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Description: Circle of Sir Joshua Reynolds (British, 18th Century) Portrait of Emma, Lady Hamilton, holding a mask oil on canvas h:70 w: 54 cm Provenance: Private collection, UK.

Condition Report: Oil on lined canvas attached to oval wooden stretcher. Paint layer in a good condition overall; although some areas of impasto have been slightly flattened during lining. Scattered areas of retouching - well matched to the original. Semi-matte varnish layer - slightly uneven but clear and acceptable. Frame in good condition.

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Circle of Sir Godfrey Kneller (British, 1646-1723) An historical Portrait of the young Sir Peter Pett, oil on canvas

Lot 500: Circle of Sir Godfrey Kneller (British, 1646-1723) An historical Portrait of the young Sir Peter Pett, oil on canvas

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Description: Circle of Sir Godfrey Kneller (British, 1646-1723) An historical portrait of the young Sir Peter Pett, Master Shipwright to Elizabeth I, with HMS Pelican (later the Golden Hind) behind him through a window, and Dividers and a Globe beside him oil on canvas h:107 w: 86 cm Provenance: The Orlebar family, Hinwick House, Bedfordshire, and by descent. Literature: Hinwick House Guide, p.10, "The Staircase Hall - In the picture can be seen the ship HMS Pelican in which Sir Francis Drake sailed around the world. As a result of bullion captured from the Spanish galleons, Sir Francis changed the name of the ship to the Golden Hind". The Petts of Kent and the Rolts of Bedfordshire were cousins; H. Farnam Burke and Oswald Barron, 'The builders of the Navy. A genealogy of the family of Pett', The Ancestor, X, 1904, pp. 147-78 (at p. 168). (The genealogy rather gives up after the late seventeenth century when the shipwrights turned into professional men and no doubt married into established and perhaps minor landed families).

Condition Report: Now over-cleaned and retouched, particularly about the face. (was HQ 866-9).

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English School (circa 1815) - Portraits of the Woodthorpe Brothers of Bobbingworth, Essex, oil on panel

Lot 501: English School (circa 1815) - Portraits of the Woodthorpe Brothers of Bobbingworth, Essex, oil on panel

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Description: English School (circa 1815) Portraits of the Woodthorpe Brothers of Bobbingworth, Essex - Lieutenant (later Captain) John Bolton Woodthorpe, RN (1796-1846), in naval uniform; William Cobbold Woodthorpe (1791-1860) in a Hudson Bay Coat; and Mr Woodthorpe, a sportsman, with his hound, a rifle and dead game oil on panel (3) h:29 w: 24 cm Provenance: Private collection, Northamptonshire. In November 2009, in these Rooms, Cheffins sold Lieutenant John Bolton Woodthorpe's Naval Log - "An early 19th century Midshipman's Naval Log, by John Bolton Woodthorpe, for HMS Briton circa May 1814 to August 1815, in a neat ink hand with amateur watercolour drawings, etc". HMS Briton was a fifth rate frigate commanded by Sir Thomas Staines. The log detailsed the ship's travels from Chile northward to Peru and on to the Galapagos, Easter and Pitcairn Islands, accompanied for much of the time by HMS Tagus. Significant entries recorded the rediscovery of Pitcairn Island on 17 September 1814: ' " .... found the Island Inhabited by the descendants of Mr F Christian and Mutinous Crew of the Bounty settled here A.D. 1788 ...", and another for Saturday 29th July 1815, in Plymouth Sound, reads '" ... found lying here the Bellerophon with Buonaparte on board'. Woodthorpe's log contained a few manuscript charts including the Galapagos Islands showing the track of the two ships; another coloured plan of the harbour of 'Tihuoy' in the Island of Nooaheevah or Sir Henry Martin's Marquesas. The log was illustrated with Woodthorpe's own watercolours of island coasts. (Sold for £40,000). John Bolton Woodthorpe married Emily, second daughter of the Reverend Robert Howard of Throxenby Hall, Yorkshire, on 6 September 1838. He joined the Navy in 1809, became Lieutenant in 1826, Commander by 1838 and Captain by 7 March 1842. His ships were the Sybille, 1826; Arachne, 1831; Wasp, 1834, President, 1836, Rodney, 1837, Blenheim, 1839; and Asia, 1841. His brother, William Cobbold Woodthorpe, worked for the Hudson Bay Company and is depicted wearing a Cree coat made of moose skin, the actual coat is now in the Museum of Archaeology and Anthropology in Cambridge (Woodlands Cree People, Hudson Bay, Canada, Collected by William Cobbold Woodthorpe about 1830, Donated by Mrs Barry , length 118 cm. After his Canadian adventures, William Woodthorpe had come home to take up the family farm of 260 acres in Aveley by 1841. The three brothers poirtrayed were the sons of Thmas and Dorothy Woodthorpe of Bobbingworth and later Fanns Farm, Aveley, Essex - the third brother is either Henry Woodthorpe (b.1792), Stephen Woodthorpe (b.1798) or Edward Woodthorpe (b.1800).

Condition Report: Paint layer exhibiting extreme 'alligatoring' - a phenomenon where as the piant dries, it forms small islands of paint. But paint layer is stable and secure. Uneven varnish which is slightly dull. Loose in the original old gilt frames which have chips and losses. One is on board rather than panel.

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Pieter Cornelisz van Slingelandt (Dutch, 1640-1691) after Gabriel Metsu (Dutch, 1629-1667) The Doctor's Visit

Lot 502: Pieter Cornelisz van Slingelandt (Dutch, 1640-1691) after Gabriel Metsu (Dutch, 1629-1667) The Doctor's Visit

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Description: Pieter Cornelisz van Slingelandt (Dutch, 1640-1691) after Gabriel Metsu (Dutch, 1629-1667) The Doctor's Visit oil on champfered panel, in an ebony veneered frame h:37 w: 28 cm Provenance: Sir Albert Richardson, PRA, Avenue House, Ampthill, Bedfordshire. Gabriel Metsu's original painting of "The Doctor's Visit" is in the Hermitage, St Petersburg, Russia.

Condition Report: Two collector's seals to the reverse in wax. The panel is split vertically all the way down. Craquelure all over. Very dirty and with scuffed edges.

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Irish School (19th Century) - Portrait of Mrs Mary Redmond -oil on canvas

Lot 503: Irish School (19th Century) - Portrait of Mrs Mary Redmond -oil on canvas

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Description: Irish School (19th Century) Portrait of Mrs Mary Redmond oil on canvas h:75 w: 62 cm Provenance: From a Norfolk country house.

Condition Report: Lined canvas. Paint in good condition overall. Abrasion around edges of painting due to framing and a few minor scuffs and scratches to paint layer. Varnish is clear, even and glossy. Thick layer of dust on surface. Some flaking occuring to losses in gilding of frame.

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English School (17th Century) Portrait of Charles II (1630-1685)

Lot 504: English School (17th Century) Portrait of Charles II (1630-1685)

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Description: Studio of Sir Peter Lely (17th Century) Portrait of Charles II (1630-1685) oil on canvas h:75 w:63 cm Provenance: From a Norfolk country house.

Condition Report: Lined canvas. Paint layer is stable and secure. Old damages and loss visible but all small. Scattered retouchings covering small damages. Varnish is dull, matte and discoloured. Poorly fitted on frame and loose. Scratches and scuffs to gilding on frame.

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James Sant, RA (1820-1916) - Portrait study of the Filleul cousins, oil on canvas, circa 1882- to be delivered

Lot 505: James Sant, RA (1820-1916) - Portrait study of the Filleul cousins, oil on canvas, circa 1882- to be delivered

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Description: James Sant, RA (British, 1820-1916) Portrait of Miss Polly Rodgett (1862-1946) and Miss Maud Burton, the Filleul cousins, circa 1882 signed lower right with initials "JS" oil on canvas h:104 w: 72 cm Provenance: By descent within the family of the sitters. Mary Jane Bashall (Polly) Rodgett married the Reverend Samuel Edward Valp Filleul on 17 December 1891. They lived in a house on the shores of Poole Harbour after the Vicar moved from Lancashire to Dorset, until his death in 1931.

Condition Report: One undulation in the canvas upper left-hand corner, old stretcher bar marks can be seen from the front, otherwise appears fine.

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August de Wilde (Belgian, 1819-1886) Stolen Vanity, oil on canvas

Lot 506: August de Wilde (Belgian, 1819-1886) Stolen Vanity, oil on canvas

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Description: August de Wilde (Belgian, 1819-1886) Stolen Vanity oil on canvas h:22 w: 18 cm Provenance: Christie's, sale, South Kensington, London, 15th November 2001, Lot 83.

Condition Report: Lined canvas. Paint layer in a good condition. Craquelure overall. Varnish slightly dull and discoloured but generally acceptable. Frame has a few chips and losses to the gilding, with some wear and abrasion.

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Circle of Sir Godfrey Kneller (British, early 18th Century) Portrait believed to be of John Robinson of Denston, oil on canvas

Lot 507: Circle of Sir Godfrey Kneller (British, early 18th Century) Portrait believed to be of John Robinson of Denston, oil on canvas

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Description: Circle of Sir Godfrey Kneller (British, early 18th Century) Portrait believed to be of John Robinson of Denston (d. 1734) half length in brown, and a long curled wig oil on canvas in a painted oval h:74 w: 62 cm Provenance: By descent at Denston Hall until inherited by Algernon Dunn Gardner circa 1908, great grandfather of the present owner. The presumed sitter married Frances Bromsal, and this is one of five portraits of the Robinson family bought back by Algernon Dunn Gardner from Augustus Benyon, whose mother had rented Denston Hall and bought furniture and pictures from Henrietta (Harriet) Pigott, the then owner of the estate, whose mother had been a Robinson.

Condition Report: Oil on canvas. Format originally oval but has canvas additions at each corner. Junction between original and later canvas uneven with raised paint on the additions. Original paint layer in a good condition. Thick layer of glossy yellow varnish. Surface dirt present. Frame in reasonable condition, has been regilded. Old Christie's stencil mark DQ 320.

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Attributed to William Hoare of Bath, RA (British, circa 1707-1792) Portrait of Lieutenant Colonel John Robinson, pastel on paper

Lot 508: Attributed to William Hoare of Bath, RA (British, circa 1707-1792) Portrait of Lieutenant Colonel John Robinson, pastel on paper

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Description: Attributed to William Hoare of Bath, RA (British, circa 1707-1792) Portrait of Lieutenant Colonel John Robinson (d.1772) of Denston Hall, quarter length in red uniform with gold pastel on paper mounted on to canvas, in a carved and giltwood frame h:57 w: 44 cm Provenance: By descent from the sitter at Denston until sold circa 1900 with other contents to the tenant, Mrs Benyon, until purchased by Algernon Dunn Gardner when he moved back into Denston circa 1908. John Robinson was commissioned an Ensign 1 in 1735/6; Lieutenant and Captain 25 April 1741; Captain and Lieutenant Colonel 16 March 1752; and retired on 30 January 1759. We are grateful to Christopher Bryant for his help with the catalogue entry.

Condition Report: Dirt and spotting on the glass, a little rubbing to the edge of the sitter's face, colours are good, pretty gilt frame is fragile and has damages.

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Sir Nathaniel Dance-Holland, Bt., RA (British, 1735-1811) Portrait of Mary Brummell, oil on canvas

Lot 509: Sir Nathaniel Dance-Holland, Bt., RA (British, 1735-1811) Portrait of Mary Brummell, oil on canvas

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Description: Sir Nathaniel Dance-Holland, Bt., RA (British, 1735-1811) Portrait of Mary Brummell (nee Richardson, 1754-1793), standing three-quarter length, in white with a puce shawl, resting her arm upon a stone plinth oil on canvas, unlined h:125 w: 100 cm Provenance: By descent from the sitter, through her elder son, William, to his daughter Georgiana, Lady Pigott (1802-1886) at Denston Hall, Suffolk, and thence by family inheritance to the present owner. Literature: Lewis Melville, 'Beau Brummell, His Life and Letters', London, 1924, illustrated opposite page 26, as by Dance and as in the possession of Mrs Robinson of Dullingham. The sitter, who was born in Westminster in 1754, is sometimes inexplicably referred to and recorded as Jane, though she was certainly baptised Mary. Her alternative name of Jane may have been an ironic jibe at her great beauty by the calling of her as "plain Jane". Daughter of the Keeper of the Lottery Office, she was descended from Sir Thomas Richardson, Speaker of the House of Commons and Chief Justice in the reign of King James I. From a family long renowned for their wit and looks, she became a celebrated beauty, and by 1772 was mistress to the son of a valet, Billy Brummell, who with brain and ability had risen to become Private Secretary to the Prime Minister, Lord North. When Billy Brummell was granted a 'grace and favour' apartment at Hampton Court, King George III made it conditional that he married Mary. Their openly flaunted affair gave rise to particular comment in view of Brummell's lower social status. She, however, realised he was a brilliant young man 'on the rise' and that he would, as indeed he did, become very rich. This portrait probably dates from the period shortly after their marriage in 1772. Dance had painted Lord North in 1773/4 (National Portrait Gallery) and this may have prompted Brummell to have his new and beautiful wife painted by the same hand. Indeed, the beehive hairstyle which had become the rage when first worn by Marie Antoinette in the early 1770s, helps confirm the probable date of this portrait. When Lord North resigned in 1782, Billy Brummell, having amassed a respectable fortune, along with his respectable wife, acquired a small country estate, The Grove, Donnington, Berkshire. At his death in 1794, one year and a day after that of his wife, he left, it is said, £30,000 to each of his three children. The younger son, George, was the celebrated dandy, wit and 'bon viveur' "Beau" Brummell (1778 –1840). The elder son, William, purchased an estate at Wivenhoe in Essex and it is through his daughter, Georgiana, who married Sir Thomas Pigott, 2nd Bart., that the present picture has descended. Mary and Billy Brummell's granddaughter, Georgiana (1802-1886), must have inherited this picture and taken it with her after her marriage in 1831 to Denston Hall, when she and her husband were granted the use of the house by his sister-in-law after she, already ensconced at Dullingham, had inherited the former house on the death of her Robinson mother. The painting seems to have remained at Denston and/or Dullingham, and did not descend to Georgiana Brummell's blood relatives. This was probably because, after the death of Sir Thomas Pigott in 1847, she moved away when she remarried. The present portrait is first recorded in 1924 (see Literature). .

Condition Report: Unlined canvas. At least four patches on the reverse of canvas - one very large, canvas tension is poor and there are undulations and minor deformations to canvas support. Patches securing large tears in canvas with associated paint loss. Tacking margins failing - torn at upper right corner. A few localised areas of flaking and loss. Despite all this, the paint layer is in reasonably good condition where not damaged. Varnish layer is yellowed, dull and discoloured. Surface dirt and dust present.

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Attributed to Joseph Karl Stieler (German, 1781-1858) Study of a mother and child, said to be Georgiana Brummell, oil on canvas

Lot 510: Attributed to Joseph Karl Stieler (German, 1781-1858) Study of a mother and child, said to be Georgiana Brummell, oil on canvas

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Description: Attributed to Joseph Karl Stieler (German, 1781-1858) Study of a mother and child, said to be Georgiana Brummell, Lady Pigott (1802-1886), and her daughter Mary (1837-1913) inscribed and dated "Tegernsee, Stieler, 1847" to the reverse oil on canvas h:47 w: 36 cm Provenance: The present portrait presumably remained at Denston after the death of the Pigotts, until bequeathed in 1939 by Christopher Pigott's (later Jeaffreson and Robinson) widow Mary, when inherited by the latter's half brother's daughter, grandmother of the present owner. Literature: No. 18 on the family list. A copy of a larger picture (according to an old inscription) Georgiana Brummell, niece of 'Beau' Brummell, was the wife of Sir Thomas Pigott, 2nd Bart. (1796-1847). The Pigotts seem to have been given Denston to live in by their sister in law, Henrietta Jeaffreson, when she inherited it in 1826 from her Robinson mother. This is possibly a study for or an old copy of a painting by Joseph Stieler, which was apparently bought by the Empress of Prussia, according to an old inscription on the reverse of the frame. Stieler, most famous for a 'Gallery of Beauties' which he painted for the Bavarian King Ludwig I (today at Schloss Nymphenburg in Munich), specialized in idealizing portraits. His paintings are highly finished images which show his sitters, often members of the German high society (among them celebrities such as Goethe, A. V. Humboldt and Beethoven), from their 'best side'. Stieler, a decendant of a long-established family of artists, trained in Vienna and Paris and, having spent time in Italy, he settled in Munich where he worked mainly for the royal family, but, like Franz Xaver Winterhalter, court painter to the British Royal Family, he also depicted a number of beautiful ladies from England. This portrait of a sleeping mother and child, most likely from the early 1840s, is in many ways exceptional for Stieler's oeuvre: Setting the depicted couple against neutral background, allows the painter to focus exclusively on the sitters' feautures (a typical feature of Stieler's work) - the delicate rendering of the mother's face, the radiant skin with rosy cheeks, arched eyebrows and and pink lips are reminiscent of portraits such as that of Maria Dietsch (ill.). Our painting however conveys an exceptional sense of intimacy, which is rarely found in Stieler's more formal work. The lady depicted is said to be Georgiana Brummell, Lady Pigott (1802/04-1886). Georgiana Brummell, niece of 'Beau' Brummell, was the wife of Sir Thomas Pigott, 2nd Bart (1796-1847). The Pigotts seem to have been given Denston Hall, Suffolk, to live in by their sister in law, Henrietta Jeafferson, when she inherited it in 1826 from her Robinson mother, and her daughter Mary (1837-1914), which supports the suggested date in the early 1840s, which must have been commissioned as a remembrance of the motherly bond between the sitters rather than a representative portrait. Still, according to an inscription on an old label on the reverse of the frame, the original caught the attention and was acquired by the Empress of Prussia (presumably Elisabeth of Bavaria, queen consort of Prussia who was herself painted by Stieler on several occasions). The composition seemingly alludes to Stieler's famous depiction of a guardian angel (Landesmuseum Mainz), but also recalls elements found in other works, for example the child's tilted head which may be compared to that of Maximiliane of Bavaria hugging a lamb in the famous triple-portrait of Elisabeth, Amalie and Maximiliane of Bavaria. Depicting the sitters sleeping underlines the child's innocence and the mother's pure beauty, which the spectator is invited to observe in an almost voyeuristic way. Whilst the image is gentle, sweet and beautiful, Stieler just about manages to escape the notion of kitsch. Interesting also is the unfinished, sketchlike appearance of the image, which offers us a rare glimpse of the artist's working practice, underlining the attribution of this unsigned work to Stieler, which in his later works tended towards early realism and was later perfected by his predecessor Franz von Lenbach. Stieler built his house at the Tegernsee, a beautiful lake in Bavaria, in 1830. We are grateful to Anna Schultz for her assistance with the catalogue entry.

Condition Report: Oil on a fine weave canvas which is attached to a second coarse weave canvas. Tacking margins are present on all sides, but it is unclear if composition extends around edges, which, if so, would indicate that the painting has been cut down - this is difficult to tell unless taken out of its frame. We feel it most likely that the composition does stop at the edge of the picture plane. Paint layer in good condition overall - a few small areas of cracking and loss. Very yellowed varnish layer which is abraded in some areas, but may be difficult to clean due to the paint layers. Frame has several chips and losses to the gilding layer.

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Follower of Sir Francis Grant (Scottish, mid 19th Century) Portrait of Christopher William Robinson, oil on canvas

Lot 511: Follower of Sir Francis Grant (Scottish, mid 19th Century) Portrait of Christopher William Robinson, oil on canvas

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Description: Follower of Sir Francis Grant (Scottish, mid 19th Century) Portrait of Christopher William Robinson (1836-1889) of Dullingham House and Denston Hall, with his two sisters Ada and Harriet Pigott, and a small black dog oil on canvas h:62 w: 74 cm Provenance: From the sitters to their nephew Algernon Dunn Gardner, great grandfather of the present owner. Christopher William, like his two sisters, was born Pigott, all being grandchildren of Sir George Pigott, 1st Bart., but he later changed his name when he inherited his mother's family home, Dullingham, and then again to Robinson when he inherited his maternal grandmother's home, Denston. He died childless and ultimately all his property descended to the son of Ada, here seated in white.

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Manner of Sir Anthony Van Dyck (Flemish, mid 17th Century) Portrait of Sir Thomas Dayrell (d.1669), oil on canvas

Lot 512: Manner of Sir Anthony Van Dyck (Flemish, mid 17th Century) Portrait of Sir Thomas Dayrell (d.1669), oil on canvas

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Description: Manner of Sir Anthony Van Dyck (Flemish, mid 17th Century) Portrait of Sir Thomas Dayrell (d.1669) half length in armour inscribed lower left "Sir Thos. Dayrell" oil on canvas h:77 w: 63 cm Provenance: By descent from the sitter to Sarah Dayrell, mother of Lieutenant General Christopher Jeaffreson of Dullingham, maternal grandfather of Christopher Pigott (d. 1889), and on the death of his widow in 1939, bequeathed to the grandmother of the present owner. Sir Thomas Dayrell of Shudy Camps died in 1669 and was eminent for his loyalty and services to both Charles I and Charles II in the Civil War; he was universally esteemed for his learning and beloved particularly in the County of Cambridge where until his death he was both a Justice of the Peace and Deputy Lieutenant.

Condition Report: Canvas relined at some stage. Paint layer in good condition overall. Possible areas of retouching lying beneath the varnish, located in the costume of the sitter. Varnish layer is dull and discoloured with staining and surface dirt. Gilding of frame extensively flaking and in poor condition.

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Attributed to John Riley (British, 1646-1691) Portrait of Sir Marmaduke Dayrell (d.1712) of Shudy Camps, oil on canvas

Lot 513: Attributed to John Riley (British, 1646-1691) Portrait of Sir Marmaduke Dayrell (d.1712) of Shudy Camps, oil on canvas

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Description: Attributed to John Riley (British, 1646-1691) Portrait of Sir Marmaduke Dayrell (d.1712) of Shudy Camps, Cambridgeshire, half length, wearing a lace stock, gold brocade waistcoat and red cloak oil on canvas h:100 w: 97 cm Provenance: By descent from the sitter to his great grandson, Lieutenant General Christopher Jeaffreson of Dullingham; thence to his grandson Christopher Pigott and on the death of the latter's widow in 1939, inherited by her half brother's daughter, grandmother of the present owner. The sitter died in 1712 and his granddaughter, Sarah, married the then owner of Dullingham.

Condition Report: Canvas probably lined, but difficult to be certain. In good condition overall, paint layer is stable and secure. Varnish is very darkened and discoloured overall with some staining and layer of dust on surface. Frame in good condition, small areas of loss to gilding.

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Follower of Sir Godfrey Kneller (British, early 18th Century) Portrait of Mary, Lady Dayrell of Shudy Camps, oil on canvas

Lot 514: Follower of Sir Godfrey Kneller (British, early 18th Century) Portrait of Mary, Lady Dayrell of Shudy Camps, oil on canvas

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Description: Follower of Sir Godfrey Kneller (British, early 18th Century) Portrait of Mary, Lady Dayrell of Shudy Camps, three quarter length in blue inscribed lower left "Lady Dayrell" oil on canvas h:180 w: 102 cm Provenance: By descent from the sitter to Sarah Dayrell, who married Christopher Jeaffreson of Dullingham, and thence to Christopher Pigott (later Jeaffreson), on the death of whose widow in 1939, inherited by her half brother's daughter, grandmother of the present owner. The sitter is presumably Mary, daughter and heir of William Glasscock of Farnham, Surrey, second wife of Sir Marmaduke Dayrell, who died in 1712.

Condition Report: Canvas most likely lined, difficult to tell. Three small holes by her left shoulder, with associated paint loss. Stretcher bar marks present. Paint layer in reasonably good condition. Very yellowed varnish with some staining. Over-cleaned at some point. Scuff marks and craquelure visible all over. Scuff marks by her dress and lines of wear. Vertical damage 1 inch long approx. along the lower edge. Several chips and losses to frame.

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Circle of Sir Peter Lely (British, third quarter of the 17th Century) Portrait, presumably of Sir Frances Dayrell, oil on canvas

Lot 515: Circle of Sir Peter Lely (British, third quarter of the 17th Century) Portrait, presumably of Sir Frances Dayrell, oil on canvas

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Description: Circle of Sir Peter Lely (British, third quarter of the 17th Century) Portrait, presumably of Sir Frances Dayrell (d.1675) of Shudy Camps, holding a pair of compasses, a globe beside him, ship beyond oil on canvas h:99 w: 100 cm Provenance: By descent through the sitter's brother to the latter's great grandson Lieutenant General Christopher Jeaffreson of Dullingham; thence to his grandson Christopher Pigott, and on the death of the latter's widow in 1939, inherited by her half brother's daughter, grandmother of the present owner The sitter, who died in 1675, was presumably, by reason from the globe, pair of compasses and the ship, a navigator, explorer or mariner. He married a Welsh heiress, Elizabeth Lewis of Van Park, County Glamorgan, who, after he died childless, married William Morgan of Tredegar.

Condition Report: Lined canvas. Minor deformation to canvas casued by poor tension. Areas of flaking and loss at centre bottom of painting. paint layer generally in good condition overall. Small areas of recent retouching visible on top of varnish - old retouchings possibly present below varnish. varnish is discoloured, matte and dull with staining and fly spots. Flaking to gilding of frame. Dusty and dirty, and with dirt spots to his face.

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Attributed to Enoch Seeman (British, 1694-1745) Portrait of a lady in a feathered hat, oil on canvas

Lot 516: Attributed to Enoch Seeman (British, 1694-1745) Portrait of a lady in a feathered hat, oil on canvas

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Description: Attributed to Enoch Seeman (British, 1694-1745) Portrait of a lady in a feathered hat, pearls in her hair and a blue and white dress and gem-set stomacher oil on canvas, in a carved and giltwood frame h:74 w: 62 cm Provenance: By descent from the supposed sitter to her grandson, Lieutenant General Christopher Jeaffreson of Dullingham, maternal grandfather of Christopher Pigott (d. 1889) and on the death of his widow in 1939, bequeathed to the grandmother of the present owner. An ink inscription on the stretcher, in the hand of Algernon Dunn Gardner, suggests this is a lady of the Dayrell family. If so, it is probably Elizabeth Witchcomb, co-heir of Sir Brownlow Sherrard, Bt., who married Francis Dayrell of Shudy Camps, Cambridgeshire.

Condition Report: Lined canvas. Paint layer in a good condition overall. Possible areas of retouching lying beneath the varnish, located in the costume of the sitter. Varnish layer is dull and discoloured with staining and surface dirt. Frame has some damage to corner mouldings - three shell corners missing. Quite dirty and with brown spotting to her face and dress.

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Attributed to John Rising (British, 1753-1817) Portrait of Richard Crop of Westoe Lodge, oil on canvas

Lot 517: Attributed to John Rising (British, 1753-1817) Portrait of Richard Crop of Westoe Lodge, oil on canvas

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Description: Attributed to John Rising (British, 1753-1817) Portrait of Richard Crop of Westoe Lodge, three quarter length, seated at a table, with a large inkwell oil on canvas h:125 w: 100 cm Provenance: Presumably inherited by the sitter's nephew by marriage, Lieutenant General Christopher Jeaffreson of Dullingham, and thence to his nephew Christopher Pigott (later Robinson of Denston), on the death of whose widow in 1939, inherited by her half brother's daughter, grandmother of the present owner. The sitter's wife Mary was a Dayrell of Shudy Camps, Cambridgeshire, and aunt of Lieutenant General Jeaffreson of Dullingham.

Condition Report: Lined canvas. Paint layer in a good condition overall - a few localised areas of retouching, mainly located in sitter's jacket. Varnish layer dull and slightly discoloured. Thick layer of dust on surface. Gilding of the frame is flaking in areas.

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Follower of Cornelius Johnson (British, first half of 17th Century) Portrait of the Reverend Doctor Johnstone, oil on canvas

Lot 518: Follower of Cornelius Johnson (British, first half of 17th Century) Portrait of the Reverend Doctor Johnstone, oil on canvas

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Description: Follower of Cornelius Johnson (British, first half of 17th Century) Portrait of the Reverend Doctor Johnstone (b.1600), half length holding a red book Inscribed ( probably?) "Pvlveris imago imagins umbra umbrae insomnium insomnii oblivio " and charged with a coat-of-arms oil on canvas h:75 w: 62 cm Provenance: By descent from the sitter to the Reverend Henry Johnstone, grandfather of John Gardner of Chatteris, and thence to Algernon Dunn Gardner at Denston by 1908, great grandfather of the present owner. The inscription, which may suggest the portrait was painted posthumously, can be translated approximately as: "The image of dust, the shadow/shade of the image; the vision of the shade, the forgetting/oblivion of the vision" - it is all quite clever lining up words in nominative and genitive next to one another such as imago imaginis, etc We are grateful to Professor Mary Beard and Chloe Cockerill for their assistance with the catalogue entry.

Condition Report: Canvas is lined. Thinly painted with wear and abrasion visible in lighter paint passages. Paint layer is sound and stable. Scattered areas of retouchingcovering abrasion. Varnish is dull and discoloured with scuffs and scratches. Frame in a good condition with small losses.

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Attributed to John Hayls (British, c. 1645-1679) Portrait of a cleric and his wife, oil on canvas

Lot 519: Attributed to John Hayls (British, c. 1645-1679) Portrait of a cleric and his wife, oil on canvas

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Description: Attributed to John Hayls (British, circa 1645-1679) Portrait of a cleric and his wife, both half length, she in a white dress, red shawl and pearls; he holding a book, inscribed on the book "[? M F ] BR" oil on canvas, in period carved and giltwood frames (a pair) h:74 w: 63 cm Provenance: Presumably by descent to the Dunn Gardner family, The Manor House, Chatteris, until removed in 1908 by Algernon Dunn Gardner to Denston Hall; and thence by descent to the present owner. The sitters are presumably Johnstones of Pontefract, to which the castle ruins in the background of both allude. Therefore, the sitters are probably Nathaniel Johnstone (1627-1704), the antiquarian, and his wife Anne Cudworth.

Condition Report: Portrait of a cleric - oil on lined canvas. Paint layer is in good condition - extensive retouching in the sky, background and hair, which appears to cover abrasions rather than large losses. Varnish layer is dull and yellowed with scratches and abrasions. Frame is in a good condition with minor losses to gilding. Portrait of his wife - oil on lined canvas. Some wear and abrasion in thinner passages of paint. Paint layer is overall in good condition for the picture's age. Extensive retouching in background and hair which has darkened. The retouching appears to be covering abrasion and strengthening curls in hair rather than covering damage or losses. Varnish layer is dull and discoloured with scuffs and scratches. Frame is in good condition - small areas of loss to gilding. Lovely frames.

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Attributed to John Riley (British, 1646-1691) Portrait of a gentleman, possibly a judge or magistrate, oil on canvas

Lot 520: Attributed to John Riley (British, 1646-1691) Portrait of a gentleman, possibly a judge or magistrate, oil on canvas

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Description: Attributed to John Riley (British, 1646-1691) Portrait of a gentleman (possibly a judge or a magistrate) half length in red with ermine oil on canvas h:74 w: 62 cm Provenance: By descent at The Manor House, Chatteris, and thence to Denston Hall, Suffolk, by 1908. The sitter is possibly James Cudworth (1604-1682), recorded as a magistrate from North Yorkshire, whose relation, Anne, married Nathaniel Johnstone (see Lot 519).

Condition Report: Relined canvas. Paint layer generally sound - thinly painted in many areas with abrasion. Thick layer of discoloured varnish. Small retouchings in face, possibly covering wear and abrasion around the features. Frame has a few knocks and chips to gilding.

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English Provincial School (third quarter of the 17th Century) Portrait of Doctor Cudworth Johnstone, oil on canvas

Lot 521: English Provincial School (third quarter of the 17th Century) Portrait of Doctor Cudworth Johnstone, oil on canvas

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Description: English Provincial School (third quarter of the 17th Century) Portrait of Doctor Cudworth Johnstone (1654-1692), half length, in red-edged robes and a lace cravat oil on canvas h:75 w: 62 cm Provenance: By descent in the Johnstone family to either of the two daughters of the Reverend Henry Johnstone, whose heirs were John Gardner and his Marriott wife, parents of Jane Gardner, who married William Dunn; thence by descent to Algernon Dunn Gardner from The Manor House, Chatteris, to Denston Hall in 1908.

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Atrributed to Mary Beale (British, 1632-1697) Portrait of an unknown lady, probably a Johnstone of Pontefract, oil on canvas

Lot 522: Atrributed to Mary Beale (British, 1632-1697) Portrait of an unknown lady, probably a Johnstone of Pontefract, oil on canvas

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Description: Atrributed to Mary Beale (British, 1632-1697) Portrait of an unknown lady, probably a Johnstone of Pontefract, half length in red and brown oil on canvas in a painted stone cartouche h:74 w: 61 cm Provenance: By descent at The Manor House, Chatteris, until removed in 1908 by Algernon Dunn Gardner, great grandfather of the present owner, to Denston. The sitter, if a Johnstone of Pontefract, is possibly Sarah, mother of the Reverend Henry Johnstone (see lot 524).

Condition Report: Lined canvas. Thin paint layers slightly abraded and worn. A few scattered areas of retouchings, but all quite small. Varnish layer is dull and discoloured with scuffs and scratches. Black and gilt frame is in a poor condition, with extensive loss and flaking.

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Circle of William Aikman (British, first quarter of the 18th Century) Portrait of a Gentleman, oil on canvas

Lot 523: Circle of William Aikman (British, first quarter of the 18th Century) Portrait of a Gentleman, oil on canvas

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Description: Circle of William Aikman (British, first quarter of the 18th Century) Portrait of a Gentleman, half length, in a brown velvet coat oil on canvas h:75 w: 63 cm Provenance: By descent in the Johnstone family to either of the two daughters of the Reverend Henry Johnstone, whose heirs were John Gardner and his Marriott wife, parents of Jane Gardner, who married William Dunn; thence by descent to Algernon Dunn Gardner from The Manor House, Chatteris, to Denston Hall, Suffolk, in 1908. Probably, from its contemporary frame and others very similar in this group of portraits, the sitter is a member of the Johnstone family, probably Charles, son of Cudworth Johnstone (see lot 521).

Condition Report: Relined and somewhat flattened. Craquelure overall and some overpainting around the eyes..

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Attributed to the Studio of John Theodore Heins, Senior (British, mid 18th Century) Portrait of the Reverend Henry Johnstone

Lot 524: Attributed to the Studio of John Theodore Heins, Senior (British, mid 18th Century) Portrait of the Reverend Henry Johnstone

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Description: Attributed to the Studio of John Theodore Heins, Senior (British, mid 18th Century) Portrait of the Reverend Henry Johnstone (d.1755), half length in black oil on canvas h:75 w: 62 cm Provenance: By descent from the sitter to one of his two daughters, paternal and maternal grandparents of Jane Gardner, of The Manor House, Chatteris; thence by descent to Algernon Dunn Gardner, great grandfather of the present owner. The Reverend Henry Johnstone was the son of Charles and Sarah Johnstone. He married Hannah, sister of Dr. John Harris, Bishop of Llanduff. He died at Monk Soham, Suffolk, in September 1755.

Condition Report: Relined canvas. Small loss to paint layer and area of abrasion in costume. Retouchings in background and craquelure in the face. Paint layer in a good condition overall. varnish is discoloured and matte with wipe marks on surface. Small chips to frame

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Follower of William Hogarth (British, mid 18th Century) Portrait of Elizabeth Hake, oil on canvas

Lot 525: Follower of William Hogarth (British, mid 18th Century) Portrait of Elizabeth Hake, oil on canvas

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Description: Follower of William Hogarth (British, mid 18th Century) Portrait of Elizabeth Hake, half length in black, her arms folded oil on canvas h:76 w: 63 cm Provenance: By descent from the sitter via her daughter Eleanor to John and Sarah Gardner, thence by descent to Algernon Dunn Gardner of Chatteris, great grandfather of the present owner, until removed by him to Denston in 1908. The sitter was the daughter of Charles Johnstone of Pontefract, and married Simon Hake of Chatteris and The Old House, Pilsgate. She died in 1754.

Condition Report: Relined. Craquelure overall.

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Circle of Michael Dahl (Swedish, circa 1656–1743) Portrait said to be of Miss Eleanor Hake (d.1784), oil on canvas

Lot 526: Circle of Michael Dahl (Swedish, circa 1656–1743) Portrait said to be of Miss Eleanor Hake (d.1784), oil on canvas

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Description: Circle of Michael Dahl (Swedish, circa 1656–1743) Portrait said to be of Miss Eleanor Hake (d.1784), three quarter length in blue against a red curtain oil on canvas, in a black painted frame h:126 w: 100 cm Provenance: By descent from the supposed sitter to her first cousins once removed, John and Sarah Gardner; thence by descent to Algernon Dunn Gardner of Denston Hall, great grandfather of the present owner. Eleanor Hake was the daughter of Simon and Elizabeth Hake of Chatteris and Pilsgate. An heiress, she left her property to her Gardner cousins.

Condition Report: Relined and perhaps a little over-cleaned. Paint layer in a good condition with small, localised areas of loss. Yellowed varnish layer which is steaky and uneven - area of abrasion or cleaning to the sitter's forehead. Layer of surface dirt on top of varnish. Frame in poor condition with woodworm damage and active flaking of gesso and black paint.

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Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, oil on canvas

Lot 527: Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, oil on canvas

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Description: Attributed to John Hayls (British, circa 1645-1679) Portrait of a gentleman, half length, in a red jacket and gold cloak inscribed to the right of the sitter "AET [? 23]" oil on canvas h:74 w: 62 cm Provenance: By descent to The Manor House, Chatteris, and thence in the Dunn Gardner collection from there to Denston by 1908. The sitter is possibly a Johnstone of Pontefract, a Cudworth, or a Hake of Chatteris and Pilsgate.

Condition Report: Relined. A little dirty and with craquelure overall. Old gilt and black frame has several chips..

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Attributed to Edward Penney, RA (British, 1714-1791) Portrait of Henry Willis Compton of Bisterne, oil on canvas

Lot 528: Attributed to Edward Penney, RA (British, 1714-1791) Portrait of Henry Willis Compton of Bisterne, oil on canvas

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Description: Attributed to Edward Penney, RA (British, 1714-1791) Portrait of Henry Willis Compton of Bisterne, head and shoulders in a black coat and white stock, age 23 inscribed on the reverse "Penney pinxit" oil on canvas h:68 w: 55 cm Provenance: By descent from the sitter's family to Harriet Compton who married Algernon Dunn Gardner in 1900, great grandparents of the present owner. The sitter is identified from an old label on the reverse which, along with the attribution to Penney, may record an inscription on the reverse of the now re-covered original canvas

Condition Report: Relined canvas. Old gilt sand frame has three scrolls missing and numerous chips. Canvas is very loose in the frame. Appears to be an old repaired tear in the centre of his coat.

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George Cole (British, 1810-1883) Portrait of a man, oil on canvas

Lot 529: George Cole (British, 1810-1883) Portrait of a man, oil on canvas

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Description: George Cole (British, 1810-1883) Portrait of a man, half length in black, seated behind a stone window, a small dog on the ledge, beneath which is inscribed: "Let me play the fool with mirth and laughter let old wrinkles come, and let my liver rather heat with wine, than my heart cool with mortifying groans" signed or inscribed on the reverse "Geo. Cole PINXIT / Green Row /Portsmouth/1844" oil on canvas, in an ornate gilt frame with grapes and foliage h:52 w: 38 cm Provenance: By descent to Algernon Dunn Gardner at Denston, great grandfather of the present owner The inscribed quotation comes from Gratiano's speech in William Shakespeare's "A Merchant of Venice". The elaborate vine and grape decoration of the frame alludes to the sentiment therein. The artist, father of the better-known George Vicat Cole, began exhibiting in London from 1840 at the British Institute and Royal Academy, working predominantly in landscape but often literary or historical subjects.

Condition Report: Canvas appears to be unlined. Raised, prominent craquelure, but paint appears sound. Thin layer of varnish which is glossy but slightly yellowed. Frame has lost some areas of decorative moulding around edges and some are unstable. Under glass - staining on inside of glass. Gilt frame has damages and a loose piece at the top.

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Carlo Cignani (Bologna, 1628-1719, Forlì), Charity, oil on canvas

Lot 530: Carlo Cignani (Bologna, 1628-1719, Forlì), Charity, oil on canvas

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Description: Carlo Cignani (Bologna, 1628-1719, Forlì) Charity Oil on canvas; 91.5 x 66 cm (Bologna, 1628-1719 Forlì) Charity Oil on canvas; 91.5 x 66 cm (Bologna 1628-1719 Forli) Charity oil on canvas, in a carved and giltwood English 18th Century Maratta frame h:91 w: 66 cm Provenance: Acccording to family tradition by descent in the Arkwright family of Hatfield Place, Witham, Essex, to Lilian Agnes, Countess of Mount Edgcumbe, grandmother of the present owner. Thanks to the easy grace of his late Baroque style, Cignani was one of the most successful painters active around 1700 in his native Bologna. His figure types are a clever synthesis of Renaissance and Baroque models, with special preference for those of his Bolognese forebears, Annibale and Agostino Carracci (1560-1609 and 1557-1602, respectively), Guido Reni (1575-1642) and Guercino (1591-1666). His uncomplicated and agreeable compositions readily appealed to aristocratic patrons, among them Ranuccio Farnese II, Duke of Parma, whose garden palace he decorated, together with a team of assistants from 1678-1680. This previously unknown canvas of Charity may be dated relatively early in Cignani's career, in the mid-1650s or 1660s, on account of its strong chiaroscuro and the more sombre colouring than in his late work. The composition is based, with variations, on Guercino's early fresco of "Venus suckling Cupid", which is approximately twice the size of the present canvas. The fresco once decorated the chimney-breast of the 'Camera di Venere' of the Casa Pannini, one of the rooms of a country villa outside Cento, which Guercino and his assistants decorated in 1615-1617. It is now detached and kept in the Pinacoteca Civica, Cento. Venus is shown lying on the ground, across the front of the picture space, naked to the waist, whilst Cupid, lovingly protected by his mother's body, is supported on an elaborate cushion as she suckles him. In his chariot in the sky, Mars, Venus's lover, keeps a watchful eye over them. The small country town of Cento, where Guercino was born, brought up and spent much of his career, is a short journey from Bologna. Since the figures in this Charity of Cignani are in the same direction as those in Guercino's fresco, our painting is clearly based on first-hand knowledge of Guercino's composition. Guercino's Venus suckling Cupid, though daring and successful, might have been regarded as somewhat outdated from the perspective of Guercino's later work, which underwent so remarkable a development over a nearly-fifty-year period. Cignani, very likely in homage to the older master whose work he greatly revered, must have decided to update, or even improve, Guercino's compositional idea. Firstly, and most importantly, he translated the lascivious mythological subject matter into a Christian one by turning Venus into Charity, the foremost of the three Theological Virtues. Ironically Guercino had himself made this iconographical conversion some decades before, but more ponderously, very likely due to the initiative of his lifelong friend, Padre Antonio Mirandola (d. 1648). He painted a Charity for the Padre in 1621, as a gift to a friend. This was a small variant of his "Venus suckling Cupid" fresco, adapted to its devotional purpose by, among other changes, the addition of a second infant and a crucifix in the place of Cupid's arrow, held in the woman's hand. Mirandola's "Charity" is now thought lost, but Cignani would have known of its composition, in reverse, from an engraving after it by Giovanni Pasqualini of 1622. But Cignani paid little or no heed to Guercino's adaptation for Padre Mirandola of his earlier Casa Pannini composition, as recorded in Pasqualini's 1622 print. While no symbolic 'points d'appui' appear in Cignani's "Charity" to remind the viewer of the figure group's religious significance, the painter has stepped back from Guercino's daring interpretation of the intimate moment of a woman breast feeding her child. In Cignani's picture the lead baby is asleep on the ground in front of her, rather than in the process of suckling from the breast. In taking inspiration from Guercino's fresco Cignani has made other changes, including altering substantially the proportions of the figures. While the body of Guercino's Venus is attenuated, with surprisingly elongated limbs, Cignani's Charity and the infant she watches over are appreciably more robust, corresponding to an ideal of physical beauty of another period. The second child in this Cignani "Charity", seen to the right in the shadows, sobbing and rubbing away the tears from his eyes, is a further salute to the painter from Cento. In the lower right corner of Guercino's "Charity", now in the Dayton Art Institute, Ohio, a similar tearful baby, wipes his eye with one hand though there Charity tries to comfort him by taking his other hand and grasping it affectionately. Later in his career, Cignani painted another "Charity" composition though this time of a horizontal format and invariably in the numerous extant versions with four rather than three figures (see B. Buscaroli Fabbri, 'Carlo Cignani, affreschi, dipinti, disegni', Milan, 2004, p. 281). One such of these is believed to be one recorded by Waagen at Heytesbury House ('Treasures of Art in Great Britain', 1857, Supplement, p.390) and there until 1926 and this is probably the version now in the San Francisco Museum. We are grateful to Nicholas Turner for his help with the catalogue entry.

Condition Report: Lined canvas - coarse weave canvas, poor lining which has not addressed raised lumps and deformations in canvas. Paint layer in reasonable condition but vulnerable in areas of raised canvas - potential flaking issue. Dark and discoloured varnish which is caught in canvas weave, emphasizing the texture. Retouching which is localised to background and edges of paintings. Losses to gilding and some flaking to frame.

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Circle of Lacroix de Marseille (mid 18th Century) - Mediterranean coastal scene with fishermen, oil on panel

Lot 531: Circle of Lacroix de Marseille (mid 18th Century) - Mediterranean coastal scene with fishermen, oil on panel

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Description: Circle of Lacroix de Marseille (mid 18th Century) Mediterranean coastal scene with fishermen oil on panel h:14 w: 19 cm

Condition Report: Oil on what appears to be a copper support. Wooden panel visible at reverse is not part of the paintingbut supporting it in the frame. Minor undulations to metal support, but generally in a good condition. Paint layer in good condition, scattered areas of retoucing which are matte and discoloured. Thin layer of semi-matte varnish. Frame is in reasonable condition Quite dirty and would benefit from a light clean and new varnish. Old oak panel has two horizontal cracks - not visible from the front.

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Circle of Esaias van de Velde the Elder (Dutch, 1587-1630) Travellers in an Italianate landscape, oil on canvas

Lot 532: Circle of Esaias van de Velde the Elder (Dutch, 1587-1630) Travellers in an Italianate landscape, oil on canvas

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Description: Circle of Esaias van de Velde the Elder (Dutch, 1587-1630) Travellers in an Italianate landscape with a rider on a grey horse oil on canvas h:56 w: 80 cm Provenance: From a Scottish country house.

Condition Report: Relined canvas. Localised areas of raised paint and a few scattered paint losses. Uneven layer of discoloured varnish - uneven and slightly matte. A few losses to moulding on the frame.

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Hastler (German, 18th-19th Century) A portfolio of watercolour views to include the Tomb of Theron

Lot 533: Hastler (German, 18th-19th Century) A portfolio of watercolour views to include the Tomb of Theron

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Description: Hastler (German, 18th-19th Century) A portfolio of watercolour views to include the Tomb of Theron, Concord and Juno Lucina, Greece; the Ebro river, Spain; Citadel on the island of Sicily; Murviedro, southern Spain; Sicilian harbour; San Paolo, Italy; Palermo, Sicily; lighthouse on the island of Sicily; Ganzirri lake, Southern Italy; Ganzirri Chapel, Southern Italy; River Francoli, north east Spain; Gateway to the ruined fort of Tarragona, north east Spain; the Faro Tower, Sicily; the Temple of Concord, Temple Valley, Greece; Palermo, Sicily; Citadel on the Island of Sicily; unknown view; and possibly Segovia, Spain watercolour (18) Provenance: From the collection of Lord Luke.

Condition Report: All unframed. Some discolouraton and a little foxing, and scuffed edges.

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Hendrik Frans de Cort (Dutch, 1742-1810) - The great Elm in Lord Suffolk's ground, Wiltshire, pencil

Lot 534: Hendrik Frans de Cort (Dutch, 1742-1810) - The great Elm in Lord Suffolk's ground, Wiltshire, pencil

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Description: Hendrik Frans de Cort (Dutch, 1742-1810) The great Elm in Lord Suffolk's ground, Wiltshire, a boundary tree known in the 'Old Maps of Wiltshire' inscribed with title to the reverse pencil h:62 w: 46 cm Provenance: Bought at the Ray Livingstone Murphy sale at Christie's, London, on 8 July 1986 (lot 47). The reference to "Lord Suffolk's ground" is likely to be Charlton Park, Wiltshire.

Condition Report: Under glass and with a little browning around the top right-hand corner.

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Circle of William Watkin (English, 18th Century) - River scene with a sportsman with hounds, oil on canvas

Lot 535: Circle of William Watkin (English, 18th Century) - River scene with a sportsman with hounds, oil on canvas

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Description: Circle of William Watkin (English, 18th Century) River scene with a sportsman with hounds in the foreground oil on canvas h:65 w: 98 cm Provenance: Private collection, London.

Condition Report: Stuck down onto a new canvas. Raised and flaking paint at upper edge. Numerous small losses to paint layer. Layer of yellowed varnish with drip marks present. A few scattered retouchings. Unfamed.

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William Woodhouse (British, 1857-1937) A Cow, a Sheep and a Rabbit on a Clifftop signed lower right

Lot 536: William Woodhouse (British, 1857-1937) A Cow, a Sheep and a Rabbit on a Clifftop signed lower right "W Woodhouse 1885", oil on canvas

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Description: William Woodhouse (British, 1857-1937) A Cow, a Sheep and a Rabbit on a Clifftop signed lower right "W Woodhouse 1885" oil on canvas h:30 w: 40 cm

Condition Report: Unlined canvas. Canvas tension is slack and has resulted in minor undulations. Paint layer in good condition. Uneven, streaky varnish which has yellowed. Frame in good condition, with some wear.

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Conrad (Coen) Metzelaar (Dutch, 1846-1881) -  Rowing boats moored on a river, oil on panel

Lot 537: Conrad (Coen) Metzelaar (Dutch, 1846-1881) - Rowing boats moored on a river, oil on panel

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Description: Conrad (Coen) Metzelaar (Dutch, 1846-1881) Rowing boats moored on a river signed on the reverse oil on panel h:26 w: 18 cm

Condition Report: F 1013 inventory number to the reverse. Condition is fine.

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English Provincial School after George Frost (late 18th-early 19th Century) - The Market Cross, Ipswich, Suffolk

Lot 538: English Provincial School after George Frost (late 18th-early 19th Century) - The Market Cross, Ipswich, Suffolk

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Description: English Provincial School after George Frost (late 18th-early 19th Century) The Market Cross, Ipswich, Suffolk oil on canvas, in a maple frame h:53 w: 69 cm A similar view of the Market Cross is in 'English Naive Painting 1750-1900' by James Ayres, and there is one in the Ipswich and Colchester Museums collection (see the Public Catalogue Foundation, Oil paintings in public ownership, Suffolk, pub.2005, p.62). The Market Cross was demolished in 1812. The same "improvements" swept away the front of the Old Town Hall (plastered with notices in the painting), removing the flight of stairs leading to the upper chambers. The original Market Cross was erected in 1520 and the Town Hall wa converted from one of the town's most ancient churches.

Condition Report: Lined canvas. Paint layer has an uneven texture and is raised in areas, but generally stable and secure. Varnish is clear, even and glossy. Wooden frame in good condition.

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Greek School (19th Century) Mediterranean landscape with a monk reading by a wayside shrine, oil on canvas

Lot 539: Greek School (19th Century) Mediterranean landscape with a monk reading by a wayside shrine, oil on canvas

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Description: Greek School (19th Century) Mediterranean landscape with a monk reading by a wayside shrine oil on canvas h:40 w: 33 cm Provenance: Brought back from the Crimea by Surgeon Captain Adam Boyle in 1856, and by descent in a Kent collection.

Condition Report: Relined canvas. Paint layer stable and sound. Thick layer of discoloured and slightly dull varnish. Quite dirty. Old gilt frame has large losses to moulding at corners and several chips and losses. Old label re provenance to the reverse.

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Harry Sutton Palmer (British, 1854-1933) From Mowbray Point, Hackfall, Yorkshire, watercolour

Lot 540: Harry Sutton Palmer (British, 1854-1933) From Mowbray Point, Hackfall, Yorkshire, watercolour

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Description: Harry Sutton Palmer (British, 1854-1933) From Mowbray Point, looking towards Mowbray Castle, Hackfall, North Yorkshire signed lower right "Sutton Palmer" watercolour h:43 w: 60 cm Hackfall Wood, an ancient woodland, was bought in 1730 by John Aislabie, the owner of nearby Studley Royal, and it was developed as a wild Gothic woodland landscape in the mid to late 18th Century by his son William, to contrast with the more formal landscape at Studley Royal.

Condition Report: Condition is fine. 708 GN old Christie's stencil to the reverse.

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