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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Old Master, British and European Art
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
VIEWING:
Dreweatts London (selected highlights): 16-17 Pall Mall, St James’s, London SW1Y 5LU: 30 May - 1 June: 10am - 4pm.
Donnington Priory (full sale): see below
Auction dates
Jun 14, 2023 10:30 AM BST
Viewing dates
Jun 11, 2023 10:00 AM - 03:00 PM BST
Jun 12, 2023 10:00 AM - 04:00 PM BST
Jun 13, 2023 10:00 AM - 04:00 PM BST
Jun 14, 2023 08:30 AM - 04:00 PM BST
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Featured lots
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FOLLOWER OF MARCELLO VENUSTI
THE VIRGIN AND CHILD
Oil on slate
19.5 x 13cm (7½ x 5 in.)
Venusti's lost painting is based on a carefully finished drawing by his associate Michelangelo Buonarotti, now in the Royal Collection at Windsor (Inv. no. RCIN 912772). The original painting, for which Michelangelo most probably drew this design, was in the collection of Richard Cosway in the 18th century, and is now only known through an engraving (in R. Duppa, Life of Michelangelo, 1807, p. 331).
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FOLLOWER OF SIMON VOUET
THE LAST COMMUNION OF THE MAGDALENE
Oil on canvas
132 x 95cm (51¾ x 37¼ in.)
Unframed
Provenance:
Sale, Christie's South Kensington, July 7, 2015, lot 420
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2,000 - 3,000 GBP
SPANISH COLONIAL SCHOOL (20TH CENTURY)
ARCHANGEL ASIEL WITH AN ARQUEBUS
Oil on canvas
Inscribed 'OSIEL FOR *OD DEI' (lower left)
177 x 118cm (69½ x 46¼ in.)
*Please note the this work is now catalogued as Spanish Colonial School (20th century) and not 17th/18th century as previously stated.
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2,000 - 3,000 GBP
AFTER DOMENICO PULIGO
MADONNA AND CHILD WITH YOUNG SAINT JOHN THE BAPTIST AND SAINT LAWRENCE
Oil on canvas
81.5 x 68.5cm (32 x 26¾ in.)
After the work in the collection of the Palazzo Pitti, Florence, inv. 146 (1912)
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3,000 - 5,000 GBP
VENETIAN SCHOOL (17TH CENTURY)
THE THREE AGES OF MAN
Oil on canvas
135 x 178cm (53 x 70 in.)
Unframed
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7,000 - 10,000 GBP
AFTER SIR ANTHONY VAN DYCK
THE LAMENTATION
Oil on canvas
214 x 176cm (84¼ x 69¼ in.)
Provenance:
The former Cook Collection, Doughty House, Richmond
Sale, Christie's, London, 11 April 2011, lot 32
The present painting is a near contemporary copy after the composition, now in the Prado, Madrid (coll. no. P001642) which was painted around 1618-1620. The Cook Lamentation was catalogued as Van Dyck until 1913, when it was downgraded to a copy of the painting now in the Prado by Joop de Koning. At the time the Prado painting was attributed to Rubens. Until 1974 the Cook Lamentation was therefore considered a copy after Rubens, when the Prado reattributed their painting to Van Dyck, and the Cook painting thereafter became a copy after Van Dyck.
Another larger version of this work is Van Dyck's monumental Lamentation in the Koninklijk Museum voor Schone Kunsten, Antwerp (coll. no 403), which was executed around 1629 for the high altar of the Begijnhof church, possibly as a gift in memory of Rubens' sister Cornelia, who lived there and was buried in the choir of the church (1627).
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1,500 - 2,000 GBP
FOLLOWER OF PIETER DE RING
A STILL LIFE OF FRUIT, A CHEST AND A GOBLET ON A DRAPED TABLE
Oil on canvas
110 x 90.5cm (43¼ x 35½ in.)
Provenance:
Sale, Christie's South Kensington, London, Old Master & 19th Century Art , July 8, 2011, lot 99
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1,500 - 2,000 GBP
ITALIAN SCHOOL (17TH CENTURY)
A STILL LIFE OF FRUIT AND FLOWERS ON A LEDGE
Oil on canvas
65 x 52cm (25½ x 20¼ in.)
Provenance:
The Collection of Major General Sir Allan Adair, Flixton Hall, Suffolk
Thence by descent to the current owner
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3,000 - 5,000 GBP
ATTRIBUTED TO JAN FRANS VAN SON (DUTCH 1658-1718)
A STILL LIFE WITH ORANGE BLOSSOM IN AN URN ON A STONE LEDGE
Oil on canvas
With signature 'J. van Son' (lower right)
44 x 31cm (17¼ x 12 in.)
Condition Report:
The canvas has been lined, and re-varnished. Stretcher marks and craquelure visible throughout. A number of surface scuffs and scratched throughout. Inspection under UV reveals light retouching throughout, with some heavier in-filling along the right hand side edge. A green cloudy varnish also present. Overall in good restored condition.
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ATTRIBUTED TO CORNELIUS VAN POELENBURGH (DUTCH 1594-1667)
SAINT THOMAS READING
Oil on panel
13 x 10.5cm (5 x 4 in.)
This little panel presumably relates to a series of Christ and the twelve apostles, of which six parts were sold at Christie's, London, 29 October 2003, lot 32 (RKD no. 104294). A series of twelve copies, including of the same composition of Saint Thomas as the current panel, was sold at Amberes, Antwerp, 5 December 2011, lot 353(5) (RKD no. 249595). The current panel could be one of the missing panels from the original series.
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FOLLOWER OF REMBRANDT
PORTRAIT OF A SOLDIER WEARING A HELMET
Oil on canvas
47 x 38.5cm (18½ x 15 in.)
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7,000 - 10,000 GBP
CIRCLE OF JAN LIEVENS (DUTCH 1607-1674)
HEAD OF AN APOSTLE
Oil on panel
Remains of a red wax seal (on the reverse)
61 x 46.5cm (24 x 18¼ in.)
Provenance:
Sale, Christie's, South Kensington, July 5, 2013, lot 68
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1,500 - 2,000 GBP
FRENCH SCHOOL (16TH CENTURY)
PORTRAIT OF A MAN IN PROFILE, POSSIBLY HENRY II OF FRANCE
Oil on panel
Indistinctly inscribed (along lower margin)
29 x 22cm (11¼ x 8½ in.)
Dendrochronological analysis provides an earliest felling date of 1546 for the panel, of Southern French origins, with a likely creation date of circa 1558.
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3,000 - 5,000 GBP
MANNER OF MARCUS GHEERAERTS
PORTRAIT OF A GIRL, AGED 6
Oil on panel
Bears indistinct date and inscription 'AN 1626 SVAE 6' (upper left)
54 x 38.5cm (21¼ x 15 in.)
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FLEMISH SCHOOL (17TH/18TH CENTURY)
PORTRAIT OF PHILIP THE GOOD, DUKE OF BURGUNDY (1396-1467)
Oil on canvas
50 x 31cm (19½ x 12 in.)
The sitter is depicted wearing the costume of the Order of the Golden Fleece.
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6,000 - 8,000 GBP
FOLLOWER OF GILBERT JACKSON
PORTRAIT OF JAMES BOEVEY, AGED 11, FULL-LENGTH IN A GREEN DOUBLET AND HOSE, HOLDING A GLOVE, BY A TABLE WITH AN OPEN BOOK IN A CURTAINED INTERIOR
Oil on canvas (in an 18th century frame)
Dated 'AN.O DOM: 1634/AETATIS SUAE II' with identifying inscription (lower right)
146 x 99cm (57¼ x 38¾ in.)
Provenance:
Possibly commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1295
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Literature:
Compiled by: Arthur W. Crawley-Boevey, 'The Perverse Widow': Being Passages from the Life of Catharina, wife of William Boevey, Esq., London, 1898, p. 37
Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, pp. 11-12, no. 2
J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 982, fig. 5, The Morning Room
This full-length painting is a companion piece to lot 17, Joanna Boevey (1605-64), aged 11, daughter of Andreas Boevey (1566-1625) and his first wife, Esther Fenne. This portrait probably depicts James Boevey (1622-96), Joanna's half-brother, son of Andreas and his second wife, Joanna (née de Wilde). The two portraits were probably painted to mark the children's coming of age when they were eleven.
James, merchant and philosopher, was, in later life, only five feet tall, 'slenderly built with extremely black hair curled at the ends, an equally black beard, and the darkest of eyebrows hovering above dark but sprightly hazel eyes' ( <https://www-oxforddnb-com/>com <https://www-oxforddnb-com/> accessed 14 June 2022). His early career was as a 'cashier' for the banker Dierik Hoste, and for the Spanish ambassador in London, while in the employ of the Dutch financier Sir William Courten. A known figure in Restoration London, Samuel Pepys described him as: 'a solicitor and a lawyer and a merchant altogether who hath travelled very much; did talk some things well, only he is a Sir Positive; but talk of travel over the Alps very fine' (Pepys, 9.206). Although his writings on 'Active Philosophy' were never published, they circulated widely amongst his friends and acquaintances. In 1642, James Boevey and his half-brother, William, made a joint-purchase of Flaxley Abbey.
In 1912, it was argued that the painting was in fact a portrait of Abraham Clarke the Younger rather than James Boevey (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, pp. 11-12, no. 2). This was based on a discrepancy between the date of the painting and the age of the sitter - in 1634, Joanna Clarke's son (née Boevey), Abraham the Younger, born in 1623, was aged 11 while his uncle and Joanna's half-brother, James, born in 1622, would have been 12 years old when the portrait was painted. In the 'old Flaxley List', the painting was recorded as 'Mr. Clarke' and attributed to Van Dyck. However, in retrospect, it seems more likely that Andreas Boevey would have commissioned a portrait of his children, Joanna and James. The Van Dyck attribution seems unlikely if he is to be credited with the companion portrait of Joanna, painted in 1616, as Van Dyck did not arrive in England until 1620 ( ibid. ).
A 19th-century copy of this portrait was painted and published in Crawley-Boevey, A.W.C., The Perverse Widow, Being Passages from the Life of Catharina, Wife of William Boevey, 1898, p. 34.
Condition Report:
Overall in good condition. Canvas has been relined and mounted on a later stretcher, providing good support. A layer of surface dirt and discolouration of the varnish. A few areas of very fine craquelure. Some abrasions around the edges from contact with the frame.
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6,000 - 8,000 GBP
ENGLISH SCHOOL (17TH CENTURY)
PORTRAIT OF JOANNA BOEVEY, FULL-LENGTH IN A BLACK AND BROWN DRESS WITH EMBROIDERED SLEEVES HOLDING A PAIR OF GLOVES
Oil on panel
Inscribed 'ANNO 1616/ ANNO BOEVE/AETATIS SVAE 11-' (upper left)
143.5 x 95.3cm (56¼ x 37½ in.)
In an 18th Century carved giltwood frame.
Provenance:
Probably commissioned by Andreas Boevey (1566-1625), and by descent at Flaxley Abbey, Gloucestershire, until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1296
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Literature:
Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, p. 11, no. 1; p. 12
In the 1960 sale of the house contents of Flaxley Abbey, Gloucestershire, this painting was ascribed to 'Sandvort'. The portrait represents Joanna Boevey (1605-64) as a young girl, aged 11, daughter of Andreas Boevey (1566-1625), a Dutch Huguenot emigré, merchant, financier and elder of the Dutch church at Austin Friars. Joanna married Abraham de Clerke (also Dutch, anglicised to Clarke). After 1654, James I transferred the Flaxley estate to Joanna's brother, William Boevey, who gifted a share to his sister, and directed that the remainder be sold after his death for the benefit of his wife. In 1661, Joanna bought out her sister-in-law, and lived at Flaxley with her son, Abraham Clarke the younger. On Abraham's death in 1683, he bequeathed the estate to his cousin, also named William Boevey (1657-92), son of his half-uncle, James (J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 29 March 1973, pp. 844-845).
A second painting of Joanna as an adult is recorded at Flaxley in 1912, and at this date was tentatively attributed to Cornelius Jansen (1585-1638) (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, p. 11, no. 2; p. 13).
Condition Report:
Panel supported on the reverse by five horizontal wooden slats, one of later date. Four horizontal wooden panels, with visible openings between them. Several vertical cracks: two of about 36 and 27 cm running up from the edge lower left, one of about 36 cm running up from the edge in the centre, one of approx. 40 cm running down from the top edge upper right, several smaller ones running down from the top edge. Surface dirt and discolouration of the varnish. UV reveals retouching particularly along the cracks as well as in the sitter's face where the paint is slightly thinning.
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ENGLISH SCHOOL (CIRCA 1700)
PORTRAIT OF A LADY, IDENTIFIED AS SUSANNA WHITE, LATER LLOYD (d. 1762), HALF-LENGTH IN A BLACK DRESS, FEIGNED OVAL
Oil on canvas
71.1 x 61cm (27 x 24 in.)
Provenance:
The Crawley-Boevey family
Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1375
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Susanna Lloyd, née White (1684-1762) was the only child of John White and Susanna Ayleway. She married John Lloyd in 1709 and was the mother of Susanna Lloyd (1712-1762) who married her first cousin Thomas Crawley in 1743. Thomas Crawley had earlier inherited Flaxley in 1727 from Catherine Boevey. It is likely that this portrait entered the Flaxley collection upon her death in 1762. She was buried on the same day as her daughter.
Condition Report:
The canvas has been relined and is on a later stretcher, providing good support. Inspection under UV reveals some retouched craquelure in the sitter's face as well as retouching in all four corners of the canvas and a repair to the left of the sitter's head in the brown background.
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ENGLISH SCHOOL (17TH CENTURY)
PORTRAIT OF A BEARDED MAN, HALF-LENGTH IN A RED COAT
Oil on canvas (in a Lely panel frame)
73 x 61.5cm (28½ x 24 in.)
Provenance:
The Crawley-Boevey family
Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1309
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Condition Report:
The canvas has been relined and is on a later stretcher. Surface dirt and signs of mould. Areas of thinning paint and paint shrinkage, mainly in the sitter's cloak and in the background above his shoulders where the ground is clearly visible. Abrasions around the edges from contact with the frame. Craquelure throughout, UV light also reveals retouched craquelure (mainly in the sitter's face).
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1
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4,000 - 6,000 GBP
ENGLISH SCHOOL (CIRCA 1720)
A DOUBLE PORTRAIT OF WILLIAM AND NATHANIEL LLOYD WITH THEIR DOG, A FOUNTAIN IN A FORMAL GARDEN BEYOND
Oil on canvas
114.3 x 172.7cm (45 x 67 in.)
Provenance:
Possibly brought to Flaxley Abbey following the marriage in May 1743 of Thomas Crawley-Boevey, (1709-69), to Susanna (née Lloyd, 1712-62), sister to William and Nathanial Lloyd, and by descent until sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1347
Literature:
Arthur W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, pp. 18, 20, no. 1
J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - I: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 29 March 1973, p.845, fig.8, The Abbot's Room
William (1685-1754) and Nathaniel (1690-1774) were the sons of John Lloyd (1645-1716) and Susanna Hollier Hollyar (1657-1726) of Minsterworth, Gloucestershire. Their sister, Susanna (1712-62), married Thomas Crawley-Boevey, in May 1743. In 1912, the painting, listed as by an unknown hand, was in the Drawing Room at Flaxley Abbey (A.W. Crawley-Boevey, A Brief Account of the Antiquities, Family Pictures and other Notable Articles at Flaxley Abbey, co. Gloucestershire (1912), pp. 18, 20, no. 1). It has since been pictured in 1954 and 1960 in the Abbots Room.
Condition Report:
The canvas has been relined, relined is clearly visible along upper edge. Some surface dirt and a reddish discolouration of the varnish. Some abrasions around the edges from contact with the frame. UV reveals scattered retouching and small repairs, including larger areas of retouching in the red of the left figure's garment and along the upper and lower edge.
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2,500 - 3,500 GBP
FOLLOWER OF SIR PETER LELY
A PORTRAIT OF THE COUNTESS OF WESTMEATH
Oil on canvas
73.5 x 61.5cm (28¾ x 24 in.)
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ENGLISH SCHOOL (17TH CENTURY)
PORTRAIT OF A LADY, TRADITIONALLY IDENTIFIED AS NELL GWYN (1650-1687)
Oil on panel
18 x 14cm (7 x 5½ in.)
In a 17th century carved and silvered picture frame.
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3,000 - 5,000 GBP
STUDIO OF CARLO MARATTA (ITALIAN 1625-1713)
PORTRAIT OF MARIA MADDALENA ROSPIGLIOSI PANCIATICHI
Oil on canvas
80 x 70cm (31¼ x 27½ in.)
The sitter (1645-1695), born in Pistoia, was the daughter of Clement Rospigliosi and niece of Pope Clement IX.
Carlo Maratta painted several versions of the present portrait, including: one in the Louvre (inv. no. 1379) which is considered the original; another now in the Galleria Borghese, Rome (inv. no. 574) which is thought to be an autograph replica; and another offered at Christie's, 4 July 2012, lot 218. Maratta was employed by the Rospigliosi family for their portraits during the reign of Clement IX and was known to have supervised numerous studio replicas, as according to Francesco Petrucci is likely the case with the present portrait.
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2,000 - 3,000 GBP
ENGLISH SCHOOL (CIRCA 1680)
PORTRAIT OF FRANCIS VANACKER, HALF-LENGTH, IN AN EMBROIDERED CLOAK; AND PORTRAIT OF HIS WIFE, CORNELIA BOEVEY, IN A MAUVE DRESS
Oil on canvas, a pair
73 x 61cm (28½ x 24 in.) oval (2)
Provenance:
Possibly at the sitter's home, Erith Manor, Kent
Probably inherited by Catherina Boevey in 1702 and thence by descent
Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1323
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Literature:
A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, pp. 11, no. 7
Francis Vanacker (d.1686, aged 38) was High Sheriff of Kent and a descendant of a London merchant family. He married Cornelia Boevey (d.1702) in 1671, who was the only daughter of the merchant, lawyer and philosopher James Boevey (1622-1696) by his second wife Isabella de Visscher. Upon Francis' death in 1686 Cornelia remarried to William Bateman of Clifton. She died at Erith Manor in 1702 without issue making it likely that this pair of portraits was inherited by her sister-in-law Catherina, owing to the early death of her brother William in 1692.
Condition Report:
Both with surface dirt and discolouration of the varnish, both canvases have been relined and show abrasions around the edges from contact with the frame. The male portrait with some bulging of the paint below his hair on the right, as well as a repaired tear in the same area. UV also reveals retouched craquelure in the sitter's face. The female portrait with several small repairs, visible under UV light, mainly to the left of the figure in the background, as well as some retouched craquelure in her face and neck.
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2,000 - 3,000 GBP
ENGLISH SCHOOL (CIRCA 1740)
PORTRAIT OF REV. THOMAS SAVAGE, THREE-QUARTER LENGTH, IN A BROWN COAT AND AN ORIENTAL GOWN, SEATED AT A TABLE
Oil on canvas
With inscription 'Mr. Savage' (lower left)
124 x 100cm (48¾ x 39¼ in.)
In an original 17th century carved giltwood frame.
Provenance:
The Crawley-Boevey Family
Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1337
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Previously identified as Capt. George Savage (label on the reverse), but most probably Rev. Thomas Savage, Rector of Standish, who married Eleanor Barrow in 1737. Their daughter Anne married Thomas Crawley-Boevey, 2nd Baronet of Highgrove in 1769.
Condition Report:
The canvas has been relined. Some surface dirt and a slight discolouration of the varnish. Areas of craquelure, mainly in the left half of the painting. UV reveals scattered retouches and repairs, including around the sitter's face and in his hair. Approx.. five scratches with related paint loss along the left edge at the height of his right hand.
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3,000 - 5,000 GBP
FOLLOWER OF DAVID VON KRAFFT (SWEDISH 1655-1724)
PORTRAIT OF KING CHARLES XII OF SWEDEN, THREE-QUARTER LENGTH, IN UNIFORM
Oil on canvas
125 x 100cm (49 x 39¼ in.)
Provenance:
The Crawley-Boevey Family
Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1326
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Literature:
A Brief Account of the Antiquities, Family Pictures and Other Notable Articles at Flaxley Abbey, co. Gloucester , Bristol, 1912, pp. 15, no. 5.
Charles XII (1682 - 1718) was King of Sweden (including current Finland) from 1697 to 1718. He belonged to the House of Palatinate-Zweibrücken, a branch line of the House of Wittelsbach. Charles was the only surviving son of Charles XI and Ulrika Eleonora the Elder. He assumed power, after a seven-month caretaker government, at the age of fifteen. Charles is depicted in the same blue and yellow uniform of the Swedish Imperial Guard throughout many official portraits, this is now in the Royal Armoury in Stockholm.
It is not known why the present picture was in the Crawley-Boevey collection at Flaxley. Other versions of this portrait are in the Government Art Collection, London and the National Trust Collection, Plas Newydd, Anglesey.
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Condition Report:
The canvas has been relined. Specks of surface dirt and a discolouration of the varnish. Several superficial abrasions between the sitter's waist and the lower edge. A few scattered retouches visible to the eye but hardly visible under UV.
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ITALIAN SCHOOL (18TH CENTURY)
CAPRICCIO HARBOUR SCENE WITH FIGURES ALONG THE SHORE
Oil on canvas
74 x 86cm (29 x 33¾ in.)
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2,000 - 3,000 GBP
ITALIAN SCHOOL (17TH CENTURY)
AN ITALIANATE COASTAL INLET WITH A FORTIFIED HILLTOP TOWN, POSSIBLY A CAPRICCIO OF CASTELLO DELLA FAVA AND POSADA NUORO, SARDINIA
Oil on canvas
96 x 112cm (37¾ x 44 in.)
Provenance:
Sale, Christie's, London, 8 July 2011, lot 164 (as Follower of Agostino Tassi)
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5,000 - 7,000 GBP
MANNER OF FRANCESCO GUARDI
A SET OF FOUR VENETIAN CAPRICCIOS
Oil on canvas laid on board
120 x 59cm (47 x 23 in.) two 114 x 58.5cm (4)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
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6,000 - 8,000 GBP
CIRCLE OF CLAUDE VIGNON (FRENCH 1593-1670)
A YOUNG MAN PLAYING THE GUITAR
Oil on canvas
101 x 75.5cm (39¾ x 29½ in.)
Provenance:
Anonymous sale, Sotheby's, London, 14 December 2000, lot 191 (sold for £18000)
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6,000 - 8,000 GBP
CIRCLE OF MARMADUKE CRADDOCK (BRITISH 1660-1716)
A HEN WITH CHICKS; PIGEONS; AND TWO WITH PHEASANTS
Three on board and one on canvas
46 x 62cm (18 x 24¼ in.) (4)
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6,000 - 8,000 GBP
GERMAN PROVINCIAL SCHOOL (18TH CENTURY)
A PAIR OF KITCHEN SCENES
Oil on canvas
113 x 150cm (44¼ x 59 in.) (2)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
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4,000 - 6,000 GBP
CIRCLE OF CHRISTIAEN VAN COUWENBERGH (DUTCH 1604-1667)
A TOPPER IN A TAVERN
Oil on canvas
113 x 147cm (44¼ x 57¾ in.)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
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FLEMISH SCHOOL (18TH CENTURY)
VILLAGERS IN A LANDSCAPE
Oil on canvas
30 x 36.5cm (11¾ x 14¼ in.)
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1,500 - 2,500 GBP
FOLLOWER OF JAN BOTH
TRAVELLERS AND A CATTLE DROVER IN AN ITALIANATE LANDSCAPE
Oil on canvas
58 x 72cm (22¾ x 28¼ in.)
Exhibited:
On loan to the Fogg Art Museum, Harvard, number 163.1933 (label verso)
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2,000 - 3,000 GBP
ATTRIBUTED TO MARC BAETS (FLEMISH FL. 1700-1749)
RIVER LANDSCAPES WITH TOWNS AND RUINS
Oil on panel
Each 12 x 15.5cm (4½ x 6 in.) (4)
Provenance:
The Crawley-Boevey Family in the Drawing Room at Flaxley Abbey
Sold Flaxley Abbey, Gloucestershire, Bruton, Knowles & Co., 29 March-5th April 1960, lot 1290 and 1291
Bought by Mr and Mrs Frederick Baden-Watkins and thence by descent at Flaxley Abbey
Condition Report:
All with a layer of surface dirt and discolouration of the varnish. Areas of fine craquelure, mainly concentrated in the sky. Some abrasions around the edges, from contact with the frame. UV reveals very minimal retouching.
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FLEMISH SCHOOL (18TH CENTURY)
VILLAGE LANDSCAPE ON THE BANKS OF A RIVER
Oil on panel
20 x 29cm (7¾ x 11¼ in.)
Provenance:
David Ker Fine Art, Bourne Street
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20,000 - 30,000 GBP
WORKSHOP OF SEBASTIAN VRANCX BELGIAN (1573-1647)
A WINTER CARNIVAL WITH FIGURES ON THE ICE BEFORE THE KIPDORPPOORT BASTION IN ANTWERP
Oil on panel
59.5 x 90cm (23¼ x 35¼ in.)
Provenance:
Barnwell Manor, Northamptonshire, Windsor House Antiques
The present painting can be considered one of the most well-known and popular compositions of carnival scenes in seventeenth-century Flemish art, its popularity attested to by a comparatively large number of versions and copies.
The composition was long regarded to be by the Flemish painter Denis van Alsloot (c. 1568-1625), a name that also returns on the frame of the present picture. In her monograph on Van Alsloot, however, Sabine van Sprang rejected this traditional attribution to Van Alsloot (see S. Van Sprang, Denijs van Alsloot, Peintre Paysagiste au service de la cour des Archducs Albert et Isabelle , Turnhout 2014) and according to latest art historical research the composition is currently attributed to Sebastian Vrancx. Several versions of the work can be found in museum collections of the Prado, Madrid (as Denis van Alsloot, inv. no. P001346), the Musée Royaux des Beaux-Arts in Brussels (as Southern Netherlandish school, first quarter 17 th century, inv. 232) and the Bayerische Staatsgemäldesammlungen, Munich (as Denis van Alsloot, inv. no. 189), with varying attributions to Vrancx and Van Alsloot over time. A further painting that was with Christie's, London (8 December 2015, lot 4, dated to around 1618-20), is currently considered to be the most likely primary version, though the work at the Prado was long regarded to be the prototype. The present picture appears to be a contemporary copy, although the composition is reduced on both sides.
The painting depicts a lively scene from the frozen moat around Antwerp's town walls near the Kipdorppoort, where a large crowd filled with figures in carnival costume are celebrating. Such a scene was typical for the Antwerp area, where orchestrated public festivities were very popular amongst the locals. Many artists took inspiration from the rich range of images provided by these celebrations. In the present painting, a cast from the Commedia dell'Arte performs on the ice and draws the focus of the revellers, whilst masked entertainers, dancers, musicians, and rhetoricians surround them and add to the celebratory atmosphere. The scene depicted is relatively restrained compared with most of Pieter Bruegel I's paintings of this type, and many of the individuals depicted stand out for their elegance. As usual, however, the more elegant and wealthy figures are shown mingling together with the less wealthy, suggesting that a festival such as this temporarily brought even the most divided of societies together and helped to ease the everyday social tensions between the different social strata. On the ramparts and in line with the church tower in the background, we can see a group of local clerics and other dignitaries overlooking the festival. They bring a more sober atmosphere to the scene and are a reminder that public festivals such as this were screened by the authorities, who insisted that they had to approve of all of the songs and performances before they could be presented to the public.
The carnival subject was adopted by such Antwerp painters as Joos van Winge, Louis de Caullery, Hieronymous Francken, and Frans Francken II, who, influenced by the Venetian tradition, depicted scenes of nocturnal fêtes, masquerades, and balls. Many of them were in close contact with the actors performing in these festivals. Vrancx, for example, was a member of the Violieren, an official chamber of Antwerp rhetoricians, which in turn was linked to the Guild of Saint Luke.
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FOLLOWER OF FRANS SNYDERS
STILL LIFE WITH GAME
Oil on canvas
138 x 213cm (54¼ x 83¾ in.)
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3,000 - 5,000 GBP
FOLLOWER OF FRANS SNYDERS
THE BOAR HUNT
Oil on canvas
184 x 222cm (72¼ x 87¼ in.)
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6,000 - 8,000 GBP
ATTRIBUTED TO GIACOMO FRANCESCO CIPPER (ITALIAN 1664-1736)
A PAIR OF INTERIOR SCENES, THE PARABLE OF SIN
Oil on canvas
93 x 126cm (36½ x 49½ in.) (2)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
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FOLLOWER OF WILLEM KALF (FRENCH, 18TH CENTURY)
A LADY AND A MAID IN A KITCHEN INTERIOR
Oil on panel
Indistinctly inscribed with a possible monogram 'f' on the bedframe (centre left)
33 x 26cm (12 x 10 in.)
Provenance:
Sale, Sotheby's, New York, 1 February 2013, lot 475 (unsold as French School, 18th century)
Condition Report:
Surface dirt and discolouration of the varnish. Several vertical cracks in the paint layers along the upper and lower edge. UV reveals signs of scattered retouching including a retouched crack in the paint running from the left edge through the cloak of the left figure.
Measurements including frame: 50 x 44.5 cm.
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FOLLOWER OF DAVID TENIERS
FIGURES OUTSIDE A TAVERN
Oil on canvas
56 x 67.5cm (22 x 26½ in.)
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2,000 - 3,000 GBP
FOLLOWER OF PHILIPS WOUWERMAN
A CAVALRY SKIRMISH
Oil on canvas
49 x 110cm (19¼ x 43¼ in.)
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2,000 - 3,000 GBP
CIRCLE OF JOHN WOOTTON (BRITISH 1686-1765)
A HUNTING PARTY
Oil on canvas
90 x 120cm (35¼ x 47 in.)
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2,000 - 3,000 GBP
ITALIAN SCHOOL (18TH CENTURY)
A PEAHEN WITH A BASKET OF FLOWERS; A COCKEREL WITH FLOWERS AND A WATERMELON; A CHICKEN WITH A MELON; A GOLDEN ORIOLE WITH A RABBIT
Oil on canvas laid on board
92 x 67cm (36 x 26¼ in.) (4)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
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3,000 - 5,000 GBP
FRENCH SCHOOL (18TH CENTURY)
A YOUNG BOY WITH A BASKET OF FLOWERS
Oil on canvas
96 x 122cm (37¾ x 48 in.)
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3,000 - 5,000 GBP
FOLLOWER OF JEAN-BAPTISTE MONNOYER
ROSES, VIOLETS, DAFFODILS IN A GLASS VASE ON A STONE LEDGE
Oil on canvas
53.5 x 44cm (21 x 17¼ in.)
Provenance:
Sale, Christie's, Amsterdam, 25-26 November 2014, lot 92
Private collection, Blaisdon Hall, Gloucestershire
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2,500 - 3,500 GBP
FOLLOWER OF FRANÇOIS BOUCHER
PUTTI PLAYING IN A GARDEN
Oil on canvas
89 x 84cm (35 x 33 in.)
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3,000 - 5,000 GBP
FOLLOWER OF PHILIPPE MERCIER
AN AMOROUS COUPLE WITH A BASKET OF FRUIT
Oil on canvas
74 x 90.5cm (29 x 35½ in.)
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ITALIAN SCHOOL (18TH CENTURY)
STILL LIFE WITH TULIPS, ROSES, PEONIES AND OTHER FLOWERS AND FRUIT ON A LEDGE
Oil on canvas
54 x 120cm (21¼ x 47 in.)
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5,000 - 8,000 GBP
NORTH ITALIAN SCHOOL (18TH CENTURY)
APOLLO AND A NYMPH TRANSFIXED BY AN ARROW; AND APOLLO AND THE CUMAEAN SIBYL
Oil on canvas, a pair
66 x 166cm (25 x 65¼ in.) (2)
Provenance:
Probably the Messel family collection at Nymans
In the Main Hall at Holmstead Manor and thence by descent to Oliver Messel
Purchased from Oliver Messel by Frederick and Phyllis Watkins for Flaxley Abbey
Catalogue Note:
In his famous Metamorphoses , Ovid tells the tale of the Sibyl of Cumae, in southern Italy, who was loved by the god Apollo. He bribed her by offering to prolong her life for as many years as there were grains in a heap of dust, in return for her love. She refused him and although he kept his word, he denied her perpetual youth, so she was commanded to centuries as a wizened crone. In the painting the Sibyl is shown as a young woman before Apollo, holding out her cupped hand which contains the heap of dust.
The other painting shows Apollo standing grief stricken by his lover Coronis, a Greek princess, who was with child by him but left him for another. In a fit of jealous rage he slew her with an arrow and tore the child from her womb. This child was Asclepius, who would grow up to become the god of Medicine.
Condition Report:
Both canvases have been relined. Surface dirt and a yellowed varnish. Both canvases are composed of three or four smaller pieces of canvas, which is clearly visible. UV shows scattered retouching in both works, including retouching of old craquelure.
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2,500 - 3,500 GBP
FRENCH SCHOOL (19TH CENTURY)
A PASTORAL ALLEGORY WITH A MEDALLION WITH AN ANGEL AND FLOWER GARLANDS IN A CARTOUCHE
Oil on canvas
230 x 110cm (90½ x 43¼ in.) including frame
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AFTER JAN DAVIDSZ. DE HEEM
A ROEMER WITH A GARLAND OF FLOWERS AND FRUIT ON A LEDGE
Oil on canvas
Indistinctly signed and inscribed (lower right)
111 x 79cm (43½ x 31 in.)
Provenance:
Private collection, Blaisdon Hall, Gloucestershire
After the picture by Jan Davidsz. de Heem in the collection of the Gemäldegalerie Alte Meister in Dresden (No. 1268)
Condition Report:
The canvas is unlined and the paint surface appears to be in good original condition, with small areas of thinning. It has a layer of surface dirt and old varnish and would benefit from a light clean. Inspection under UV reveals there are some scattered spots of restoration across the image but it is quite difficult to read as the varnish layer obscures this.
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1,500 - 2,000 GBP
THOMAS ELLIS (BRITISH EXH. 1842-1856)
STILL LIFE WITH ROSES AND RASPBERRIES
Oil on canvas
Signed with monogram (lower centre)
61 x 52cm (24 x 20¼ in.)
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4,000 - 6,000 GBP
MARIA GEERTRUIDA SNABILIE (DUTCH 1776-1838)
TULIPS, ROSES, PEONIES AND OTHER FLOWERS IN A VASE ON A STONE LEDGE
Oil on panel
Signed with initials and dated `B. S. 1838' (lower right)
60.5 x 46.5cm (23¾ x 18¼ in.)
Provenance:
Kunsthandel Richard Polak, The Hague
Sale, Christie's, Amsterdam, 26 November 2014, lot 175
Private collection, Blaisdon Hall, Gloucestershire
Condition Report:
Light surface scratches throughout with some heavier abrasions to the lower framing edge. Light surface cracking scattered throughout, but this is minimal. Inspection under UV reveals light scattered retouching and traces of a green cloudy varnish. Ready to hang.
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FOLLOWER OF JOHANN JOSEPH ZOFFANY
PORTRAIT OF CAPTAIN CHARLES WILLIAM LE GEYT WITH HIS WIFE AND SON
Oil on canvas
62 x 75.5cm (24¼ x 29½ in.)
Charles William Le Geyt (1733-1827) was Jersey's first official postmaster, appointed in February 1793. He was the son of Charles Le Geyt, Constable of St Helier (1726-33), Colonel of the South Regiment of Militia and Commissioner for Prizes, and Marthe de la Haye. His grandfather was Philippe Le Geyt, Lieut-Bailiff and noted 17th century expert on Jersey law. Charles William joined the army and at the age of 26 in 1759 he commanded a company of Grenadiers at the Battle of Minden. When the Seven Years War ended in 1763 he was placed on half pay as a Captain in the 63rd Regiment of Foot. In that same year he married Elizabeth Shebbeare by whom he had two sons, Charles William (1768- ), a Major in the 45th Regiment, and George John (1770- ).
Condition Report:
The canvas has been relined. Slightly visible stretcher marks. Some surface dirt and discolouration of the varnish. The paint slightly thinning in areas. UV reveals significant retouching including in all three of the figures and their faces as well as along the stretcher marks and a retouched diagonal scratch running from the lower edge to the head of the boy.
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FOLLOWER OF JOHANN ZOFFANY
PORTRAIT OF AN ARTIST
Oil on canvas
55 x 40cm (21½ x 15½ in.)
Unframed
Provenance:
Sale, Dreweatts, Newbury, Pictures from the collection of Tony Haynes , 12 October 2011, lot 235
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2,000 - 3,000 GBP
AFTER POMPEO GIROLAMO BATONI
THE PENITENT MARY MAGDALENE
Oil on canvas
60 x 94cm (23½ x 37 in.)
Provenance:
Sale, Christie's South Kensington, July 7, 2015, lot 386
A copy after Batoni's now-lost original which formerly hung in the Gemäldegalerie, Dresden (former inventory number, Inv Nr. 454). The original was destroyed in World War II, during three Allied bombing raids of Dresden between 13 and 14 February, 1945. By the end of the 18th century Batoni's original was widely celebrated by art critics and prompted numerous copies. Anton Graff alone is thought to have produced fourteen copies of the work (see E.P. Bowron and P.B. Kerber, Pompeo Batoni, London 2007, p. 136). It is possible that the present work is an example of Graff's many copies, while it does not appear to be one of the four copies listed by Berckenhagen (E. Berckenhagen, Anton Graff. Leben und Werk, Berlin 1967, cat. nos. 1746-1749, p. 411).
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1,500 - 2,000 GBP
FRENCH SCHOOL (18TH CENTURY)
A PAIR OF PORTRAITS OF A LADY AND GENTLEMAN, BUST-LENGTH
Oil on canvas, oval
Portrait of the gentleman signed and dated 'Sotoini 1774' (centre right)
62 x 50cm (24¼ x 19½ in.) (2)
Condition Report:
Both canvases have been relined and the paint layers appear stable. Some surface cracking throughout and the stretcher marks are slightly visible. Lady: UV reveals scattered retouching of the cracking and stretcher marks including in the sitter's face and neck, as well as a restoration in the background upper left. Gentleman: the painting is signed and dated 'Sotoini 1774' centre right. UV reveals some scattered retouching including very small areas in his face.
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