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Live
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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 in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
24 Sep 2024 10:00 - 16:00 BST
25 Sep 2024 10:00 - 16:00 BST
26 Sep 2024 10:00 - 16:00 BST
Viewing in Newbury (full sale): see below
Auction dates
09 Oct 2024 10:30 BST
Viewing dates
06 Oct 2024 10:00 - 15:00 BST
07 Oct 2024 10:00 - 16:00 BST
08 Oct 2024 10:00 - 16:00 BST
09 Oct 2024 09:00 - 16:00 BST
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Featured lots
There are 238 lots within this auction
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CIRCLE OF DENIS VAN ASLOOT (FLEMISH 1570-1628)
A FROZEN RIVER
Oil on copper
23 x 15.5cm (9 x 6 in.)
Provenance:
Brian L. Koetser, Fine Art Dealer, London, as Denis Van Asloot
Exhibited:
London, Brian L. Koetser, Fine Art Dealer, Autumn Exhibition , 1970, as Denis Van Asloot
Condition Report:
The copper presents a few superficial indents and scratches, especially near the borders. UV light reveals a thin layer of varnish and dirt, and a few scattered retouches, such as on the clothing of the ice skaters, a few vertical retouches on the trees, a few on the land in the bottom right corner, and a 2cm long patch on the bottom border, just right to the lake, in the area of shade.
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FOLLOWER OF HENDRICK AVERCAMP
WINTER SCENE
Oil on panel, oval
29 x 29cm (11¼ x 11¼ in.)
After the painting in the Hamburger Kunsthalle , Hamburg
Condition Report:
The panel presents a subtle craquelure across the whole surface, a thin layer of dirt, and a few scratches near the border. UV light reveals some slight retouching on the boats, and various infills in the sky, where the craquelure has widened. To conclude, further retouching is present near the borders, where there must have been abrasions with a past frame, such retouching is most evident on the right border.
Condition Report Disclaimer
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JAN JOSEFSZ. VAN GOYEN (DUTCH 1596 - 1656)
FISHERMEN APPROACHING A HARBOUR
Pencil
Signed with initials and dated '1652' (lower right)
12 x 19cm (4½ x 7¼ in.)
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1
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Estimate
4,000 - 6,000 GBP
FOLLOWER OF MELCHIOR D'HONDECOETER
FOWL BIRDS IN A LANDSCAPE
Oil on canvas
92 x 121cm (36 x 47½ in.)
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FOLLOWER OF BARTOLOME ESTEBAN MURILLO
THE HOLY FAMILY
Oil on canvas
103.5 x 72.5cm (40½ x 28½ in.)
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1
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1,200 - 1,600 GBP
AFTER ANTHONY VAN DYCK
CHRIST ON THE CROSS WITH ANGELS COLLECTING HIS BLOOD
Oil on canvas
130 x 91.5cm (51 x 36 in.)
After the original painting in the Musée des Augustins, Toulouse
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AFTER FRANCESCO MANCINI
FLORA
Oil on canvas
52 x 44.5cm (20¼ x 17½ in.)
After the original work of circa 1725, now in the Accademia Nazionale di San Luca, Rome
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1
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4,000 - 6,000 GBP
ITALIAN SCHOOL (18TH CENTURY)
HEAD OF THE CHRIST CHILD WITH THE VIRGIN OVERLOOKING
Oil on paper laid on panel, a fragment
37.2 x 31.4cm (14½ x 12¼ in.)
Unframed
Provenance:
William G. Coesvelt, London
His sale, Christie's, London, 13 June 1840, lot 16, from where purchased by Mr. Norton
Sale, Christie's, South Kensington, 28 October 2009, lot 21, as Follower of Antonio Allegri, Il Correggio
Literature:
A. Jameson, The Collection of Pictures of W.G. Coesvelt, Esq., of London , London, 1836, p.18, no.60, illustrated
The painting is listed in the Federico Zeri Photographic Collection, before restoration, as n. 29398
The fragment was part of a larger composition, possibly depicting the Virgin Mary and Child. As a fragment, it was rerecorded in 1836 in the collection of William G. Cosevelt, a successful merchant and connoisseur who lived at Carlton Terrace in London. His collection included renowned painters such as Velasquez, El Greco, and Murillo - with this fragment being attributed to Correggio. Always thought to be a Head of a Putto, a recent restoration unveiled in the upper corner, part of an overlooking figure that may be identified as the Virgin Mary. Based on photographs, Prof. Paul Joannides and Prof. Mary Vaccaro suggested that the painting is an 18th-century work after a composition by an artist in the circle of Correggio or Andrea del Sarto, executed to imitate the effects of pastel.
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SPANISH SCHOOL (17TH CENTURY)
SAINT FERMIN OF PAMPLONA
Oil on canvas
101.5 x 80cm (39¾ x 31¼ in.)
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SPANISH SCHOOL (17TH CENTURY)
THE HOLY TRINITY
Oil on canvas laid to board
46 x 31.5cm (18 x 12¼ in.)
Provenance:
Private Collection, UK
Sale, Roseberys, London, Old Master & 19th Century Pictures , 20 July 202, lot 29
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FOLLOWER OF SEBASTAIN VRANCX
A DISORDERLY ARMOURY
Oil on canvas
24.5 x 30cm (9½ x 11¾ in.)
Condition Report:
The canvas has been lined. There is an old repair (approx. 5cm) to the upper right quadrant which corresponds with a patch (verso). Some undulation to the canvas, particularly lower right quadrant, which is possibly a result of the lining process. Craquelure and surface dirt throughout. Inspection under UV does not reveal any flaring, however it is presumed there is some due to the aforementioned area of repair, and this is being obscured by a thick varnish.
Please note Dreweatts is not responsible for damage to frames.
Condition Report Disclaimer
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FOLLOWER OF WILLEM VAN MIERIS THE ELDER
A MAN AT A WINDOW HOLDING A GOBLET
Oil on panel
37 x 27cm (14½ x 10½ in.)
Provenance:
Sale, Christie's, London, Pictures and Drawings , 23 March 1907, lot 133
From the collection of M. L. Mathon
Condition Report:
The panel presents a thin layer of dirt. UV light reveals a thick varnish which renders the analysis of restorations difficult. Under the varnish there seems to be some restoration in the greenery above the cage.
Condition Report Disclaimer
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1
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Estimate
2,500 - 3,500 GBP
MANNER OF REMBRANDT HARMENSZ. VAN RIJN
THE ANNUNCIATION
Oil on canvas
138 x 96cm (54¼ x 37¾ in.)
Unframed
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1
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2,500 - 3,500 GBP
AFTER REMBRANDT HARMENSZ. VAN RIJN AND WORKSHOP
THE BAPTISM OF THE EUNUCH
Oil on panel
88 x 122cm (34½ x 48 in.)
After the original work of 1631, now in a private collection and recently exhibited at Museum Barberini, Rembrandt's Orient, West Meets East in Dutch Art of the 17th Century, (13 March 2021 - 27 June 2021)
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1
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2,000 - 3,000 GBP
FOLLOWER OF FRANCESCO ALBANI
THE REST ON THE FLIGHT INTO EGYPT
Oil on canvas, oval
64 x 87cm (25 x 34¼ in.)
Provenance:
Colonel Robert Raynsford Jackson (1823-1898), cotton mill owner, Clayton Grange, Wilpshire, Lancashire
Monsieur Loffet of Gunnersbury
On his death, Sale, Christie's, London, 20 February 1882, lot 93, where purchased by Mr. Shepherd
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1
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1,500 - 2,500 GBP
DOMENICO ANTONIO VACCARO (ITALIAN 1678-1745)
PAN AND SYRINX
Oil on canvas
26.5 x 33cm (10¼ x 12 in.)
Literature:
R. Lattuada,'Un disegno e un dipinto inediti di Filippo Falciatore, ed un dipinto inedito di Domenico Antonio Vaccaro', in Studi dell'arte in onore di Sylvie Beguin , Naples, 2001, pp. 533-4, illustrated
R. Lattuada, 'Domenico Antonio Vaccaro, pittore, scultore e decoratore, 'ornamento della sua patria', in Domenico Antonio Vaccaro: Sintesi delle arti , ed. B. Gravagnuolo and F. Adriani, Naples, 2005, p. 55, fig. 60
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17
Quantity
1
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Estimate
5,000 - 7,000 GBP
CIRCLE OF SIR PETER PAUL RUBENS (FLEMISH 1577-1640)
PORTRAIT OF CARDINAL-INFANTE FERDINAND OF SPAIN (1609-1641), THREE-QUARTER LENGTH, WEARING ARMOUR, A WHITE LACE COLLAR AND A RED SASH
Oil on canvas
65 x 53cm (25½ x 20¾ in.)
Provenance:
Private Collection, Canada
Cardinal Infante Ferdinand was the son of King Philip III of Spain and the younger brother of the future king, King Philip IV. Following a significant victory against a Swedish-German army at the Battle of Nördlingen, Ferdinand succeeded the Infanta Isabella as Governor of the Spanish Netherlands, finally making his triumphal entry into Antwerp on 17 th April 1635.
In 1636, Rubens was officially named as the Peintre de l'Hostel de Son Altèze , the post he had previously held under the Archduke Albert and the Archduchess Isabella. Rubens produced a number of portraits of the Cardinal-Infante, including a fully autograph work of the same composition, which was sold at Christie's on 9 th July 1993, lot 30 (£397,500 GBP). A fine version, probably period and formerly in the Metropolitan Museum of Art, was also sold at Sotheby's, New York, on 30 th January 2014, lot 233 ($16,250 USD).
All the half length portraits of the Cardinal-Infante are usually said to derive from the full length equestrian portrait of the sitter at the Battle of Nordlingen by Rubens, now in the Prado, Madrid. However, the existence of a three-quarter length portrait by Rubens at the Ringling Museum of Art, indicates that this portrait type might have been conceived by Rubens independently of the full-length portrait.
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AFTER HANS HOLBEIN THE YOUNGER
PORTRAIT OF HENRY VIII, HEAD AND SHOULDERS
Oil on panel
57 x 42cm (22¼ x 16½ in.)
Provenance:
Thomas McLean, London
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ENGLISH SCHOOL (17TH CENTURY)
PORTRAIT OF A GIRL SEATED, HOLDING A DOG
Oil on canvas
76 x 62cm (29¾ x 24¼ in.)
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1
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2,000 - 3,000 GBP
DUTCH SCHOOL (EARLY 17TH CENTURY)
PORTRAIT OF A LADY WITH LACE BONNET AND RUFF
Oil on panel
Inscribed 'AETATIS SVAE, 35. Ao dni, 1620' (upper right)
90.5 x 60cm (35½ x 23½ in.)
Provenance:
Sudgrove House, Gloucestershire
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1
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Estimate
15,000 - 20,000 GBP
CIRCLE OF JOHANN KERSEBOOM (C.1680-1708) A PORTRAIT OF TWO YOUNG GENTLEMEN, IN LANDSCAPE WITH GUNS AND GAME Oil on canvas 109 x 160cm (42¾ x 62 in.)
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CIRCLE OF GODFREY KNELLER (BRITISH 1646-1723)
PORTRAIT OF GENTLMAN WEARING A RUST COAT BESIDE A RED CURTAIN
Oil on canvas
124 x 98.5cm (48¾ x 38¾ in.)
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CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646 - 1723)
PORTRAIT OF A GENTLEMAN WEARING THE ORDER OF BATH
Oil on panel, oval
22.5 x 16cm (8¾ x 6¼ in.)
Provenance:
Sale, Christie's London, The Jeffrey Whitehead Sale , 6 August 1915, lot 61 (sold as one of three)
Condition Report:
Fine craquelure, an uneven varnish, and surface scratching throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals light scattered retouching throughout.
Please note Dreweatts is not liable for damage to frames.
Condition Report Disclaimer
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ENGLISH SCHOOL (EARLY 18TH CENTURY)
PORTRAIT OF HENRY STREATFEILD OF CHIDDINGSTONE (1679-1747)
Oil on canvas, feigned oval
74 x 61.5cm (29 x 24 in.)
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1
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Estimate
1,500 - 2,500 GBP
ENGLISH SCHOOL (LATE 17TH CENTURY)
PORTRAIT OF A GENTLEMAN IN ARMOUR
Oil on canvas, feigned oval
74 x 61cm (29 x 24 in.)
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1
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Estimate
2,500 - 3,500 GBP
CIRCLE OF HYACINTHE RIGAUD (FRENCH 1659 - 1743)
PORTRAIT OF A GENTLEMAN IN ARMOUR
Oil on canvas
81.5 x 63.5cm (32 x 25 in.)
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1
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Estimate
5,000 - 7,000 GBP
SIR PETER LELY (BRITISH 1618-1680) AND STUDIO
PORTRAIT OF A LADY, POSSIBLY A MEMBER OF THE COURT
Oil on canvas
127 x 103cm (50 x 40½ in.)
In a carved giltwood frame
Provenance:
Sale, Christie's, London, 21 November 1980, lot unknown
Sale, Christie's, London, British Pictures , 20 November 1992, lot 2, as Sir Peter Lely
Sudgrove House, Gloucestershire
Literature:
Waldershare Park Catalogue, No 171
In the current painting, as in many of Peter Lely's late portraits, the division of labour between the master and his studio assistants is evident. Lely himself would have focused on the face and expression of the sitter, while the studio on the drapery and background. Such methodology was put in place in order to cope with the high demand for portraits.
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CIRCLE OF HERMAN VAN DER MYN (DUTCH 1684-1741)
PORTRAIT OF A GIRL HOLDING A BASKET OF FRUIT
Oil on canvas
57.5 x 50cm (22½ x 19½ in.)
Provenance:
Thomas Agnew & Sons, London
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1
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Estimate
1,500 - 2,500 GBP
ENGLISH SCHOOL (LATE 17TH/EARLY 18TH CENTURY)
PORTRAIT OF A GENTLEMAN WEARING OCHRE COAT; PORTRAIT OF A LADY WEARING A BLUE DRESS
Oil on canvas, a pair
Each 73 x 60cm (28½ x 23½ in.) (2)
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30
Quantity
1
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Estimate
4,000 - 6,000 GBP
CIRCLE OF CHARLES D'AGAR (FRENCH 1669 - 1723)
PORTRAIT OF THREE GRAVES CHILDREN, HOLDING FLOWERS IN A LANDSCAPE
Oil on canvas
127 x 101.6cm (50 x 40 in.)
Provenance:
Sydney Graves Hamilton, Kiftsgates Court, Gloucestershire
The sitters are believed to be the children of Richard Graves.
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1
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Estimate
15,000 - 25,000 GBP
NORTH ITALIAN SCHOOL (CIRCA 1730)
GROUP PORTRAIT OF CHILDREN TROTTI BENTIVOGLIO FAMILY
Oil on canvas
174 x 254cm (68½ x 100 in.)
The Trotti Bentivoglio family were a noble family from Alessandria. Antonio Trotti, a military man, became captain of justice in Bologna and obtained from Giovanni II Bentivoglio, Lord of Bologna, permission to use his surname and arms, on 25 December 1478, thus creating the Trotti Bentivoglio dynasty.
Through the generations, members of the family held administrative roles on a local level on behalf of the Duchy of Milan which owned the city of Castellazzo with all of Alessandria until the Savoy conquest in the eighteenth centruy.
The Trotti Bentivoglio family line came to an end in 1930 with the death of Lorenzo Trotti Bentivoglio, a painter and writer, who bequeathed his palace to the municipal administration in Alessandria.
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FOLLOWER OF JACQUES-FRANCOIS DELYEN
FLORA WITH PUTTI
Oil on copper
27 x 22cm (10½ x 8½ in.)
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FOLLOWER OF DIRCK VAN DER LISSE
NYMPHS BATHING
Oil on panel
32.5 x 25.5cm (12¾ x 10 in.)
Provenance:
The collection of Lady Falle
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1
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Estimate
2,000 - 3,000 GBP
AFTER ANTOINE WATTEAU
THE CASCADE; THE COUNTRY DANCE
Oil on panel, a pair
Each 45.5 x 34cm (17¾ x 13¼ in.) (2)
The original works in a private collection, and in the collection of the Huntington Library and Museum, Pasadena, respectively.
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1
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Estimate
5,000 - 7,000 GBP
GERARD WIGMANA (DUTCH 1673-1741)
VENUS ASLEEP
Oil on panel
Signed (to base of column, centre left)
66 x 52cm (25 x 20¼ in.)
Provenance:
Possibly Sir Thomas Sebright, 4th Baronet of Beechwood Park (1692-1736), or Thomas Sclater, later Bacon (c. 1664-1736);
Possibly their Posthumous Sale, Those valuable collections of the Hon. Sir Thomas Seabright, Bart. and of Thomas Sclater Bacon, Esq ', London, 17 May 1737, lot 87
Sale, Sotheby's, Paris, 30 June 2020, lot 55
Literature:
Possibly B. van Haersma Buma, 'Gerardus Wigmana. De Friese Raphael', in De Vrije Fries , XLIX, 1969, p. 63
Nicknamed 'the Frisian Raphael' for his skill in emulating Raphael's style of smooth painting, Gerard Wigmana was a Dutch artist born in the small Frisian town of Workum. He travelled across Europe developing his painterly practice, studying at the Royal Academy in Paris for a year, before moving to Rome in 1699. He lived in the city for about three years, before returning to the Netherlands and settling in Amsterdam in around 1709, where he remained active as a painter until the end of his life.
A smaller, comparable version of this composition was sold in Sale, Nagel Auktionen Stuttgart, Stuttgart, 19 September 2007, lot 642
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ZACHARIE FELIX DOUMET (FRENCH 1761-1818)
TWO VIEWS OF THE ENVIRONS D'ASCALDAS, NEAR LISBON
Bodycolour, a pair
Both signed (lower centre)
Each 18.5 x 18.5cm (7¼ x 7¼ in.) (2)
Provenance:
Sale, Christie's, South Kensington, Old Master Drawings , 15 December 2000, lot 148
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1
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Estimate
3,000 - 5,000 GBP
JOHANN CHRISTIAN VOLLARDT (GERMAN 1708-1769)
ITALIANATE LANDSCAPES WITH FIGURES BEFORE AN URN AND AN OBELISK
Oil on panel, a pair
Signed (lower left and right)
Each 28 x 22cm (11 x 8½ in.) (2)
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DUTCH SCHOOL (17TH CENTURY)
BOATS ON A CANAL
Oil on panel
26 x 34.5cm (10 x 13½ in.)
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CIRLCE OF JOSEF VAN BREDAEL (FLEMISH 1688-1739)
SAINT ANTHONY (RECTO); ORIGINAL DESIGN FOR ENGRAVING, FRAGMENT (VERSO)
Oil on copper
With red wax studio stamp to supporting panel (verso)
12 x 14cm (4½ x 5½ in.)
A painting with strong similarities was sold at Dorotheum, Vienna, Old Master Paintings II , 12 May 2022, lot 273, as Attributed to Josef Van Bredael
Condition Report:
Scattered areas of flaking and paint loss throughout. Surface dirt and discolouration. Would benefit from a clean. Uneven varnish. Some light craquelure. The reverse of the copper plate with upper left corner of a design for an etching, with some light wear but in good condition commensurate with age.
Please note Dreweatts is not responsible for damage to frames.
Condition Report Disclaimer
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1
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Estimate
1,200 - 1,800 GBP
FRANZ DE PAULA FERG (AUSTRIAN 1689-1740)
TRAVELLERS ON A COUNTRY PATH, A RIVER LANDSCAPE BEYOND
Oil on copper
Signed (lower right)
32 x 41cm (12½ x 16 in.)
Provenance:
Sale, Bonhams, London, 8 July 2015, lot 80
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1
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Estimate
2,000 - 3,000 GBP
FOLLOWER OF JACOB ISAAKSZOON VAN RUISDAEL
FIGURES IN A WOODED LANDSCAPE
Oil on canvas
Bears indistinct signature 'Ruisdael [?]' (lower right)
86 x 116cm (33¾ x 45½ in.)
Provenance:
Sale, Sotheby's Olympia, Old Master Paintings, 6 July 2004, lot 465
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1
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Estimate
1,500 - 2,500 GBP
MANNER OF PALAMEDES PALAMEDESZ
A CALVARY SKIRMISH WITH FIGURES IN COMBAT BY A BRIDGE AND A RIVER
Oil on canvas
60 x 91cm (23½ x 35¾ in.)
Provenance:
Sale, possibly Bonhams, 1 March 1983, lot 25
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FOLLOWER OF PHILIPS WOUVERMAN
HORSEMEN TAKING ALE AT AN ENCAMPMENT
Oil on canvas laid on panel
87 x 114cm (34¼ x 44¾ in.)
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1
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Estimate
2,000 - 3,000 GBP
FOLLOWER OF JEAN-BAPTISTE PATER
THE DEPARTURE OF THE SOLDIERS
Oil on canvas
91 x 99cm (35¾ x 38¾ in.)
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1,500 - 2,000 GBP
CIRCLE OF GEORGE BARRET (IRISH CIRCA 1728-1784)
FISHING SCENE AT SUNSET
Oil on canvas
86 x 107.5cm (33¾ x 42¼ in.)
Provenance:
Sale, Sotheby's, 28 November 2002, lot 121
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FOLLOWER OF PHILIP JAMES DE LOUTHERBOURG
LANDSCAPE WITH A STAGE COACH, SCENE ON THE DOVER ROAD
Oil on canvas
Bears signature (lower left)
83.5 x 114cm (32¾ x 44¾ in.)
Provenance:
The Parker Gallery, London
Sale, Sotheby's, London, The British Sale: Paintings & Watercolours , 28 November 2002, lot 126
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AFTER RICHARD WILSON
VIEW ON THE RIVER DEE NEAR EATON HALL
Oil on canvas
46.5 x 62.5cm (18¼ x 24½ in.)
Provenance:
William Angerstein
His Sale, Christie's, London, 20 June 1874, lot 5
Earl Fitzwilliam
His Sale, Christie's, 11 June 1948, lot 70
Agnew & Sons, London, 1948, No. 14789 (to old label verso)
Where purchased by a relative of the present owner in 1952
Wilson painted many versions of this subject, including paintings now in The Courtauld Gallery, The Barber Institute of Fine Arts and at Petworth House. The most comparable version in the National Library of Wales collection but like this picture, it is now thought to be by a follower of Wilson.
We are grateful to Richard Wilson Online for their assistance with preparing this catalogue entry.
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THOMAS BARKER OF BATH (BRITISH 1769-1847)
DROVERS WITH CATTLE
Oil on canvas
52 x 62cm (20¼ x 24¼ in.)
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FOLLOWER OF RICHARD WILSON
FIGURES IN A LANDSCAPE AT SUNSET
Oil on canvas
61.5 x 81cm (24 x 31¾ in.)
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FOLLOWER OF CARLO LABRUZZI
VIEW OF LAKE NEMI
Oil on canvas
67 x 103cm (26¼ x 40½ in.)
Provenance:
Sale, Sotheby's Olympia, 4 July 2006, lot 546
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ITALIAN SCHOOL (18TH CENTURY)
PEASANTS CROSSING A BRIDGE; TRAVELLERS RESTING
Oil on canvas, a pair
The latter indistinctly signed (lower right)
Each 36 x 52.5cm (14 x 20½ in.) (2)
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2,000 - 3,000 GBP
CIRCLE OF GEORGE SMITH OF CHICHESTER (1714-1776)
A STILL LIFE OF A TANKARD, A BOTTLE AND FOOD ON A TABLE
Oil on canvas
61 x 73cm (24 x 28½ in.)
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DUTCH SCHOOL (LATE 18TH CENTURY)
STILL LIFE WITH FLOWERS ON A STONE LEDGE
Oil on canvas
Signed 'H. B. LUST [?]' (lower left)
74 x 61cm (29 x 24 in.)
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4,000 - 6,000 GBP
CIRCLE OF JEAN BAPTISTE MONNOYER (FRENCH 1636 - 1699)
STILL LIFE OF FLOWERS IN A GLASS VASE
Oil on canvas
49 x 37.5cm (19¼ x 14¾ in.)
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15,000 - 25,000 GBP
JOHN VANDERBANK (BRITISH 1694 - 1739)
THE HONOURABLE JOHN SPENCER CIRCA 1732
Oil on canvas
Inscribed (lower left)
240 x 144.5cm (94¼ x 56¾ in.)
Unframed
Provenance:
Presumably commissioned by the sitters father-in-law, John Carteret, 2nd Earl Granville
Thence by descent
Lady Louisa Carteret, who married Thomas Thynne, 2nd Viscout Weymouth
Thence by descent
Henry Frederick Thynne, 1st Baron Carteret (1735 - 1763)
Thence by descent
His sale, Christie's London, The Thynne Heirlooms , 1 May 1911, lot 54 (to Cohen)
Private Collection, England
Sale, Christie's, London, 11 July 1997, lot 54 (as attributed to Stephen Slaughter)
Private Collection, South Africa
Literature:
Herbert Minton Cundall, Handbook for Hertfordshire, Bedfordshire and Huntingdonshire; with Maps and Plans , John Murray, London, 1895, p.130
The Honourable John Spencer was born on the 13 th May 1708 and was the youngest son of Charles Spencer, 3rd Earl of Sunderland and his wife Anne Churchill, daughter of the 1st Duke and Duchess of Marlborough. John was only 7 when his mother died and he was consequentially bought up by his grandmother, the infamous Sarah, Duchess of Marlborough. Unlike his brothers, John had not inherited a title, despite this, his grandmother wrote that " I design to set up the only grandson I have now that is a commoner, John Spencer, who has a very considerable fortune for a younger brother, and I will it as good as most elder brothers ".
This was certainly the case and the inheritance from his grandmother allowed John to live an immensely comfortable life. After attending Eton, he undertook a Grand Tour between 1725 and 1727 going to France, Switzerland and Italy. In 1732, John Spencer succeeded his cousin, William Godolphin, Marquess of Blandford, as the Member of Parliament for Woodstock, a seat he held until his death in 1746. He is also listed as one of the founding governors for the Foundling Hospital, set up to educate and house deserted young children. On the death of his father, in 1722, he inherited vast swathes of land, notably the family estates in Northamptonshire, including Althorp, as well as already having the properties given to him by his grandmother, including Wimbledon Park. Shortly after he came into his inheritance, he married Georgiana Caroline Carteret, the third daughter and co-heir of John Carteret, 2nd Earl Granville.
John Vanderbank was the son of John Vanderbank senior, the leading tapestry weaver in the country who supplied the Royal Family with tapestries and introduced the less formal chinoiserie style in textiles. After training under his father and the artist Jonathan Richardson, Vanderbank became one of the first pupils at Sir Godfrey Kneller's art academy in 1711, where he continued his training before founding his own academy in 1720. One of Vanderbank's earliest commissions was his 1719 portrait of the 3rd Duke of Marlborough (Government Art Collection, London), John Spencer's older brother, on horseback. This was such a success that other aristocratic commissions soon started to follow, including from King George II and Queen Caroline which cemented his position as a leading Court portraitist.
This interesting full-length portrait depicting John Spencer in Hussar's uniform was noted by art historian Minton Cundall as hanging in the drawing room at Haynes Park in 1895, alongside the portrait of Spencer's wife Georgiana Carteret, also by Vanderbank and now in the collection of the Earl Spencer at Althorp. It is highly probable that these two works were commissioned by John Carteret, 2nd Earl Granville for the couple's marriage in 1732, and hung together as pendant works.
John Spencer was a popular figure at Court and great friends with Frederick, Prince of Wales. Indeed, his portrait is also captured by the equestrian artist John Wootton in a series of works in the Royal Collection showing the Prince of Wales accompanied by courtiers whilst shooting and hunting. Spencer's position at Court was reflected in his appointment as the Ranger of Windsor Great Park, after the death of his grandmother in 1744, who held the position previously.
Unusually, the rich Hussar's uniform which Spencer wears seems to have been chosen as Court fancy dress rather than to indicate a military position. Spencer was a politician and landowner rather than a military man and there does not appear to be any record of him serving with an Hussar regiment. Vanderbank's capability in recreating the rich materials and textiles of this exotic uniform gives the sitter an added gravitas and the size of the portrait gives additional swagger to an impressive composition.
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ATTRIBUTED TO COSMO ALEXANDER (SCOTTISH 1724-1772)
PORTRAIT OF SIR JOSEPH SCOTT BT (1752-1828)
Oil on canvas
73 x 59.5cm (28½ x 23¼ in.)
Provenance:
By descent through the family of the sitter
Sir Joseph Scott was the son of William Scott of Great Barr Hall, then in Staffordshire. In 1777 he replaced the house with a Strawberry Hill Gothic Revival mansion. He was a High Sherriff in 1799 and MP for Worcester from 1802-1806 when he was created 1st Baronet, as Scott of Great Barr. He married Margaret Whitby by whom he had three children, one daughter Mary who died aged 15 and two sons Edward Dolman Scott who succeeded him in 1828, and William Scott who became Vicar of Great Barr. A portrait of Sir Joseph Scott by John Singleton Copley, circa 1765 is in the collection of Los Angeles County Museum. (AC1992.317.1)
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ENGLISH SCHOOL (18TH CENTURY)
PORTRAIT OF A GENTLEMAN, TRADITIONALLY IDENTIFIED AS ALEXANDER POPE (1688 - 1744)
Oil on canvas
76.2 x 61cm (30 x 24 in.)
Provenance:
Lt. Col. A Heywood-Lonsdale, Market Drayton
Sale, Christie's London, 24 October 1958, lot 75, as by William Hogarth
Strawberry Hill, Twickenham, where hung in the Long Gallery
Sale, Christie's South Kensington, 17 February 2008, lot 65
Literature:
A. Chalcraft & J. Viscardi, Strawberry Hill: Horace Walpole's Gothic Castle , London, 2007, p.143
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6,000 - 8,000 GBP
ATTRIBUTED TO THOMAS HUDSON (BRITISH 1701-1779)
PORTRAIT OF A LADY, BUST-LENGTH, IN A SILK DRESS DECORATED WITH PEARLS
Oil on canvas
74 x 60.3cm (29 x 23½ in.)
Provenance:
Sale, Christie's London, 28th January 1983, lot 32 (as T. Hudson £3200)
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CIRCLE OF HUBERT ROBERT (FRENCH 1733-1808)
A VIEW INSPIRED BY THE GARDENS OF THE VILLA D'ESTE; AND A VIEW INSPIRED BY LA FONTAINE DE L'ORGUE AT THE VILLA D'ESTE
Red chalk, a pair
Both bear signature and date 'Roberti. 1765' (lower right)
Each 40 x 28.4cm (15½ x 11 in.) (2)
The drawings are direct copies after Hubert Robert compositions; the original drawings are now lost but known through counterproofs housed at the Musée des Beaux-Arts et D'archéologie at Besançon.1
1. Hubert Robert, A view inspired by the Gardens of the Villa d'Este, red chalk counterproof, Musée des Beaux-Arts at D'archéologie at Besançon (BM, inv. vol. 452, no. 34); Hubert Robert, A view inspired by La fontaine de l'Orgue at the Villa d'Este, red chalk counterproof (BM, inv. vol. 452, no. 38)
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1,500 - 2,000 GBP
CIRCLE OF HUBERT ROBERT (FRENCH 1733-1808)
FIGURES AMONG CLASSICAL SCULPTURES
Watercolour and pencil
22 x 17cm (8½ x 6½ in.)
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