|
FOLLOWER OF JACOBUS STORCK (1641-1688) A WATERFRONT SCENE WITH FIGURES UNLOADING BOATS Oil on canvas 56 x 74cm. ++ Lined; replaced stretchers; retouching throughout over old craquelure £400-600
|
|
|
MANNER OF GERARD TERBORCH (1617-1681) A LADY WITH HER MAID, WASHING HER HANDS Oil on panel 55 x 44cm. ++ Scattered retouching; a little thin £400-600
|
|
|
AFTER GUIDO RENI (1575-1642) ST. JOSEPH WITH THE CHRIST CHILD Oil on canvas 77 x 60cm.
* After the original of c.1640, Houston, Texas, Museum of Fine Arts ++ Lined; associated retouching, especially noticeable at edges £800-1200
|
|
|
FOLLOWER OF ROBERT BYNG (1666-1720) PORTRAIT OF A LADY, IDENTIFIED AS MISS AMELIA STEWART, 1726 Seated, half length, wearing a red dress and blue mantle, holding a basket of flowers, bears inscription verso, oil on canvas 67.5 x 50.5cm. ++ Old lining; some associated retouching and old minor damages £200-400
|
|
|
AFTER GEORGE FRANCIS MULVANY (1809-1869) THE FORTUNE TELLER Oil on canvas 64.5 x 78cm. ++ Lined; some retouched surface defects £400-600
|
|
|
CIRCLE OF SAMUEL WOODFORDE, RA (1763-1817) PORTRAIT OF A GENTLEMAN Bust length, wearing a dark green mantle and white shirt, oil on canvas 59.5 x 49.5cm.
* A later inscribed label on stretcher ascribes this picture to Sir Henry Raeburn. ++ Unlined; craquelure; some retouching; needs a clean £300-500
|
|
|
CIRCLE OF ALFRED STANNARD (1806-1889) FIGURES WITH A HORSE BY A COUNTRY POOL Oil on panel 31.5 x 44cm. ++ Some paint separation and surface faults; scattered retouching; needs a clean; original gilt frame £200-300
|
|
|
ATTRIBUTED TO JOHN RATHBONE (c.1750-1807) A LAKE LANDSCAPE WITH A WATERFALL With a monogram, oil on panel 32 x 39.5cm. ++ Some cracks and craquelure; needs a light clean £250-350
|
|
|
FOLLOWER OF GEORGE ARNALD, ARA (1763-1841) PASTORAL LAKE LANDSCAPE WITH A TEMPLE AND DISTANT HILLS Oil on canvas 28 x 36.5cm. ++ New lining; some retouching and craquelure; needs a clean £150-200
|
|
|
ENGLISH PROVINCIAL SCHOOL, 19th CENTURY HORSES AND WAGGON AT A RIVER, A MAN FISHING FROM A BRIDGE Oil on canvas 49 x 59cm. ++ Lined; some associated retouching; some craquelure; some grazes at right edge and lower left £300-400
|
|
|
THOMAS WOODWARD (1801-1852) THE CROFTER'S FAMILY AT THE LOCHSIDE Signed with monogram and dated 1836, oil on board 32.5 x 37.5cm. ++ Some craquelure and paint separation; needs a clean; original gilt frame £800-1200
|
|
|
AFTER GEORGE MORLAND (1763-1804) INSIDE OF A STABLE Oil on canvas 63 x 74.5cm.
* After Morland's original composition, c.1791, 149 x 204cm (Tate Britain). This picture was formerly ascribed to Thomas Hand. ++ Unlined; craquelure; needs a clean £400-600
|
|
|
CIRCLE OF GERARD VAN SPAENDONCK (1746-1822) A BASKET OF MIXED FLOWERS UPON A LEDGE Oil on canvas 63.5 x 49cm. ++ Lined; some associated retouching; a little thin; needs a light clean; gilt frame £800-1200
|
|
|
AFTER SIR GODFREY KNELLER, Bt. (1646-1723) PORTRAITS OF KING WILLIAM III; and QUEEN MARY A pair, bust length, oil on copper, mounted oval Each 16.5 x 13.5cm. (2) ++ Some small chipped losses; each needs a clean; period frames £500-800
|
|
  |
SAMUEL DAVID COLKETT (1806-1863) ON THE THAMES: VIEW OF WINDSOR CASTLE; VIEW OF HAMPTON COURT A pair, oil on canvas Each 41.5 x 34.5cm. (2) ++ Each lined; each needs a light clean £800-1200
|
|
|
ATTRIBUTED TO THOMAS WHITCOMBE (1763-1824) FRIGATES OFFSHORE, WITH A CUTTER Oil on panel 21.5 x 33.5cm. ++ Retouched chip lower left; craquelure; needs a clean £1500-2000
|
|
|
THOMAS WHITCOMBE (1752-1824) FRIGATES OFF THE EDDYSTONE LIGHT Signed with initials, oil on canvas 37.5 x 52.5cm.
* John Smeaton's famous construction, the third to be erected, was first lit in October 1759 after three years of careful and ingenious construction. Smeaton sought greater strength against seas and storms by dovetailing granite blocks and sealing the joints with hydraulic lime which set under water. Designed upon the principle of a mighty oak tree, the lighthouse was 9 feet wider at the base than at the top and it survived until 1877 when erosion to the rocks (rather than a flaw in the design) determined its closure. W. T. Douglass dismantled the tower and reassembled it at Plymouth Hoe. However, the foundations were too solid to be removed and they stand to this day, close to the current lighthouse which was also designed by Douglass. That lighthouse has stood firm since 1882.
This subject was a favourite theme of Whitcombe's. A larger (79 x 120cm) version (but in mirror image with HMS Cornwallis approaching) was sold at Sothebys in June 1970, another (dated 1801, showing HM Frigate Severn, 51.5 x 74.5cm) in March 1988 and a third (47 x 70cm) in April 1991. Provenance: with Frank T. Sabin Ltd, London, April 1974; private collection since then ++ Lined; a little associated retouching; generally refurbished £6000-8000
|
|
|
ENGLISH SCHOOL, 19th CENTURY A FRENCH FRIGATE AND OTHER VESSELS ON CALM WATERS Oil on canvas 54 x 73.5cm. ++ Old lining; tears and damages, especially apparent near lower edge; old faults, damages, paint losses etc elsewhere £400-600
|
|
|
|
|
MONAMY SWAINE (Fl.1769-c.1774) A DISMASTED VESSEL IN HIGH SEAS OFF A ROCKY COAST BY NIGHT Signed, oil on panel, unframed 32 x 44cm. ++ Some surface grazes and craquelure; very dark; needs a clean £200-400
|
|
|
FOLLOWER OF CHARLES MARTIN POWELL (1775-1824) BOATS IN COASTAL WATERS Oil on canvas 33.5 x 43.5cm. ++ Craquelure with some flaked losses; some retouching; needs a clean £150-250
|
|
|
GEORGE DODGSON CALLOW (1829-1875) HAULING IN THE MAST Signed, oil on canvas 43.5 x 80.5cm. ++ Lined; needs a clean £200-300
|
|
|
ROBERT JOBLING (1841-1923) FISHERFOLK ON THE BEACH, POSSIBLY AT CULLERCOATS Signed, oil on canvas 34.5 x 44.5cm. ++ Needs a light clean; slight rubbed are with a little retouching in the sand lower left; original gilt frame £400-600
|
|
|
** EDWARDS (19th Century) A FISHING BOAT AND OTHER VESSELS Signed, oil on canvas 28 x 43.5cm. ++ Two patched repairs with retouching; scattered retouching; needs a light clean £100-150
|
|
  |
EBENEZER COLLS (1812-1887) A MORNING BREEZE; EVENING CALM A pair, both signed, oil on canvas Each 28.5 x 44cm. (2) ++ Each unlined; a little craquelure; each needs a light clean £1000-1500
|
|
|
JOHN MICHAEL WRIGHT (1617-1694) PORTRAIT OF A LADY Seated, three quarter length, wearing Masque costume, oil on canvas 138.5 x 120.5cm. Provenance: Private Collection, Madrid ++ Lined; replaced stretchers; renovated with retouching; some thin areas £7000-10000
|
|
|
CIRCLE OF THOMAS BEACH (1738-1806) PORTRAIT OF A GENTLEMAN Standing, three quarter length, wearing a brown coat and striped waistcoat, leaning on a pillar, a hound to his left, oil on canvas 123 x 99cm. Provenance: Collection of Warren Spencer Strauss, Houston, Texas ++ Old lining; some associated retouching; small area of incipient flaking upper left; needs a clean £2500-3500
|
|
|
SAMUEL LANE (1780-1859) PORTRAIT OF MAJOR GENERAL SIR HENRY WHITE, KCB (1742-1822) Standing, long half length, wearing full dress uniform, oil on canvas 126 x 100.5cm.
* The sitter was a scion of an Anglo-Irish family and went out to India in 1757 to join the army of the East India Company. He fought in the Mahratta (Maratha) Wars, three series of conflicts between the East India Company and the Maratha Empire that spanned 1775-1818. White stayed in India until 1811 and then spent two years working in administration at Capetown before retiring to Bath.
White is painted in the uniform of a general in the army of the East India Company. This was similar to the British uniform but retained the looped braid (which had been exchanged for straight braid in the British army). The lapels and cuffs were made of black velvet and White's left hand rests upon an Indian sword hilt. He is shown wearing a toupée and the portrait was probably painted in the year of his death, when he was eighty. Exhibited: London, The Royal Academy, 1823, no.537 ++ Lined; some associated retouching £3000-4000
|
|
  |
ENGLISH SCHOOL, 19th CENTURY PORTRAIT OF A LADY Seated full length by a tree, wearing a white dress, a spaniel at her feet, oil on canvas 117 x 91cm.
* An inscription on the lining reads: Mrs Maria Constable/ By John Constable RA/ Pinxt. July 1828/ Well Walk, Hampstead. Constable's wife died of tuberculosis in November 1828, aged 41. The family had moved to 6 (now 40) Well Walk, Hampstead in the summer of 1827. ++ Old lining; some retouching; flattened impasto; craquelure; needs a clean; slip frame £2000-3000
|
|
|
CIRCLE OF WILLIAM LARKIN (c.1580-1619) PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS LADY ARABELLA STUART (1575-1615) Seated, three quarter length, wearing a cream dress with fine lace collar and cuffs, embroidered with pink carnations and pea pods and adorned with red rosettes, her light auburn hair dressed high with red ribbons, oil on panel Overall panel size 113 x 82cm.
* The identification of Lady Arabella Stuart as the sitter is traditional. Lady Arabella (sometimes Arbella) was the daughter of Charles Stuart, Earl of Lennox, the younger brother of Lord Darnley. She stood next to her cousin James in the line of succession for the English throne following Queen Elizabeth's death in 1603 (portraits of Lady Arabella and Anne of Denmark, James's Queen, are often confused). Some supporters claimed that Lady Arabella's claim was the stronger as she was English born but James succeeded peaceably and treated his cousin with leniency by exculpating her of any involvement in plots to succeed Elizabeth. A rumour that she was to be married to William Seymour, 2nd Duke of Somerset, proved to be true upon their engagement in February 1610 but Arabella then had to swear her loyalty before the King at a meeting of the Privy Council. Her jagged descent from King Henry VII and Seymour's ancestral links to Mary Tudor strengthened the couple's claim to the throne. In contravention of this, she and Seymour wed in secret in June 1610. The King feared an insurrection: Seymour was sent to the Tower for his insubordination to the King whilst his bride was put into the care of Sir Thomas Perry and then of the Bishop of Durham before trying to flee to France dressed as a man. She was seized by the King's men in the English Channel and sent to the Tower where she died of malnutrition in September 1615 after refusing all food. Lady Arabella's body was buried in Westminster Abbey, directly on top of the coffin of Mary Queen of Scots.
The label on the frame ascribes the picture to Federico Zuccaro (c.1540-1609) but his 1575 portraits of Queen Elizabeth and the Earl of Leicester are Zuccaro's only undisputed works painted in England and he had returned to Italy by about 1589. No wholly undisputed portrait of Lady Arabella is known although a full length image in the North Carolina Museum of Art, c.1605, ascribed to John de Critz, is generally acknowledged to depict her. There are some evident facial similarities between that portrait and this lot, which may be dated to 1605-1610. Provenance: Collection of Norman Lamplugh, c.1931; Sothebys London, c.1963-1965 (purchased for £400 by the consignor) Exhibited: London, Grosvenor Square, Loan Exhibition of Scottish Art and Antiquities, Feb-Mar 1931, no.1147 (illustrated, as by Paul Van Somer) ++ Cradled in 1929; scattered retouching of craquelure throughout; some flaked losses and incipient blistering, principally in background £10000-15000
|
|
|
CIRCLE OF ROBERT HUNTER (Fl.1752-1803) PORTRAIT OF GEORGE NUGENT-TEMPLE-GRENVILLE, 1st MARQUESS OF BUCKINGHAM (1753-1813) Standing, long half length, wearing peer's robes and the insignia of the Order of St Patrick and Knight of the Garter, holding a scroll of papers in his right hand and the ermine of his robe in his left hand, oil on canvas 124 x 97cm.
* Formerly ascribed to John Hoppner (who painted other members of the family but not the Marquess). The portrait can be dated to c.1787-1789 when the sitter was in Dublin during his second tenure of office as Lord Lieutenant of Ireland. Hunter is known to have painted the sitter as 'Sovereign Order of St Patrick' in 1783 but this is an unusual format for him and Hunter's more illustrious commissions were in decline by the late 1780's. This portrait was the unattributed oil sold as lot 1650a in the Stowe sale of July 4th-28th 1921, described therein as a 'small whole length portrait of George Grenville in robes with the Order of the Garter'. John Keyse Sherwin (principally the King's engraver by the late 1780's), Francis Robert West (principally a pastellist) and, less plausibly still, Benjamin West have been nominated as alternative attributions for this elusive subject. Another full length but unattributed version is in the National Portrait Gallery (2.37 x 1.46m)
The sitter was the son of the Prime Minister George Grenville and went to Eton and Oxford. He became MP for Buckinghamshire and served twice as Lord Lieutenant of Ireland. He succeeded his father as Earl Temple in 1779, was created Marquess in 1784 and made a Knight of the Garter in 1786. He was also Secretary of State for Foreign Affairs. In 1775, he married Lady Mary Nugent who bore him two sons. He died at Stowe, the home that he had inherited from his uncle and the richest man in England, in 1813. His elder son inherited the title and was created 1st Duke of Buckingham. Provenance: Acquired at Jackson-Stops' Stowe sale in July 1921 (the 2nd 'Great' sale, comprising over 3700 lots). Purchased thereat by a descendant of the sitter and thence by descent to his grandson. £6000-9000
|
|
  |
CIRCLE OF RICHARD BUCKNER (1812-1883) PORTRAIT OF COLONEL J. F. S. CLARKE OF ACHAREIDH, NAIRNSHIRE, ROYAL SCOTS GREYS; and OF HIS WIFE A pair, each standing half length, he wearing military uniform and holding a bearskin hat, she standing by a balustrade and wearing evening dress and pearls, oil on canvas Each 124 x 100 cm approx. (2) Provenance: By descent in the family of the sitters ++ Fire damaged and restored; extensive retouching £500-1000
|
|
|
ENGLISH SCHOOL, 1859 CHAT AT THE FARM GATE; FARM LAD FILLING A FEED TROUGH A pair, the latter signed with initials AB and dated 1859, oil on paper laid on canvas, unframed Each 22.5 x 30cm. (2) ++ A few minor grazes at edges but generally good; each needs a clean £250-350
|
|
|
AFTER SIR DAVID WILKIE (1785-1841) BLIND MAN'S BUFF Oil on canvas 49 x 59cm.
* After Wilkie's Royal Academy exhibit of 1813 (no.148), which was painted for the Prince Regent ++ Lined; some craquelure and paint separation £100-150
|
|
|
TWO PICTURE FRAMES to fit canvases 64 x 77cm and 40 x 62cm. (2) ++ The larger with gold paint; each with a few small losses £60-100
|
|
|
ATTRIBUTED TO JOHN PHILLIP, RA (1817-1867) A SPANISH PEASANT GIRL Oil on canvas, unframed 45.5 x 35cm. ++ Lined; some associated retouching; retouched damage by the right hand; worn with flaked losses at extreme edges £150-200
|
|
|
FOLLOWER OF EDWARD JOHN COBBETT (1815-1899) THE HAWKERS' CAMP Oil on canvas 49 x 74.5cm. ++ Needs a clean; generally good £150-250
|
|
|
JOHN EATON WALKER (c.1824-1896) RIVAL CLAIMANTS Signed; also bears signature, title and date 1887 on lining, oil on canvas 34.5 x 29cm. ++ Lined; retouching; old damages £200-400
|
|
|
WILLIAM E. JONES (Fl.1849-1871) COTTAGES ON A SNOWY MOONLIT LANE Signed, bears later inscription on stretcher (possibly owner's details), oil on canvas 34.5 x 44.5cm. ++ A few minor spots of retouching; needs a clean; original gilt frame £200-400
|
|
|
FOLLOWER OF SAWREY GILPIN (1733-1807) HIGH-SPIRITED HORSES IN THE MOUNTAINS Oil on canvas, within a painted oval 40 x 28.5cm. ++ Four patches verso; scattered minor faults; needs a light clean £120-180
|
|
|
TOM LLOYD (1849-1910) SUNDAY MORNING Oil on panel 26 x 34cm. ++ Braced and retouched along a horizontal split; split lower right; needs a clean £120-180
|
|
|
H. SINCLAIR JACKSON (Fl.1887-1896) NEAR CLYST ST. GEORGE, DEVON Signed, also inscribed with title on stretcher, oil on canvas 30 x 50cm. Exhibited: probably Bath and West and Southern Counties Society (label verso) ++ Some craquelure; some imminent flaking; small paint loss lower right corner; needs a clean £150-200
|
|
|
W** WILLIS (Circa 1900) PRIMROSES ON A MOSSY BANK Signed, oil on board 33 x 23.5cm. ++ Good condition; needs a light clean £60-100
|
|
|
AMOS WATMOUGH (Fl.c.1880-1900) CATTLE AND POULTRY IN A FARMYARD Signed and dated 1899, oil on canvas 32 x 42cm. ++ Needs a light clean £300-400
|
|
  |
GEORGE PAICE (1854-1925) PATTERCAKE; PRESSURE A pair, both signed and inscribed with horse's name, dated 24, oil on canvas board Each 21.5 x 29cm. (2) ++ Each needs a light clean £300-500
|
|
|
RALPH HEDLEY (1851-1913) THE NEXT GENERATION Signed and dated 1885, oil on canvas 64 x 80.5cm. Exhibited: Newcastle upon Tyne, The Laing Art Gallery & Museum, Exhibition of Works by Ralph Hedley, 1938 (lent by Mrs Zoe Thorburn) ++ Some craquelure; some retouching in sky; needs a clean; original gilt frame £1500-2000
|
|
|
LOUIS BOSWORTH HURT (1856-1929) HIGHLAND COMPANIONS Signed and dated 1887, oil on canvas 29.5 x 45cm. ++ Good original condition; under glass in gilt frame £800-1200
Ð 1713
FRANCES MABEL HOLLAMS (1877-1963) MEYNELL POSTBOY & QUORN PROPHET; 1945 ENTRY - MEYNELL BAILIFF, MEYNELL BANTAM, MEYNELL BALANCE A near pair, each signed, inscribed and dated 1946 and 1945, oil on thin panel 37 x 50cm. and 36 x 49cm. (2) ++ The former with some craquelure £800-1200
|
|
|
WILLIAM LAKIN TURNER (1867-1936) HELM BECK AND GRASMERE FROM RAISE BECK Signed, inscribed with title verso, oil on canvas 24.5 x 34.5cm. ++ Good condition £200-400
|
|
|
JOHN RITCHIE (Fl.1858-1875) 'IF ANY MAN HAVE EARS TO HEAR, LET HIM HEAR' Signed with monogram and dated 1866 69.5 x 59.5cm. ++ Retouched tear lower left and upper right; hole lower right and some flaked losses; needs general renovation £500-700
|
|
|
WILLIAM PERRING HOLLYER (1834-1922) GOLD FISH Signed, also signed and inscribed with title verso, oil on canvas 59.5 x 89.5cm. ++ Good condition £250-400
|
|
