JOHN PHILLIP (SCOTTISH 1817-1867)THE LETTER-WRITER OF SEVILLEOil on canvas70 x 90cm (27½ x 35¼in.)Provenance:The Caelt Gallery, London (according to label verso)A study for the picture in The Royal Collection (RCIN 401188).Queen Victoria and Prince Albert were introduced to the work of John Phillip by Sir Edwin Landseer. The Queen wrote in October 1852: 'We were much pleased with some sketches & studies, of Spanish gypsies at Seville & Ronda, & of some Sevillanas, by an artist of the name of Phillip' (Journal, 31 October, 1852). The Letter Writer of Seville was bought by Prince Albert and given to Queen Victoria on Christmas Eve 1854, It hung in the Duchess of Kent's Sitting Room at Osborne. The couple subsequently bought several other paintings from the artist and also commissioned him to paint the marriage portrait of the Princess Royal and Prince Frederick William of Prussia (RCIN 406819).
JOHN FREDERICK HERRING SENIOR (BRITISH 1795-1865), SIR EDWIN HENRY LANDSEER (BRITISH 1802-1873) AND JOHN PHILLIP (SCOTTISH 1817-1867)THE VILLAGE BLACKSMITH (SHOEING OF IMAUM)Oil on canvasSigned and dated '1855' (lower right)152 x 122cm (59¾ x 48in.)Provenance:Williams, Stevens & Williams Gallery, New YorkFrom whom acquired by the Cosmopolitan Art Association in New York in 1859Sir Walter Gilbey (1831-1914), 1st Baronet, Elsenham HallThence by descentG. SedgwickFrom whom acquired by Agnews & Sons, London, by 11 July 1901Where acquired by Alexander Forbes-Leith (1847-1925), 1st Baron Leith of Fyvie, by 31 December 1901Thence by descent to Sir George Forbes-Leith, 4th BaronetBy whom sold, through Simon Dickinson Ltd, London, in 2005Where acquired by the present ownerExhibited:New York, Williams, Stevens & Williams Gallery, 1858-1859, No. 6Literature:W.S. Sparrow, British Sporting Artists, London and New York, 1922, p. 218, reproduced n.p.'There is a picture, a fine one, in the collection of the Lord Leith of Fyvie, that represents a happy and sunny collaboration between Herring, and Landseer, and John Phillip, three leading members of the school with which I have been trying to bring my readers intimately in touch... not that although the goodwife painted by Phillip is rather Spanish in type, the picture hangs together very well, showing how three similar technical methods coalesced and formed a very typical harmony of school orchestration. Landseer painted the hound and the blacksmith, whose face resembles Landseer's; the rest of the picture belongs to Herring, whose fondness for blacksmiths and their forges lasted from his earliest boyhood to 1865, the year of his death.' When The Village Blacksmith was reproduced in Walter Sparrow's 1922 survey of British Sporting Artists it was stated that the picture was painted by Herring, John Phillip and Sir Edwin Landseer. This method of collaboration was not unusual for Herring who often worked with other artists, including Thomas Faed, Henry Bright and William Powell Frith who periodically painted the figures in his pictures and with Alexander Rolfe who sometimes painted the landscapes. The inclusion of the work of Landseer is more unusual and demonstrates the mutual appreciation between the two eminent animal-painters of their generation. Landseer's fleet-footed hound is a brilliant embodiment of alert canine energy and studied anatomy whilst the blacksmith is very typical of Landseer's work - particularly the texture of his hair and the muddy boots. John Phillip - known as 'Spanish Phillip' for his depictions of Andalusian peasants - painted the blacksmith's wife, entering the stable with a basket of vitals. This section of the picture was painted on a separate piece of canvas and cleverly inserted into the composition by Herring who painted the superb still-life elements of the smith's tools and the wonderful white horse that is patiently being shod.Although Sparrow suggested that the smithy was a self-portrait by Landseer, according to an American journalist, writing in 1859, the model was an itinerant Methodist preacher from Lancashire named Hicks; 'who used to alternate between blacksmithing (whereby he earned his own bread) and dispensing the bread of life to those desiring it, as contained in the Scriptures. Many interesting stories are narrated of this noted field-preacher, and before he died he was instrumental in building up two churches of his persuasion.' (Cosmopolitan Art Journal, 1859, p.67)In 1853, after twenty years in London, Herring made an impulsive and rapid move to Kent after seeing a house for rent in the Times. This is likely to have been due, in part, to concerns about his health as he had suffered from asthma and bronchitis from his days as a coach driver. He finally resolved to move from his cottage in Camberwell when a manure factory was opened nearby and the stench was too much for him to bear. Settled in the fine Georgian mansion of Meopham Park and surrounded by the beautiful landscape of the Weald of Kent, Herring concentrated almost entirely on the rural subjects that surrounded him. There is a greater freedom to the work of this period with a naturalistic style replacing the formality of the 'rocking-horse' racing portraits. The Village Blacksmith painted only two years after his move, represents Herring's finest work from the period. In 1856 Herring painted another similar smithy-setting, Shoeing Imaum (sold Sotheby's London, 17 December 2009, lot 66). Both pictures celebrate Herring's favourite equine model.'The white horse in this picture is Herring's beautiful Arab, Imaum, which acted many parts in his work, posing with intelligent pleasure, and remaining a beloved model year after year till the good animal became old and stiff. Queen Victoria gave Imaum to the Clerk of the Royal Stables, who was not a fine courtier, for he sold the gift horse at Tattersall's, and Herring was lucky enough to be the purchaser.'Imaum was a remarkable horse, unusually strong and stout for an Arabian. He was the first of four Arabs given to Queen Victoria and Prince Albert by the Imaum of Muscat. Herring was very fortunate to buy Imaum when he was sold at Tattersall's and on one occasion he was reputedly approached by a gentleman in Piccadilly who offered him two hundred guineas for the horse; an offer that was refused despite the potential profit. Imaum was a great favourite of the artist who appears in several of his most prominent paintings, including his depiction of Byron's poem Mazeppa (Tate) and The Halt (Sotheby's, Gleneagle's, 28 August 2002, lot 1049). Imaum was not a young horse when Herring purchased him but was still capable of being ridden from Camberwell to Stevenage and back in a day - a distance of seventy-five miles. He lived a long life at Meopham and was in the habit of sleeping standing-up leaning against the wall of his stable - it was said that he did not lie down for eight years.In 1858 the Cosmopolitan Art Journal noted that The Village Blacksmith was exhibited at Williams, Stevens & Williams Gallery on Broadway in New York alongside Rosa Bonheur's celebrated Horse Fair; 'The reception of this superb work of the great animal painter J.F. Herring, has been most enthusiastic. Its exhibition attracted the notice of connoisseurs and the press to a not inconsiderable degree; while, to the public generally, it proved a source of great attraction and of much flattering remark... The Blacksmith came and conquered.' (p. 67). By 1859 the same journal reported that the painting and its copyright had been purchased for the enormous sum of $6,000 by the Cosmopolitan Art Association in New York and 'It will, we learn be offered as one of the prizes to subscribers to the next January's award.' Subscribers to the Association could also purchase engravings of the painting made by J.S. Patterson who was said to have finished the engraved-plate, two days before he died.The columnist for Cosmopolitan Art Journal described the picture emphatically; ''The Village Blacksmith' covers a canvas of twenty square feet, representing the interior of a smithy; and the smith in the act of shoeing or unshoeing a large white horse, with the right foot between his knees; and just as he has got his pincers fairly hold of the shoe, his attention is diverted by a musical footstep; and while only half-seeing, he seems to feel the smiling presence of his wife, who stands close at his side with the dinner-basket on her arm. A full-blooded hound in the foreground, absorbed in the operation upon the horse, is the only other live figure in the picture - a group of four: a horse, one of the finest we have ever seen on canvas; a man, who is every inch a man, reminding one of the Longfellow's lines: 'The smith. A stalwart man was he, With large and sinewy hands;' a woman, who comes in with her 'good cheer,' like a blessing; and a noble hound marvelously foreshortened. As a whole the painting is a master-piece, and we cannot contemplate it long without falling in love, at least with the woman and the horse. 'My kingdom for a horse' - like that! and for such a bonnie wife, we would give our whole heart and life.'The Cosmopolitan Art Journal also quoted several other reviews of the painting from American journals; 'It is one of the most enjoyable bits of Art I have ever seen... The whole is a gem of Art - the two human, the two animal figures, accessories and all.' The Home Journal.'The subject is simple, but the painting is regarded as Herring's masterpiece. Every object in the picture stands forth with prominence and distinctness showing the clearness of the artist's mental vision, while the finish and accuracy of the work are conclusive evidence of his taste and skill.' The New York Programme.'This is one of the most perfect specimens of animal painting ever exhibited in this country, not excepting the best efforts of Landseer or Rosa Bonheur. In drawing, coloring, grouping, management of light and shade, and attention to detail, the painting also challenges comparison with the best works of the best artists.' The New York Day Book.
JOHN PHILLIP, R.A. (UK, 1817-1867) "Ophelia", depicting the shunned mad lover of Hamlet, first played 1591-1601. Oil on London panel, faintly signed lower left, stock number stencil verso, title and artist's name on liner of period gilt mitered and molded gesso frame. Label verso from the artists' colourman Charles Roberson & Co. at 51 Long Acre. London (in business 1820-1985). Founder Roberson was one of the most important colourmen in London in the nineteenth c. The stencil may relate to his archives.
John Phillip, RA, Scottish 1817-1867- Buying chestnuts in Seville; oil on canvas, 52 x 43 cm. Provenance: Thomas Wood sale, Christie's, London, 11 April 1908, lot 66 (2 gns. to Cary). C.W. Cary sale, Christie's, London, 28 July 1909, lot 43 (3 gns. to Doey). Anon. sale, Christie's, London, 3 June 1988, lot 93. Private Collection, UK. Note: Phillip was a highly prolific painter of vibrant scenes of Spanish culture, with which he had become fascinated after a trip to Spain in 1851. Phillip's lively genre scenes exhibit the influence of fellow Scottish artist David Wilkie (1785-1841), as well as Diego Velázquez (1599-1660), particularly in his use of loose, painterly brushstrokes which impart his works with so much energy. The present scene recalls Phillip's depiction of 'Spanish peasants at a well' which sold at Bonhams, London, on 10 November 2020, lot 49 (£3,570), as well as his 'Carnival Time, Seville' in the collection of the Sheffield Museums [VIS.1547], and the 'Orange Seller' at the University of Dundee [DUNUC ARTS:120].
John Phillip (British, 1817-1867) John Phillip (British, 1817-1867) Portrait of John Davonport and his younger brother signed 'J. Phillip, 49' (lower right) oil on board 41.5 x 33cm. (16 1/4 x 13 in.) Provenance Directly from the artist, thence by decent
John Phillip (British 1817-1867) Agua Fresca monogrammed and dated 'JP 1855' (lower right) oil on canvas 79 x 89 cm, framed 97 x 107.5 cm Thomas Agnew & Sons, Manchester & Liverpool. Mr L. Holt Esq. Sandfield Park, West Derby, Liverpool (1887). David Messum, Beaconsfield. Private collection, UK. Exhibited: Royal Jubilee Exhibition, Manchester, 1887.
JOHN PHILLIP (BRITISH, 1817-1867) JOHN PHILLIP (BRITISH, 1817-1867) Portrait of John Davonport and his younger brother signed 'J. Phillip, 49' (lower right) oil on board 41.5 x 33cm. (16 1/4 x 13 in.) Provenance Directly from the artist, thence by decent
Artist: John Phillip, Scottish (1817 - 1867) Title: Auguste Rodin Medium: Etching, signed and titled in pencil mounted to board Edition: 1/10 Image Size: 12.25 x 9.75 inches Size: 20 x 16 in. (50.8 x 40.64 cm) Description: From the collection of the late Larry Saphire.
John Phillip (British, 1817–1867) The Spanish Musician Oil on panel 15 x 11 1/4 in. (38.1 x 28.2cm) Provenance Private Collection, Washington, D.C. Private Collection, Maryland. To receive additional images and a condition report, please email Raphael Chatroux at rchatroux@freemansauction.com Frame: 25 1/4 x 21 1/2 x 2 3/4 in.
MAPS (3), Thomas KITCHIN snr (1719-1784), 'A Chart of the Discoveries made by the Late Captain Cook, and other European Navigators in the Great Pacific Ocean between Asia and America,' c.1780 (42x35cm). Together with two maps by John TALLIS (1817-1876), 'Victoria or Port Phillip' (25x32cm), & 'Van Diemen's Land or Tasmania' (33x25cm).
"A Highland Mother", oil on canvas, unsigned, titled and artist identified on period label verso from the French Galleries in London, New York, Montreal & Edinburgh, depicting a collie dog watching over a baby in her cradle, the mother sewing in the background, housed in a gilt frame liner, OS: 22 1/2" x 26 1/2", SS: 19 1/2" x 23 1/2". Cleaned and relined.
(1735-1786) Continental Army General who saw action in Canada, Ticonderoga, and the Battle of Long Island. Manuscript D.S. 'J.P. de Haas', 3pp. legal folio, Lancaster, Feb. 1767, a long indenture concerning the transfer of a mortgage between two individuals, with original seals intact. Interestingly also signing the document is EDWARD SHIPPEN III (1703-1781), Former Mayor of Philadelphia, also the grandfather of the wife of famous Revolutionary War general and traitor, Benedict Arnold, Margaret Shippen. He signs the document as the prothonotary (scribe) of Lancaster County. Scattered toning and foxing, else fine.
John Phillip RA (1817-1867), a mother and child in a courtyard setting, a dog stealing food at their feet, unsigned oil on canvas, 35 cm x 24 cm, glazed in a heavy gilt frame.
John Tallis pub.: Australia; New South Wales; Victoria or Port Phillip; Van Diemens Land or Tasmania; Part of South Australia; Western Australia Swan River, for Illustrated Atlas of the World 1851 [6], handcoloured steel engravings, framed, some foxing & fading
JOHN PHILLIP R.A., H.R.S.A (SCOTTISH 1817-1867) STUDY OF A RETRIEVER ON A HILLSIDE Signed with a monogram, inscribed and dated Millden 1838, oil on board, unframed (30.5cm x 36cm (12in x 14in))
John Phillip RA HRSA (British, 1817-1867) Spanish peasants at the well signed with monogram and dated '18JP59' (lower right) oil on canvas 68.6 x 86.4cm (27 x 34in). For further information on this lot please visit the Bonhams website
John Phillip (British, 1817-1867), "La Bolera (Spanish Lady with a Tambourine)," 1864, oil on canvas, signed and dated lower right, canvas: 29.5"h x 24.5"w, overall (with frame): 38"h x 33"w. Note: This work was exhibited and is featured in "A Catalog of the Works of John Phillip, R.A.,"; Exhibited at the London International Exhibition, 1873, compiled by his Executor, Thomas Oldham Barlow, A.R.A. Imprint London: Printed at the Chiswick Press, 1873. The painting is listed in the catalog with the following text: CLXXVIII 1864 "La Bolera" (with a Tambourine) painted 1859, Retouched 1864, Catalog International Exhibition No. 1337.
JOHN PHILLIP (UK, 1817-1867) "A Highland Mother", oil on canvas, unsigned, titled and artist identified on period label verso from the French Galleries in London, New York, Montreal & Edinburgh, depicting a collie dog watching over a baby in her cradle, the mother sewing in the background, housed in a gilt frame liner, OS: 22 1/2" x 26 1/2", SS: 19 1/2" x 23 1/2". Cleaned and relined.
John 'Spanish' Phillip, R.A. (1817-1875) A gypsy water-carrier of Seville signed with monogram and dated '1854' (lower right) oil on canvas 15 1/8 x 12 5/8 in. (38.5 x 32.1 cm.)
JOHN PHILLIP Aberdeen, 1817 - Kensington, 1867 The street vendor Oil on cardboard laid down on canvas, 26,5 x 34 cm Signed lower right: JP Signed and titled on the back: John Phillip, The street vendor
John Phillip RA HRSA (British, 1817-1867) Scotch Baptism signed and dated 'John Phillip 1851' (lower left)oil on panel42.5 x 63 cm. (16 3/4 x 24 13/16 in.)
John PhillipBritish 1817-1867EL Picadorsigned with the monogram and dated 62; inscribed with the artist's name and title on a plaque affixed to the frameoil on canvas laid down on board49 by 64cm excluding frame; 64,5 by 80 by 5cm including frame
two half-length portraits, oil on canvas, one depicting a young lady seated in a chair, wearing a sprigged white gown, and with a red rose in her dark hair, the other depicting a young lady in a landscape, wearing a red poppy in her hat, both with monogram in red lower right, both relined, each 36 x 30.5 (14.25 x 12ins), matching gilt frames - Quantity (2)
Note: Plaque on front lower frame "John Phillip R.A." Professionally cleaned, restored and relined. Examined under black light; in painted to grass and foreground and small areas at the top of stone wall, otherwise no issues noted. Dates: (English, 1817 - 1867).Frame: Gold Gilt Molded Wood with Liner.Medium: Oil on Canvas.Signature: Unsigned.Title: "Young Girl at the Fountain". Condition: Dimensions: Frame : 36 -1/2" x 26 -1/2".
JOHN PHILLIP (Aberdeen, Scotland, 1817 - London, 1867). "Dama con mantilla y abanico". Oil on canvas. Signed and dated, 1860. 62 x 51 cm JOHN PHILLIP 1817 Aberdeen, (Escocia) - 1867Londres "Dama con mantilla y abanico". 1860 Firmado y fechado Óleo sobre lienzo 62 x 51 cm.
ATTRIBUTED TO JOHN PHILLIP (1817-1867) A medieval princess in a town setting wearing a garland of roses in her hair and crown with veil behind and in gilt brocaded white dress, signed with monogram ? 'J.P.', oil on canvas, 74 x 62cm
THE LETTER-WRITER OF SEVILLE AFTER JOHN PHILLIP (ENGLISH, 1817-1867). Oil on canvas. Signed "Philip" lower right and dated indistinctly. Original composition by John Phillip, exhibited at Royal Academy in 1854, International Exhibition Paris 1857 and currently in the Royal Collection Trust of Her Majesty Queen Elizabeth II, is exhibited at Buckingham Palace. 12"h. 14"w., period frame 18.5"h. 20.5"w.
Signed John Phillip (United Kingdom 1817-1867) portrait oil painting on board of a young Spanish girl with a fan. Masterfully rendered with stunning delicate detailing to face and lace. Housed in an antique ornate frame. Signed lower right. Work measures 12" x 9 3/4". Frame measures 18" x 16". Good condition with mild cracquelure and restorations. In House Domestic USA Shipping $85 Plus Insurance.
