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FOLLOWER OF GUIDO RENI (1575-1642) VENUS STEALING CUPID'S BOW Oil on canvas 63 x 78cm.; with an associated plain oak frame of later date (2) ++ Old lining; some scattered retouching; a little thin in places; craquelure £800-1200 (+ 26.4% BP*)
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CIRCLE OF FRANCESCO TERZI (c.1525-1591) PORTRAIT OF A NOBLEMAN Standing long half length, wearing ceremonial plate armour and an embroidered sash, holding a staff, a swept-hilt sword on his hip, a plumed helmet to his left, oil on canvas, unframed 112.5 x 88.5cm. ++ Lined; retouching; worn and with some paint losses at edges £4000-6000 (+ 26.4% BP*)
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CARL WILHELM DE HAMILTON (c.1668-1754) A CONCERT OF BIRDS Oil on canvas 89 x 85cm. ++ Lined; retouching £4500-6000 (+ 26.4% BP*)
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ATTRIBUTED TO BALTHASAR VAN DEN BOSCHE (1681-1751) THE ARTIST'S STUDIO Oil on canvas 58 x 49.5cm. ++ Lined; a little craquelure; a little thin in a few places £1000-1500 (+ 26.4% BP*)
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ENGLISH SCHOOL, 18th/19th CENTURY PORTRAIT OF THOMAS SMITH (1512-1577) Half length, wearing a black robe, fur collar and black cap, within an ebonised frame with gilt legend, oil on board 72.5 x 59.5cm. Provenance: The family of Capt. D. G. Prinsep, Royal Artillery
* The sitter was a scholar, diplomat and political theorist. He was appointed Secretary of State under the Duke of Somerset's protectorate, but he was not favoured under Queen Mary's reign. However, Smith was returned to high office under Elizabeth I, becoming one of her most trusted Protestant advisers. He is depicted at the age of 33. The legend reads: CERNITUR EFFIGIES FACTIS VERA AT PENICILLUS CORPORIS ATQUE UMBRAE TANTUM SIMULACHRA REPONIT - LOVE AND FEARE AETATIS SUAE XXXIII ++ Bitumen damage; some retouching £500-700 (+ 26.4% BP*)
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THOMAS FRYE (c.1710-1762) PORTRAIT OF A GENTLEMAN Quarter length, wearing a buff coat and brocaded waistcoat, within a painted oval, signed and dated Frye Pinxt/ 1750, oil on canvas 73.5 x 61.5cm. ++ Lining; associated scattered retouching; apparently some old restoration to the sitter's mouth and chin £1000-1500 (+ 26.4% BP*)
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WILLIAM HOARE OF BATH, RA (c.1707-1792) PORTRAIT OF THOMAS PELHAM-HOLLES, 1st DUKE OF NEWCASTLE UNDER LYNE (1693-1768) Seated, three quarter length, wearing Garter robes, oil on canvas 120.5 x 95cm.
*The sitter was the eldest son of Thomas Pelham, 1st Baron Pelham, and Lady Grace Holles. He studied at Westminster and at Cambridge before inheriting vast estates upon the death of his uncle. The newly ennobled young man adopted the name Holles and became a Whig politician with forthright and strident views. He was appointed Lord Chamberlain at the age of just 23 and rose to Prime Minister in 1754, succeeding his younger brother, Henry (d.1754), to the position. He served two terms (1754-1756, 1757-1762) and then served in Opposition for a time but became frail after a stroke in 1767. He died in 1768 and, as he and his wife Lady Harriet (nee Godolphin) had no issue, the title passed to his nephew, the 9th Earl of Lincoln from whom Newcastle became latterly estranged. Horace Walpole was brisk in his assessment of Newcastle: "A borrowed importance and real insignificance gave him the perpetual air of a solicitor... He had no pride, though infinite self-love. He loved business immoderately; yet was only always doing it, never did it. When left to himself, he always plunged into difficulties, and then shuddered for the consequences." Another version of this portrait is in the Government Art Collection, Westminster. The subject was engraved in mezzotint by James MacArdell. ++ Lined; some retouching over some minor, old and scattered damages. Slightly flat. Needs a light clean. £5000-7000 (+ 26.4% BP*)
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AFTER JOHN FREDERICK HERRING Senr (1795-1865) CHARLES XII Oil on board 24 x 28.5cm.
* Charles XII won the Doncaster St Leger in 1839 ++ Needs a light clean £200-300 (+ 26.4% BP*)
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CIRCLE OF ABRAHAM COOPER, RA (1787-1868) LAUNCELOT, A DARK BAY IN A STABLE Bears monogram and date 1840, bears horse's name, oil on canvas 49.5 x 59.5cm. Provenance: According to a typed label on the stretcher, Purchased in 1841 by Robert, 1st Marquis [of Westminster, 1767-1845] from the artist for £21; located in 'The Duke's Sitting Room, Eaton' (Eaton Hall is the Cheshire seat of the Dukes of Westminster); purchased in London by the owner's father, 1960's ++Old lining; retouching, especially in the background; craquelure £300-500 (+ 26.4% BP*)
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ENGLISH SCHOOL, Circa 1800 FRIGATES AT SEA Oil on panel 22.5 x 29.5cm. ++ Some craquelure; needs a clean £100-200 (+ 26.4% BP*)
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WILLIAM ANDERSON (1757-1837) RIVER ESTUARY WITH BEACHED ROWING BOATS AND FISHERMEN Oil on panel 16.5 x 25cm. Provenance: London, Christies, April 3rd, 1987, lot 73 ++ Two slight chips in sky; needs a light clean £150-250 (+ 26.4% BP*)
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JOHN JOSEPH BARKER OF BATH (1824-1904) THE GAMEKEEPER'S RETURN Signed and dated J Barker pinxt/1861, oil on canvas 34.5 x 44.5cm. ++ Needs a light clean; period gilt frame £300-400 (+ 26.4% BP*)
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FOLLOWER OF EDWARD MASCALL (c.1627-c.1675) PORTRAIT OF A GENTLEMAN Quarter length, wearing a leather jerkin with embroidered sleeves, oil on canvas 57 x 46.5cm. ++ Lined; retouching £300-400 (+ 26.4% BP*)
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FOLLOWER OF JOHN OPIE, RA (1761-1807) PORTRAIT OF A BOY Half length, wearing a blue-green coat, lace cuffs and holding a sheet of drawings, oil on canvas 60 x 51cm. ++ Lined; retouching; craquelure; rather flat £150-250 (+ 26.4% BP*)
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CIRCLE OF SIR JOSHUA REYNOLDS, PRA (1723-1792) CHILD Oil on canvas 52 x 42cm.
* A period copy of the original (50.8 x 40.6cm, Private Collection, circa 1780s), which was possibly first owned by Percy Moore Turner. See Mannings ref. 2034 ++ Small patched repair on left verso; scattered retouching and some craquelure/bitumen damage £200-400 (+ 26.4% BP*)
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SIMON DUBOIS (1632-1708) PORTRAIT OF JOHN SOMERS, BARON SOMERS (1651-1716) Quarter length, wearing a dark green coat (or banyan) with striped sleeves and a lace jabot, within a painted oval, oil on canvas 75.5 x 63cm. Provenance: Lawrences, April 27th, 1987, lot 157; and also October 14th, 2011, lot 2844.
* Somers was a lawyer and a Whig politician who served as an MP from 1689-1693, was a Keeper of the Great Seal, a Privy Counsellor and was appointed Lord Chancellor in 1697. He became President of the Royal Society in 1698, a year after his ennoblement and was a keen collector of prints and drawings. He died unmarried and without issue. The title descended through the grandson of Somers' sister, Mary. The portrait was traditionally ascribed to Sir Godfrey Kneller and identified (incorrectly) as Charles Lennox, 1st Duke of Richmond (1672-1723). Kneller did paint Somers, c.1715-16, as part of his Kit-Cat series (National Portrait Gallery). Compare with Dubois's portrait of Josiah Diston (Coll. Earl of Halifax); and a portrait, possibly of Sir Edward Mansel (Coll. Lady Blythswood, Penrice Castle, 1958)++ Lined; associated retouching £3000-4000 (+ 26.4% BP*)
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FRANCIS LINDO (Fl.1755-1765) PORTRAIT OF SIR ALEXANDER DON OF NEWTON DON, 4th BARONET (d.1776) Quarter length, wearing a brocaded coat and waistcoat, a tricorn hat under his arm, within a painted oval, signed and dated F. Lindo Pinxit 1761 and with inventory number 84, oil on canvas 75 x 62cm. ++ Old lining; a little associated scattered retouching £1000-1500 (+ 26.4% BP*)
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FOLLOWER OF EDWIN FREDERICK HOLT (1830-1912) PORTRAIT OF AN INDIAN GENTLEMAN Bust length, wearing a blue tunic and a turban, within a painted oval, oil on board 59.5 x 44.5cm. ++ Scattered chipped and flaked losses; some craquelure; needs a clean £500-700 (+ 26.4% BP*)
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LAM QUA (1801-1860) PORTRAIT OF A GENTLEMAN Seated half length, wearing a dark coat and a green bow tie, oil on canvas 24 x 20.5cm.
* Possibly a portrait of Thomas Chay Beale (c.1810-1857) or Daniel Beale the younger (1798-1827) Provenance: with Martyn Gregory, London, Reflections of the East, 2011-2012, no.35 (initially as by George Chinnery, attribution revised to Lam Qua) ++ Unlined; light cosmetic retouching £800-1200 (+ 26.4% BP*)
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GEORGE CHINNERY (1774-1852) PORTRAIT OF THE HON. JOHN EDMUND ELLIOT ((1788-1862) With inscription upper right The Honble John Edmund Elliot / 1788-1862, oil on canvas 74.5 x 62cm.
* The sitter was the third son of the 1st Earl of Minto, Governor General of India from 1807-1813. Elliot would have encountered Chinnery in Madras upon arriving as a Writer in 1805. Elliot's own sketchbook from 1812-1815 includes works by Chinnery within (British Library). The sitter married Amelia (nee Casamajor) in 1809 and, upon returning to Britain, was MP for Roxburgshsire and served under Lord John Russell from 1849-1852. Both his brother and his cousin also worked in China. Provenance: with Martyn Gregory, London, From China to the West, 2012-2013, no.17 ++ Lined; some retouching; some craquelure and bitumen damage (not obtrusive) £2000-3000 (+ 26.4% BP*)
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CHINA TRADE SCHOOL, MID-19th CENTURY P.O.C.F., GANGES PROCEEDING THROUGH THE BOGUE FORTS, CHINA Inscribed with title, oil on fine stretchered canvas laid on board, within an ebonised frame with leafy scroll decoration 44 x 58cm.
* Three vessels of this name are recorded as the property of the Peninsular & Oriental Steamship Navigation Company. The first vessel was sold to Sicily prior to completion; the second was built in 1850 and sold in 1871 to Rennie & Co in Shanghai; and the third, built in 1882, was burnt out in Bombay sixteen years later. The Bogue (also known as The Humen and Bocca Tigris) is a strait on the Pearl River Delta and separates Shiziyang and Lingdingang in China's Guangdong Province. Eight forts were built to defend the Strait as it was of strategic significance for access to Guangzhou (Canton). ++ Break in paint in the sky upper left; tear below the stern lower right; damp spots £1000-1500 (+ 26.4% BP*)
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ENGLISH SCHOOL, c.1840-1850 PORTRAITS OF A LADY AND A GENTLEMAN A pair, each half length, she wearing a dark dress, pink scarf and holding a bloom, he wearing a dark suit and ivory waistcoat, oil on canvas Each 74.5 x 61.5cm. (2) ++ Each needs a light clean; period gilt frames £300-500 (+ 26.4% BP*)
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JAMES WILSON (Fl.1832-1834) PORTRAIT OF A YOUNG LADY, IDENTIFIED AS JULIA CUNNINGHAM Seated half length, wearing a dark blue-green dress, her hair in ringlets, oil on canvas 74.5 x 62.5cm. ++ Lined; with some associated retouching; a little craquelure; period gilt frame £200-300 (+ 26.4% BP*)
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CIRCLE OF JOSEPH HIGHMORE (1692-1780) PORTRAIT OF A LADY Standing, long half length, wearing a blue dress and holding a letter, oil on canvas laid on panel 27.5 x 22cm. ++ Some craquelure; some retouching; needs a clean £300-500 (+ 26.4% BP*)
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ENGLISH SCHOOL, EARLY 19th CENTURY PORTRAIT OF A YOUNG OFFICER Half length, wearing a blue tunic with a white sash, oil on canvas 25 x 19.5cm.; with a watercolour portrait by Skeolan (lady in a plaid dress, 1846); and another of a young girl, each 29.5 x 22cm approx. (3) ++ The oil lined, some craquelure and retouching; the watercolours faded; period frames £300-400 (+ 26.4% BP*)
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RODERICK DEMPSTER MACKENZIE (American, 1865-1914) STUDY OF AN INDIAN WOMAN WEARING A NOSE RING Bears strengthened signature and date 1901, oil on canvas laid on ply panel, possibly cut down 30 x 20.5cm. ++ Scattered retouching, particularly along two horizontal lines of wear £500-800 (+ 26.4% BP*)
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AFTER JOSEPH MALLORD WILLIAM TURNER, RA (1775-1851) THE BAY OF BAIAE WITH APOLLO AND THE SIBYL Oil on canvas 52 x 74.5cm.
* After Turner's original composition of 1823 (Tate Britain) ++ Generally good condition; some scattered retouching £150-250 (+ 26.4% BP*)
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ENGLISH PROVINCIAL SCHOOL, 17th/18th CENTURY AN IMAGINARY LANDSCAPE SCENE WITH FIGURES, BUILDINGS AND BOATS Oil on panel 65.5 x 86cm. Provenance: The Manor House, Ditcheat, Somerset, formerly the home of Ralph, Lord Hopton of Stratton (1596-1652), a Royalist Commander in the Civil War ++ Thin and abraded in parts due to over cleaning; some scattered retouching; slight splits along the (three) joined panels £800-1200 (+ 26.4% BP*)
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GEORGE BARRET Senr, RA (c.1730-1784) & SAWREY GILPIN, RA (1733-1807) A HORSEMAN WITH TWO MOUNTS AT A SPRING; DEER RESTING BY A TREE Two, oil on panel (Ackermann labels) Each 21 x 28.5cm. (2) ++ Negligible retouching; slight craquelure; each needs a light clean £2500-4000 (+ 26.4% BP*)
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JOHN MOORE OF IPSWICH (1820-1902) SAILING VESSELS OFF A COAST IN ROUGH WEATHER Oil on canvas, laid on cradled panel 41.5 x 94.5cm. Provenance: Purchased from Garrod Turner, Ipswich, by Mandell's Gallery, Norwich; by whom sold to Irlands, King Street, Norwich, December 1979; by whom given to the vendor's grandfather ++ Some wrinkling of the paint; slight rubbed damages at edges; scattered retouching; needs a clean £800-1200 (+ 26.4% BP*)
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A VICTORIAN GILT PICTURE FRAME with a scrolling floral and oak leaf border upon a latticed ground, with scrolled patterns to the outer and inner frame Sight 23 x 18.5cm.; to take canvas 25.5 x 20cm. ++ Good condition £150-200 (+ 26.4% BP*)
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ALFRED MONTAGUE (1832-1883) A CHOPPY ESTUARY Signed and dated indistinctly (1863 or 1865?), oil on canvas 49.5 x 74.5cm. ++ Lined; a little scattered retouching; some craquelure £1500-2000 (+ 26.4% BP*)
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GEORGE MEARS (1826-1906) HMS VICTORY AT PORTSMOUTH; SAILING VESSELS IN COASTAL WATERS AT SUNSET A pair, the latter signed, oil on thin board Each 20 x 40cm. (2) ++ The latter with faint scratch in the sky; the former with slight craquelure in the sky; each needs a light clean; slip frames £800-1200 (+ 26.4% BP*)
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FREDERICK WILLIAM NEWTON WHITEHEAD (1853-1938) REED CUTTERS ON A RIVER Signed, the word 'Leamington' on a label on the stretcher, oil on canvas 24.5 x 34.5cm. ++ Some scattered retouching; small retouched damage left of centre; needs a clean £150-250 (+ 26.4% BP*)
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SIR THOMAS LAWRENCE, PRA (1769-1830) PORTRAIT OF A GENTLEMAN, BELIEVED TO BE PHILIP JOHN MILES, MP (1773-1845) Bust length, wearing a dark coat, white neckcloth and winged stock, oil on canvas 74.5 x 62cm.
* Miles was a notable Bristol figure, a very wealthy businessman and parliamentarian who was apparently Bristol's first recorded millionaire and a partner in the Miles Bank (that later merged with Nat West). Miles owned Leigh Court and Kings Weston estates on both banks of the River Avon in Bristol and also the Manor or Walton in Gordano, Clevedon as well as many more lands in the Bristol area. Lawrence himself was born in Bristol in 1769: the family lived in Redcross Street until Thomas Lawrence Senior took over the running of a coffee house and inn on Broad Street. This portrait may be dated to c.1815-1820. The sitter would appear perhaps to be in his forties. The only other known image of Miles is believed to be a small unascribed mezzotint portrait, published in 1822. Miles was a great friend of Richard Hart Davis (1766-1842), another Bristol born merchant and banker, who was also painted by Lawrence in 1815. Philip John Miles was also a friend of Richard Hart Davis and in 1813 he purchased his famous Old Masters art collection which became the nucleus of the celebrated Leigh Court Collection, dispersed in 1899. Provenance: By descent in the family of the sitter until sold with other family portraits at auction in 2014, where purchased by the present owner. ++ Old lining; a little scattered retouching £4000-6000 (+ 26.4% BP*)
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CIRCLE OF DAVID FARQUHARSON, ARA (1839-1907) FISHERMEN HARLING ON A LOCH Oil on canvas 60 x 122cm. ++ Striplined; flaked losses, especially in the centre; scattered retouching; good period gilt frame £300-500 (+ 26.4% BP*)
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HENRY JOHN BODDINGTON (1811-1865) THE HOMESTEAD IN THE HILLS Signed and dated 1859, oil on canvas 54.5 x 90cm. ++ Lined in 1963; craquelure; some retouching, notably near and over flaking in the sky £2000-3000 (+ 26.4% BP*)
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ALFRED AUGUSTUS GLENDENING Senr (1840-1910) A SURREY SHEPHERD Signed and dated 1870, oil on canvas 74.5 x 125.5cm. ++ Lined; some old craquelure and scattered retouching; needs a clean £2500-3500 (+ 26.4% BP*)
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ALFRED DE BREANSKI (1852-1928) THE THAMES NEAR TWICKENHAM BRIDGE Signed, oil on board 17.5 x 32.5cm. ++ Scattered retouching, especially in the sky £1200-1800 (+ 26.4% BP*)
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EDWARD AUBREY HUNT (1855-1922) LIMEHOUSE, LONDON Signed, oil on canvas 45 x 79.5cm. ++ Lined; some associated retouching; generally good; period gilt frame £2500-3500 (+ 26.4% BP*)
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JOHN HOLLAND (1799-1879) THE CATTLE FAIR Signed, also signed and inscribed on a label on the stretcher, oil on canvas 34.5 x 52cm. ++ Needs a light clean £1000-1500 (+ 26.4% BP*)
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CIRCLE OF EDWARD ROBERT SMYTHE (1810-1899) LADY ON A GREY PONY OUTSIDE A COTTAGE Oil on canvas 33.5 x 44cm. ++ Lined; some associated retouching £100-150 (+ 26.4% BP*)
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STANLEY NORMAN (c.1900-1920) THE MOORS, SWALEDALE A pair, both signed, oil on canvas Each 29.5 x 49.5cm. (2)
* Possibly a pseudonym for William Greaves (1852-1938) ++ Each in good condition; one needs a light clean £150-200 (+ 26.4% BP*)
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JOSEPH THORS (c.1835-1920) THE FARM POND Signed, oil on canvas 28.5 x 39cm. ++ Needs a light clean; period gilt frame £400-600 (+ 26.4% BP*)
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JOSEPH THORS (c.1835-1920) FIGURES ON A COUNTRY TRACK Signed, oil on canvas 24 x 33cm. ++ Good condition; slight craquelure; needs a light clean; period gilt frame £300-400 (+ 26.4% BP*)
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ATTRIBUTED TO ALFRED JOSEPH WOOLMER (1805-1892) A PRETTY YOUNG MAIDEN Oil on panel, mounted oval 15 x 12cm. ++ A little scattered retouching; French frame £200-300 (+ 26.4% BP*)
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TOM SEYMOUR (1844-1904) A COUNTRY SCENE WITH FIGURES NEAR A RIVER BY A COTTAGE Signed, oil on canvas 75 x 126cm. ++ Lined; some associated retouching £250-350 (+ 26.4% BP*)
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ALEXANDER PANTON (Fl.1861-1888) & WILLIAM WATSON Jnr (Fl.1866-c.1875) A PASSING SHOWER Signed by both artists and dated 75, oil on canvas 74.5 x 126cm. ++ Lined; retouching; flaked losses at extreme left edge; needs a light clean £700-1000 (+ 26.4% BP*)
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WILLIAM THORNLEY (Fl.1859-1898) TWILIGHT MISTS Signed, oil on canvas laid on board 34 x 29cm. ++ Generally satisfactory; some retouching £500-700 (+ 26.4% BP*)
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DAVID W. HADDON (Fl.1884-1914) A VISIT TO GRANNY Signed, oil on board 49.5 x 75.5cm. ++ A few surface grazes etc; paint losses at extreme edges; the board slightly bowed £200-300 (+ 26.4% BP*)
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