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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Old Master, British and European Art
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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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There are 238 lots within this auction
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AFTER ELIZABETH LOUISE VIGÉE LE BRUN
SELF PORTRAIT OF THE ARTIST
Oil on canvas
102 x 83cm (40 x 32½ in.)
After the original, painted in Naples 1791, and now in the collection of the National Trust at Ickworth House, Suffolk NT851782
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20,000 - 30,000 GBP
THOMAS DANIELL R.A. (BRITISH 1749-1840)
VIEW IN THE KOAH NULLAH
Oil on canvas
58 x 45cm (22¾ x 17½ in.)
In August 1788, Thomas Daniell began to plan a tour up-country, passing through Cawnpore, and then on to Agra and Delhi, before heading further north to Amroha and Najibabad.
The rocky valley of the Khoh river, that leads into the Garhwal hills, was the route that the Daniells followed on the final outbound leg of their journey from Kotdwara to Srinagar in April 1789. Parts of the journey were perilous because of the difficult roads, and much of the terrain was unknown to the British. The Daniels were in fact the first Europeans ever to visit Garhwal.
They wrote: 'We all four were carried in our jampans [hill palanquins] by four bearers to each who seemed to take us with the greatest ease.' (Archer, p.86) However, it was often too steep to use their palanquins and they had to climb up the rocky watercourse.
Described by the pair, 'The Koah Nullah [Khoh River] is a mountain stream that in the season of rain must be a furious torrent, but in the month of April was a delightful rivulet, that, sparkling in the sun, gave animation and beauty to the rude scenes through which it pursued its course' (Oriental Scenery, Part 4, Plate 15).
The enthusiasm for sparkling streams was apparently not shared by the Daniells' remaining Bengali servants who, as well as being hostile to the wheat eaten in this region, these lowlanders were also prejudiced against 'beautiful transparent water' flowing in the hills: their stagnant reservoirs, and even the turbid waters of the Hooghly at Calcutta, appeared to them much more inviting' (Archer, p.87).
In the autumn of 1791, the pair of artists arrived back at Calcutta, having travelled many miles since their departure in August 1788. Their arrival was noted by William Baillie, who informed Ozias Humphry (November 3rd, 1793) that 'Mr. Thomas Daniell returned to Calcutta with a collection of about 150 pictures.' On the 5 th January 1792, the Calcutta Gazette announced a 'Lottery of pictures painted during the extended tour'. (Sutton, p.66-67) One hundred and fifty pictures and paintings were exhibited at the Old Harmonic Tavern, with the draw taking place on March 1 st .
Although no catalogue of this lottery survives, it is likely that the present, unrecorded, lot, was one of the hundred and fifty works produced for this financial venture. If this is the case, we can date the work to circa 1790-1791 when the Daniells were working on pictures for the Calcutta Lottery.
Much of the works produced by the Daniells during their time in India include buildings or ruins; both a reflection of their own artistic ideals, and of the idea that India itself was the scene of ancient civilisations. However, the foothills of the Himalayas presented the pair with the opportunity to paint pure landscapes. The present lot is not completely free of buildings, but the humble dwelling at its centre is quickly dwarfed and overshadowed by the sublime rugged mountains and spirited waters which surround it.
A watercolour sold at Christie's, London, The P&O Collection of Watercolours of India by Thomas and William Daniell , 24 September 1996, lot 62, entitled The Khoh River, near Diosa, Garhwal, Uttar Pradesh (Oriental Scenery vol. IV, engraving No.18) appears to offer a similar view to the present lot but from a vantage point further down the Khoh River, omitting the house, but with the same mountain range easily identifiable. In addition, the artist depicted the same view in one of a pair of drawings entitled Old Lungoor Ghur: Near Nytana, Srinagar Mountains (Sale, Christie's London 29 th October 2019, lot 91).
A comparable oil painting, The Koh Valley in Garhwal, Northern India , was sold at Bonhams Travel and Topographical Pictures auction on 10 May 2005, lot 67.
We are grateful to Charles Greig for his assistance in preparing this catalogue entry.
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1
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Estimate
100,000 - 150,000 GBP
ARTHUR WILLIAM DEVIS (BRITISH 1762-1822)
A DOUBLE PORTRAIT OF TWO BOYS, ONE POINTING TO INDIA ON A GLOBE: A DOUBLE PORTRAIT OF TWO BOYS, PRACTICING ARCHERY
Oil on canvas, a pair
The former inscribed `Miss Kensington No.106' (on the reverse of the frame); and the latter inscribed `Miss Kensington No.105' (on the reverse of the frame)
Each 79.4 x 56.5cm (31¼ x 22 in.) (2)
Provenance:
Private collection, UK
Philips, Son & Neale, 1st December 1969, lot 30
Richard Green, London
Dr Norman Power
Arthur William Devis inherited his talent from his father, the portrait painter Arthur Devis (1712-1787). He led an adventurous life and in 1782 was `appointed Draftsman by a private committee of the East India Company to pursue a voyage around the world' (2) aboard the Antelope . He was wounded by arrows in New Guinea and shipwrecked off the Palau Islands in the Pacific. Devis reached Calcutta in 1785, hoping to make his fortune as a portrait painter. Handsome, charming and generous, he plunged into the extravagant, febrile world of Calcutta society, where East India Company officials lived with all the elegance of Europe and the glamour of the East. One of Devis's first sitters was the Governor-General of Bengal, Warren Hastings and he went on to paint Marquess Cornwallis Receiving the Hostage Prince of Mysore before Seringapatam: and The Finding of the body of Tippoo Sahib, The Sultan of Mysore. Devis returned to England in 1795, intending to publish his series of twenty-six paintings of Indian Manufacturers . He built up his reputation as a portrait painter, often executing commissions for families with connections to India.
He became renowned for portraits of children: his gentle, warm personality put them at their ease. Sydney Pavière, Devis's biographer, comments: 'That he was fond of little children cannot be doubted. He painted them so lovingly and well' (3) . This can be seen in the present pair of portraits of four brothers. The elder pair stand in an interior with a table globe and the younger of the two boys' points to India, making clear the family's connection with that country. The elder boys, engaged in learning about the world, have the gravity of approaching manhood. Their young brothers live still in a world of outdoor play and sunlight. They are depicted practicing archery in the shade of a huge tree, the vastness of which suggests the tropics and is similar to the Banyan Tree in Devis's portrait of Colin Shakespeare, of the Bengal Civil Service (4).
Both portraits are inscribed `Miss Kensington' on the reverse of the frames. It is possible that the boys are members of the Kensington family who are recorded in Madras in the early nineteenth century. For example, Henry Kensington (d.1825) began his career as a Writer (or clerk, the first rung of an East India Company career) in 1808 and rose to be Registrar to the Provincial Court, Southern Division by 1822 . There may well have been earlier generations of the family living in India. Devis visited Madras in 1793.
1. Sydney H Pavière, The Devis Family of Painters , Leigh-on-Sea 1950, p.102
2 Ibid p.104
3 Ibid p.113
4 Ibid p.114, no.134, plate 46
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1
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Estimate
3,000 - 5,000 GBP
THOMAS LONGCROFT (BRITISH ACTIVE CIRCA 1784-1811)
HASAN REZA'S MOSQUE AT FAIZABAD, NORTH INDIA
Watercolour
Inscribed 'Hassen Reza Mosque / ** / Faizabad built 1792' (verso, lower left)
43 x 59.5cm (16¾ x 23¼ in.)
We are grateful to Charles Greig for his assistance in preparing this catalogue entry
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C H S BAYBROOKE (BRITISH 19TH CENTURY)
SRI DALADA MALIGAWA, KANDY, SRI LANKA, (TEMPLE OF THE SACRED TOOTH RELIC)
Watercolour
Signed and dated '1877' (lower left)
31 x 47cm (12 x 18½ in.)
Provenance:
Sale, Bellmans, Sussex, 1 January 2019, lot 1075
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FOLLOWER OF FRANCIS COTES
THE YOUNG CRICKETER
Oil on canvas
74 x 61.5cm (29 x 24 in.)
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AFTER JEAN-MARC NATTIER
PORTRAIT OF MADAME SOPHIE DE FRANCE
Coloured chalk, oval
80 x 66cm (31¼ x 25 in.)
A version of this painting is in the Palais de Versailles.
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1
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Estimate
1,500 - 2,500 GBP
HENRY WALTON (BRITISH 1746-1813)
THE BARN GIRL
Oil on canvas
47 x 43.5cm (18½ x 17 in.)
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1
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3,000 - 5,000 GBP
ATTRIBUTED TO JOHN SINGLETON COPLEY (ANGLO-AMERICAN 1738-1815)
PORTRAIT OF SIR JOHN TEMPLE 8TH BT (1732-1798)
Oil on canvas
51 x 40.5cm (20 x 15¾ in.)
Provenance:
T. B. Winthrop
Mary F. Winthrop 1903 (according to a label on the reverse)
Mrs J.G. Minot, wife of Joseph Grafton Minot (1892-?) the son of J.F. Minot who was married to Honora Elizabeth Winthrop
Lawrence Pratt
Sale, Sotheby's, New York, 4 June 1987, lot 122 (as Arthur Devis)
Exhibited:
Boston, 1923
Lt.-Gov. Sir John Temple, 8th Bt., of Stowe was the British Consul-General to the United States of America. He married Elizabeth Bowdoin (1750-1809)and they had three children, Sir Grenville Temple (1768-1829), Elizabeth (Temple) Winthrop (1769-1825) and Augusta (Temple) Palmer (1779-1852).
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1
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Estimate
15,000 - 20,000 GBP
THOMAS BEACH (BRITISH 1737-1806)
PORTRAIT OF EDWARD HELYAR, AGED EIGHTEEN; AND PORTRAIT OF BRIDGET, AGED THIRTEEN. TWO OF THE CHILDREN OF WILLIAM AND ELIZABETH HELYAR OF COKER COURT, SOMERSET
Oil on canvas, a pair
Each 76.2 x 64.8cm (30 x 25½ in.) (2)
Provenance:
Commissioned by William Helyar (1720-1783), at Coker Court until the 1970s, then by family descent to a private collection, UK
Literature:
`Coker Court, Somerset, the seat of Major GW Heneage', Country Life, 2nd January 1909, p.25
This charming pair of paintings was commissioned circa.1768 by William Helyar (1720-1883) to adorn the new Georgian wing of his house, Coker Court, East Coker, near Yeovil in Somerset. Thomas Beach was a Dorset man born and bred who trained with Sir Joshua Reynolds and had a flourishing career painting West Country gentry families.
William Helyar had ten children with his wife Elizabeth, née Weston. Edward was their fourth child and was eighteen when this portrait was painted. He is shown on the seashore with a telescope and shipping in the distance. The Helyars, like many West Country landed families, had mercantile interests and, as a younger son, Edward would probably have been brought up for involvement in one of these.
Bridget is thirteen in a park landscape with a statue and a distant sunrise, which echoes her elegant, shell-pink dress. With her blonde hair wreathed with pearls and a rose in her hand, she epitomizes youthful beauty and modesty. Beach is emulating his master Joshua Reynolds, who uses 'theatrical' clothing to give a timeless quality to his sitters. .
The Helyar family had lived at East Coker since 1616, when the manor was bought by William Helyar (1559-1645), Archdeacon of Barnstaple and Chaplain to Queen Elizabeth I. Staunch Royalists, the Helyars suffered under Cromwell's regime but flourished with the Restoration. The children's father William (1720-1783) married Elizabeth Weston in 1744. In 1766 he commissioned from William Chambers the elegant neoclassical addition to the fifteenth and sixteenth century buildings of Coker Court. Fourteen family portraits were commissioned from Thomas Beach to hang in the new wing, remaining there until the 1970s.
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72
Quantity
1
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Estimate
10,000 - 15,000 GBP
NATHANIEL DANCE (BRITISH 1735-1811)
POWLETT WRIGHTE (THE YOUNGER), STANDING BEFORE ENGLEFIELD HOUSE, BERKSHIRE
Oil on canvas
71.1 x 91.4cm (27 x 35 in.)
Provenance:
Presumably commissioned by the sitter or the sitter's family
George J. Kidston (1873-1954) of Hazelbury Manor, Box, Wiltshire
Frost & Reed, London
Private Collection U.S.A.
The present lot is a charming example in the mid-eighteenth-century tradition of the English country house conversation piece, having been identified from another almost identical version of the work, currently in a private collection, which is inscribed to the frame with details of the sitter, location and artist. The two pictures are contemporary with each other, and from the style of painting the hand is clearly the same. The only variants are some very slight differences in some of the trees and the painting offered here includes a dog in the foreground, which is omitted from the other version.
Powlett Wrighte Junior (1739-1779) was the son of Powlett and Mary Wrighte and the heir to Englefield House and its estate. His father died in 1741, when he was just two years old and the house and estates were left in trust for him until he turned twenty-one. Both paintings show Englefield as it was in the mid-18th century, most likely around 1760, the year Wrighte turned twenty-one and came into full ownership of the house.
This would have been a thoroughly plausible reason to commission a painting of himself, standing proudly in front of his country house of which he was now master. Given that his mother, now the chatelaine of several large houses through her second marriage in 1745, would have spent much of her time away from Englefield, it is also entirely plausible that she would have wanted a second version of the picture to hang in one of her other houses to remind her of the house where she lived before and to remind her of her eldest son, who was now the master there.
Upon his death in 1779 and, being childless, Wrighte left the Englefield estate to his uncle, Nathaniel Wrighte in accordance with his father's will. Nathaniel Wrighte let the house and estate to Lady Clive, the widow of the famous 'Clive of India' and she lived there for some years in the 1780s.
Since that time that house has been architecturally altered more than once - most significantly during the early 19th century when it was given some impressive 'Gothic' additions. The elevation shown in this picture, however, is largely still extant today and the positioning of the church to the viewer's right is similarly unchanged. The descendants of Powlett Wrighte are still the owners of Englefield House today.
For Nathaniel Dance, 1760 was also a pivotal year. Initially it is hard to reconcile this picture stylistically with most of the known works by Dance which are much more informed in their handling of his sitters, giving them a certain charisma and depth which is lacking here. However, if we keep the date of 1760 in mind, we note that this predates his trip to Italy, and more specifically Rome, where he met and was influenced by the grand-manner portrait painter Pompeo Batoni. Prior to this trip abroad, the influences of Dance ' s tutor Francis Hayman are more noticeable. Similar examples of Dance ' s work in this early style include The Dashwood Family at Wycombe Park (Witt 147628), and Colonel Thornton at Falconer's Hall (Witt 147629).
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1
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Estimate
20,000 - 30,000 GBP
THOMAS GAINSBOROUGH (BRITISH 1727-1788)
PORTRAIT OF A GENTLEMAN, BUST-LENGTH, IN A GREEN COAT
Oil on canvas, painted oval
74 x 61cm (29 x 24 in.)
In a rococo frame
Provenance:
By descent to the sitter's great-grandson, Col. Hogarth, West Country, c.1900
Mrs Larson
J.S. Birt, his anonymous sale, Sotheby's 12th July 1967, lot 97, where purchased by
Mrs P.M. Spens (£900)
With Leger Galleries, by December 1967
Where purchased by the present owner in May 1969
Literature:
Belsey, H. Gainsborough Portraits, Volume II, p.933, No.1026
Exhibited:
Leger Galleries, 1968, No.8
Gainsborough's House 1988 (short-term loan)
In Hugh Belsey's Gainsborough Portraits (op. cit.) he notes that the portrait was wrongly attributed to the artists nephew Gainsborough Dupont, a view supported at the time by Ellis Waterhouse, He goes on to say `However, the sensitivity of the head and the and the relative flatness of the coat due to overpaint, firmly support an attribution to [Thomas] Gainsborough.'
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1
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Estimate
4,000 - 6,000 GBP
GEORGE MORLAND (BRITISH 1763-1804)
PORTRAIT OF A GENTLEMAN PATRON, THREE-QUATER LENGTH, SEATED BEFORE A LANDSCAPE PAINTING
Oil on canvas
Signed (to painting, lower left)
62 x 40.5cm (24¼ x 15¾ in.)
Provenance:
A. Heywood-Lonsdale
By whom sold, Christie's, London, 24 October 1958, lot 90, as a Self Portrait
Fine Art Society, London, purchased from the above (when advertised in Apollo, December 1958)
Sale, Sotheby's, London, 23 June 1971, lot 66, as a Self Portrait
Sale, Sotheby's, London, 27 June 1973, lot 74, as a Self Portrait
Literature:
D. Winter, George Morland (1763-1804), doctoral diss., Stanford University, California 1977, p. 197, no. P203 (dated to 1800-1804)
A similar depiction of a patron admiring an oil painting by Morland (also signed on the canvas within the picture), is known to be a portrait of Henry Wright; it was at Sotheby's, London, 13 July 1988, lot 190
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1
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Estimate
20,000 - 30,000 GBP
‡ GEORGE ROMNEY (BRITISH 1734-1802)
MRS. HENRIETTA HAWKINS BROWNE (1752-1802), 1793
Oil on canvas
127 x 102cm (50 x 40 in.)
Provenance:
Painted for the sitter's husband, Isaac Hawkins Brown (1745-1818); and by descent to
The Hon. C. Hay
Agnew's, London, acquired from the above in May 1889
W. Lockett Agnew, acquired from the above in March 1892
Mrs. Agnew's Sale, Christie's, London, 15 June 1923, lot 52 (£787 10s)
Tooth [presumably Arthur Tooth, London], acquired at the above sale
Sale, Christie's, New York, 12 January 1978, lot 140
Private Collection, acquired at the above sale
Literature:
H. Maxwell, George Romney , London, 1902, p. 171, n. 40
H. Ward & W. Roberts, Romney, A Biographical and Critical Essay with a Catalogue Raisonné of his Works , London & New York, NY, 1904, vol. II, pp. 19-20
A. Kidson, George Romney, A complete catalogue of his paintings , New Haven, CT & London, 2015, vol I, p. 99, n. 165 (illus.; as 'untraced')
Exhibited:
Birmingham, Museum and Art Gallery, Loan Collection of Portraits , 1900, n. 13
The sitter was the eldest daughter of the Hon. Edward Hay, fourth son of the 8th Earl of Kinnoull, and his wife Mary, nee Flower. In May 1788 she married Isaac Hawkins Browne of Badger, Salop., who served as MP for Bridgenorth from 1784 - 1812. The couple had no children. In his catalogue raisonné of Romney's work, Alex Kidson notes nine sittings by Mrs. Hawkins Browne between 28 January and 20 April 1793, with two further ones cancelled. Her husband paid Romney half his fee of 60 gns. At the first sitting and the remainder, along with the costs of packing and shipping, in March 1794. It was framed by Saunders (£5 18s) and sent on 24 July 1793. On 4 August, Mr. Hawkins Browne wrote to Romney thanking him for 'the very fine picture of Mrs. Hawkins Browne', which had recently arrived. He continued: 'I shall always set a high value upon it for her sake and for yours,' and stated that on his next trip to London he would 'take the first opportunity of returning you my best thanks in person' (Pierpont Morgan Library, New York, NY). According to Kidson, 'the portrait is one of the earliest in a sequence of female half-lengths which - arguably in response to the works of Lawrence and Raeburn - took the effects of loose brushwork and informality to new levels in Romney's portraiture'.
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1
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Estimate
1,500 - 2,500 GBP
CIRCLE OF MARTIN ARCHER SHEE (BRITISH 1769-1850)
PORTRAIT OF A GENTLEMAN, IN A RED COAT AND WHITE STOCK
Oil on canvas
72.5 x 61cm (28½ x 24 in.)
Provenance:
The Sabin Galleries, 1959
Sale, Sotheby's London, 4th July 2001, Lot 50 (£8,500 as John Hoppner), where purchased by the present owner
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AFTER FRANZ XAVER WINTERHALTER (GERMAN 1805-1873)
VICTORIA, PRINCESS ROYAL (1840-1901) LATER EMPRESS FREDERICK OF GERMANY
Oil on canvas
With initials and date 'F. W.1857' (lower left)
31 x 23cm (12 x 9 in.)
Provenance:
Lady Jane Abdy, London
Gifted to the present owner
After the picture in The Royal Collection (RCIN 404580)
Princess Victoria, Queen Victoria's eldest daughter, wears the badge of the Order of Victoria and, in the three-quarter-length portrait, a prominently displayed ring on her left hand, alluding to her engagement to Prince Frederick William of Prussia, whose portrait Winterhalter painted at the same time (Schloss Friedrichshof). She was 17 years old. This painting is the first in a set of portraits of Queen Victoria's four eldest daughters. The Queen recorded in her Journal: 'Winterhalter has done a beautiful picture of Vicky, & is making an excellent head...of Fritz'.
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1
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Estimate
3,000 - 5,000 GBP
STUDIO OF HENRY RAEBURN (BRITISH 1756-1823)
PORTRAIT OF JAMES WEDDERBURN (1782-1822)
Oil on canvas
75 x 62cm (29½ x 24¼ in.)
Provenance:
Sale, Sotheby's London, 22nd March 2000, lot 80 (£8,200 at Henry Raeburn) where purchased by the present owner
Portraits of a Mr and Mrs Wedderburn are recorded in David Mackie's unpublished Catalogue Raisonne (No.740-1) and also listed in James Grieg's work on the artist published in 1911. The portrait of Mrs Wedderburn is in The Yale University Art Gallery (Gift of Newhouse Galleries). A black and white photograph of Mr Wedderburn is recorded and suggests that the present picture is a studio version.
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1
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Estimate
15,000 - 20,000 GBP
GEORGE ROMNEY (BRITISH 1734-1802)
PORTRAIT OF MISS ALBINIA HOBART (1759-1853), LATER LADY ALBINIA CUMBERLAND
Oil on canvas
76.2 x 63.5cm (30 x 25 in.)
Provenance:
George Hobart, the sitter's father
By descent in the Cumberland family
Mrs Everetts by 1938
Newhouse Galleries, New York
Private Collection, USA by 1954
Nicholas Bagshawe Esq., where purchased by the present owner
Engraving:
M. Cormack, published 21 June 1890 by Paul and Dominic Colnaghi & Co.
Lady Albinia Cumberland, was the daughter of Albinia Holbart (1737/8- 1816), an eighteenth century celebrity, heiress of her father, and Countess of Buckinghamshire by her marriage in 1793. Her lifestyle and size made her the subject and victim of cartoons by James Gillray where she featured in over 50 satirical prints.
The present lot was probably commissioned by the sitter's father, on the occasion of his daughter's marriage to Richard Cumberland on 25th June 1784. In his diary, Romney recorded the sittings of Miss Hobart directly before and after her wedding over the course of the period between 19 and 29th June.
The reference to the sitter as Miss Hobart reflects the fact that her father did not assume the title of 3rd Earl until the passing of his brother, the 2nd Earl, in 1793.
An example of the engraving of this portrait can be seen in the National Portrait Gallery collection (NPG D15666) .
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1
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Estimate
2,500 - 3,500 GBP
SIR THOMAS LAWRENCE (BRITISH 1769-1830)
PORTRAIT OF A LADY IN PROFILE
Pencil and red chalk
Signed with initials and dated '1818' (lower right)
22 x 17.5cm (8½ x 6¾ in.)
Strong similarities are identifiable with Lawrence's portrait of Mrs Huddlestone
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81
SIR JOSHUA REYNOLDS (BRITISH 1723-1792)
PREPARITORY SKETCH FOR A PORTRAIT OF CHARLES WILLIAM HENRY SCOTT, EARL OF DALKEITH, 4TH DUKE OF BUCCLEUCH
Pencil, pen, ink and wash
19.7 x 15.9cm (7¾ x 6¼ in.)
Reynold's painting was probably painted in 1776, a small sketch 18.4 x 15.9cm was lent to the Grosvenor Gallery Exhibition in1883, by Lady Marian Alford.
Provenance:
Probably Mary, Dowager Marchioness of Thomond,
Her sale Christie's, 26th May 1821
The collection of Alison Barker, 1951 - 2021, London and Chichester, London barrister and lifetime collector
Facsimile label verso, Robert Thatcher Stationer, Charles Duke of Buccleuch, Sketch book 1757
Literature:
Mannings, D. Sir Joshua Reynolds, A Complete Catalogue of his Works , Yale 2000, p.406, no.1582, fig.1195
Pose studies such as this are rare survivals.
Mary Palmer, Marchioness of Thomond (1750 -1820) was the `favourite' niece and principal heiress of Sir Joshua Reynolds. In 1792 she married Murrough O'Brien, 5th Earl of Inchiquin (d. 1808), who was created 1st Marquess of Thomond in 1800. Her sale at Christie's in 1821 included 450 Reynolds drawings and 9 sketch books which were sold in 15 lots. Most of the known sketches derive from this sale. The painting was most probably created in 1778 and a small oil sketch for it was lent to a Grosvenor Gallery in 1883 by Lady Maria Alford
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ATTRIBUTED TO SIR THOMAS LAWRENCE (BRITISH 1769 -1830)
PORTRAIT OF A YOUND GIRL WITH A SHEEP, POSSIBLY LOUISA CLARA BOSANQUET (1826-1922), LATER MRS HORACE MEYER
Oil on canvas
76.2 x 63.5cm (30 x 25 in.)
Provenance:
Probably Sir Michael Walker
Private collection, UK.
Recent research into the chalk inscription to the stretcher of the present lot, suggests that the picture was probably owned by the British diplomat Sir Michael Walker (1916 - 2001). One of Walker's ancestors, David Bevan (1774 - 1846) was one of the bankers who founded Barclay, Bevan and Co., which went on to become Barclays Bank.
Bevan's wife, Favell Bourke Lee was painted by Lawrence (see, Bonhams, Old Master Pictures , 25 October 2017, lot 44), and it is therefore reasonable to suggest that her granddaughter Louisa Clara Bosanquet (B.1826), may also have been painted by the artist.
The suggestion of Louisa as a candidate for the sitter in the present lot becomes even more compelling when we learn that, though her aunt Mrs. Thomas Mortimer, she had a link to a pet sheep which she is known to have helped to bathe in the sea. In addition to a sheep, Mortimer, who wrote some of the most educational children's books of the nineteenth century (such as The Peep of Day ), had a menagerie of pets including a parrot which she took to bed, and a donkey. As Mortimer's favourite niece the pair went on to write two books together.
The present lot is comparable to Sir Thomas Lawrence's portrait of Lady Alexandrina Vane, No. 785, and George Vane-Tempest, No. 512 (Garlick, Sir Thomas Lawrence - A Complete Catalogue of the Oil Paintings ).
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10,000 - 15,000 GBP
ATTRIBUTED TO THE MASTER OF THE LANGMATT FOUNDATION VIEWS (ITALIAN FL. 1740-1770)
THE GRAND CANAL, VENICE, WITH THE PALAZZO BALBI
Oil on canvas
52 x 88cm (20¼ x 34½ in.)
Provenance:
Leonard Koetser, London, 1915
Sale, Christie's, South Kensington, 9 July 2004, lot 205
The attribution takes it's name from the eponymous works in the Langmatt Foundation, Baden, comprise a set thirteen venetian views. (See the exhibition catalogue, Mythos Venedig, Baden, June-October 1994, pp. 62-117).
Palazzo Balbi is situated on the Grand Canal. It was built in1582, under design by Alessandro Vittoria as the residence of the Venetian patrician family of the Balbi. In the 19th century it was acquired by Michelangelo Guggenheim. It is now the seat of the President of the Veneto region and of the regional council.
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7,000 - 10,000 GBP
FOLLOWER OF ANTONIO JOLI
THE TIBER, ROME, LOOKING TOWARDS THE PONTE SANT' ANGELO AND THE CASTEL SANT' ANGELO, SAINT PETERS BEYOND
Oil on canvas
99 x 118cm (38¾ x 46¼ in.)
Provenance:
A European private collection (acquired circa 1963 - 65)
Sale, Christie's, South Kensington, 9 July 2004, lot 197
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7,000 - 10,000 GBP
JAN FRANS VAN BLOEMEN, CALLED IL ORIZZONTE (FLEMISH 1662-1749)
AN ITALIANATE WOODED LANDSCAPE WITH FIGURES IN THE FOREGROUND, A HILLTOP TOWN BEYOND
Oil on canvas
40.5 x 58.5cm (15¾ x 23 in.)
Provenance:
Sale, Sotheby's, 8 December 2005, lot 359
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7,000 - 10,000 GBP
GUY HEAD (BRITISH 1762-1800)
IRIS CARRYING WATER OF THE RIVER STYX TO OLYMPUS
Oil on canvas
191.5 x 147.5cm (75¼ x 58 in.)
Guy Head entered the Royal Academy Schools in 1779. He travelled in Italy and by 1787 was a member of the Florence Academy, followed in 1792 by the Accademia di S. Luca in Rome where his diploma work was a neo-classical picture of `Iris'. The present picture may well be another version as it is a subject he returned to more than once.
At the time of the French invasion, he took refuge on Nelson's ship in Naples, He died soon after returning to London and many of his neo-classical pictures, copies, especially after Richard Wilson, and his collection of antiquities were sold at auction 1803-5.
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3,000 - 5,000 GBP
EDWARD PRITCHETT (BRITISH 1808-1894)
THE ENTRANCE TO THE CANNAREGIO, VENICE
Oil on canvas
25.5 x 35.5cm (10 x 13¾ in.)
Provenance:
Sale, Christie's London, Victorian and British Impressionist Art , 29 June 2011, lot 70 (sold as one of a pair)
Sale, Bonhams, London, British and European Art , 22 November 2022, lot 102 (sold as one of a pair)
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4,000 - 6,000 GBP
EDWARD PRITCHETT (BRITISH 1808-1894)
VENICE
Oil on canvas
Signed (lower left)
42 x 63cm (16½ x 24¾ in.)
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4,000 - 6,000 GBP
WILLIAM HENRY HAINES (BRITISH 1812-1884)
ST. MARK'S SQUARE WITH THE DOGE'S PALACE AND THE CAMPANILE, VENICE
Oil on canvas
Signed and indistinctly dated (lower right)
60 x 90cm (23½ x 35¼ in.)
Provenance:
Thomas Murray & Sons, Dundee
Private collection since circa 1980
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1
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3,000 - 5,000 GBP
FOLLOWER OF WILLIAM JAMES
VIEW OF THE DOGE'S PALACE, VENICE
Oil on canvas
60 x 90cm (23½ x 35¼ in.)
Provenance:
Sale, Sotheby's, Groombridge Place, Kent, 15-16 September 1992, lot 282
Sudgrove House, Gloucestershire
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WILLIAM JAMES MULLER (BRITISH 1812-1845)
A FIGURE IN A WOODED RIVER LANDSCAPE
Oil on panel
Signed and dated `44' (lower left)
25.5 x 36cm (10 x 14 in.)
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HENRY JAMES HOLDING (BRITISH 1833-1872)
A PAIR OF MOUNTAINOUS LANDSCAPES
Oil on canvas
Both signed and dated '1867' (lower right)
Each 28 x 38cm (11 x 14¾ in.) (2)
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ATTRIBUTED TO EDWARD H. NIEMANN (BRITISH FL. 1863-1867)
LANDSCAPE WITH FIGURES UPON A COUNTRY PATH
Oil on canvas
Bears signature 'Koekkoek' and indistinct date (lower right)
75.5 x 126.5cm (29½ x 49¾ in.)
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1,500 - 2,500 GBP
PATRICK NASMYTH (SCOTTISH 1787-1831)
FIGURES ON A TRACK IN A WOODED LANDSCAPE
Oil on canvas
Signed and dated '1831' (lower right)
34 x 44.5cm (13¼ x 17½ in.)
Provenance:
W. H. Patterson Fine Arts Ltd, London
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CHARLES TOWNE (BRTISH 1763-1840)
A WOODED LANDSCAPE WITH A TRAVELLER ON A PATH
Oil on canvas
Signed with initials (lower left)
57 x 48cm (22¼ x 18¾ in.)
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2,000 - 3,000 GBP
BENJAMIN BARKER OF BATH (BRITISH 1776-1838)
A WOODED RIVER LANDSCAPE WITH DROVERS
Oil on canvas
Signed and dated '1807' (lower right)
114 x 173cm (44¾ x 68 in.)
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EDWIN HENRY BODDINGTON (BRITISH 1836-1905)
EVENING ON THE RIVER WEY
Oil on canvas
Signed (lower right)
29 x 54cm (11¼ x 21¼ in.)
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FREDERICK LEE BRIDELL (BRITISH 1831-1863)
FAGGOT GATHERERS IN AN EXTENSIVE LANDSCAPE, A COTTAGE BEYOND
Oil on canvas
32.5 x 50cm (12¾ x 19½ in.)
Provenance:
Sale, Christie's, South Kensington, The R. E. Summerfield Collection of Pictures , 2 November 1989, lot 184
Together with Christie's Summerfield Collection sale catalogue
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JAMES DUFFIELD HARDING (BRITISH 1797-1863)
VALE OF THE CONWAY AT TREFEW
Oil on panel
Signed (lower right) and inscribed as titled (on the reverse)
38 x 60.7cm (14¾ x 23¾ in.)
Unframed
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HENRY SHAYER (BRITISH 1825-1894) AND CHARLES SHAYER (BRITISH 1826-1914)
WAITING AT THE LOCK
Oil on canvas
34 x 45cm (13¼ x 17½ in.)
Provenance:
Richard Green, London
Copgrove Hall, Yorkshire
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1
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3,000 - 5,000 GBP
THOMAS SIDNEY COOPER (BRITISH 1803-1902) AND THOMAS CRESWICK (BRITISH 1811-1869)
A DROVER WITH SHEEP AND CATTLE IN AN EXTENSIVE LANDSCAPE
Oil on canvas
71 x 91cm (27¾ x 35¾ in.)
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1
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1,500 - 2,500 GBP
THOMAS SIDNEY COOPER (BRITISH 1803-1902)
A COOLING DRAUGHT
Oil on panel
Signed and dated '1867' (lower right)
44 x 34cm (17¼ x 13¼ in.)
Provenance:
T. Richardson & Co., Fine Art Gallery, London
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1
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1,500 - 2,000 GBP
THOMAS SIDNEY COOPER (BRITISH 1803-1902) AND JAMES PAKER PYNE (BRITISH 1800-1870)
A SHEPHERD WITH CATTLE AND GOATS ON A TRACK
Oil on canvas
Signed and dated `J.B. PYNE 1844' (lower right)
45 x 72cm (17½ x 28¼ in.)
Provenance:
Sale (possibly), Christie's, London, 12 April 1991, lot 62
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THOMAS SIDNEY COOPER (BRITISH 1803 - 1902)
LIVESTOCK IN A LANDSCAPE
Oil on canvas
Signed and dated '1857' (lower right)
44.5 x 60cm (17½ x 23½ in.)
Provenance:
Sale, Stanworth, 3 February 1995
A Northamptonshire collection, acquired from the above
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FREDERICK RICHARD LEE (BRITISH 1798-1879)
NAPERLY BRIDGE, YORKSHIRE
Oil on canvas
Signed and dated '1843' (lower right)
68 x 89cm (26¾ x 35 in.)
Provenance:
R.C. Vose Paintings, Boston
Sale, Skinner, 15 May 2009, lot 65
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PIERRE JUSTIN OUVRIÉ (FRENCH 1806-1879)
FRENCH TOWN SCENE WITH WORKERS BY A RIVER
Oil on canvas
Signed and dated '1831' (lower right)
39.5 x 56.5cm (15½ x 22 in.)
Provenance:
Sale, Woolley & Wallis, Paintings , 21 March 2012, lot 225
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2,500 - 3,500 GBP
ALFRED DE BREANSKI SENIOR (BRITISH 1825-1928)
LANDSCAPE AT SUNSET
Oil on canvas
Signed (lower left)
59.5 x 89cm (23¼ x 35 in.)
Provenance:
Harrods, circa 1958, where purchased by the present owners father
Condition Report:
The canvas has not been lined. There is a small tear to the canvas (approx. 2.5cm) to the centre of the sky. Inspection under UV light reveals no evidence of restoration or repair.
Condition Report Disclaimer
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MANNER OF JOSEPH MALLORD WILLIAM TURNER
A VIEW OF A CITY BY A RIVER
Oil on canvas
86 x 112cm (33¾ x 44 in.)
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FRENCH SCHOOL (EARLY 19TH CENTURY)
FIGURES AT THE FOOT OF A WATERFALL
Oil on canvas
53 x 42.5cm (20¾ x 16½ in.)
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GEORGE VICAT COLE (BRITISH 1833-1893)
THE HARVESTERS
Oil on canvas
Signed and dated '1881' (lower left)
43 x 64cm (16¾ x 25 in.)
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DAVID ADOLF CONSTANT ARTZ (DUTCH 1837-1890)
BY THE RIVER
Oil on canvas
Signed (lower left)
38 x 28cm (14¾ x 11 in.)
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ANDREW NICHOLL (IRISH 1804-1886)
CATTLE ON A SHORE
Watercolour
Signed (lower right)
39 x 56.5cm (15¼ x 22 in.)
Unframed
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1,500 - 2,500 GBP
HENRY GARLAND (BRITISH FL. 1854-1890)
HIGHLAND CATTLE
Signed and dated '1881' (lower left)
94 x 174cm (37 x 68½ in.)
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JOHN WHITE ABBOTT (BRITISH 1763-1851)
TRAVELLER ON A FOREST PATH
Pen and ink sepia wash
Dated 'March 1831' (lower left)
19 x 30cm (7¼ x 11¾ in.)
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JOHN BURGESS JUNIOR (BRITISH 1814-1874)
REMAINS OF KENILWORTH CASTLE
Pencil and gouache
19 x 26cm (7¼ x 10 in.)
Provenance:
Sale, Sotheby's, 10 July 1994, lot unknown, from a folder of Burgess drawings
Abbott and Holder Ltd, London
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EUGENE GUSTAVOVITCH BERMAN (RUSSIAN/AMERICAN 1899-1972)
SKETCH OF A TEMPLE
Black and red ink with black wash
Signed with monogram and dated '1985' (lower centre)
15.5 x 20.5cm (6 x 8 in.)
Provenance:
Sale, Rosebery's, London, Impressionist, Modern, Post War & Contemporary Art , 4 December 2019, lot 83
Exhibited:
Rome, Eugene Berman , Galleria 88, 1962
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BOLOGNESE SCHOOL (17TH CENTURY)
A WOODED LANDSCAPE CROSSING BY A RIVER
Pen and brown ink
Inscribed '1782-3' (to mount)
24.8 x 37.5cm (9¾ x 14¾ in.)
Provenance:
Sale, Christie's, London, Old Master & British Drawings & Watercolours , 27 June 2020, lot 14
This lot to be sold without reserve
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ITALIAN SCHOOL (17TH CENTURY)
STUDY OF TWO SEA HORSES
Red pencil
24 x 22cm (9¼ x 8½ in.)
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1,000 - 1,500 GBP
FLORENTINE SCHOOL (CIRCA 1600)
PORTRAIT OF A SMILING MAN (RECTO); A WINGED FIGURE HOLDING TWO CHILDREN, DRAWN BY TWO HORSES (VERSO)
Red chalk (recto); black chalk (verso)
30.4 x 17.2cm (11¾ x 6¾ in.)
Provenance:
Stefan von Licht (1880-1932), Vienna (L.789b)
Sale, Christie's, London, Old Master and British Drawings and Watercolours , 4 July 2023, lot 18
The winged figure holding the two children is most likely a study depicting the Allegory of Night
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JOHN DOWNMAN (BRITISH 1750-1824)
A GENTLEMAN, WEARING BROWN COAT, WITH WHITE STOCK AND CHEMISE
Oil on copper, oval
20 x 16cm (7¾ x 6¼ in.)
Provenance:
The Collection of Timothy Clowes
Sale, London, Sotheby's, Old Master and Early British Paintings , 29 October 2009, lot 128
Sale, Dreweatts, Fine Art Timed Online Auction , 25 February 2022, lot 126
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LOUIS-AMI ARLAUD-JURINE (FRENCH 1751-1829)
PORTRAIT OF A GENTLEMAN
Watercolour and bodycolour on ivory
Signed (lower right)
7.3 x 6cm (2¾ x 2¼ in.)
Provenance:
Galerie Kugel, Paris
Sale, Christie's, Geneva, 14 May 1991, lot 115
The Collection of Dr Erike Pohl Stroher
Sale, Sotheby's, London, Old Master Day Sale, including portrait miniatures from the collection of the late Dr ErikaPohl-Stroher , 9 December 2021, lot 366
Please note Dreweatts have applied for a De minimis exemption for this lot ref. R2MUXNGA
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