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Live
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Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Collecting Arcadia: The Collections from Gatewick and Trethill House
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Gatewick, Steyning, West Sussex: Lots 1-418
Trethill House, Cornwall: Lots 430-514
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
17 Sep 2024: 10:00 - 16:00
18 Sep 2024: 10:00 - 16:00
19 Sep 2024: 10:00 - 16:00
Viewing in Newbury (full sale): see below
Auction dates
Oct 16, 2024 10:30 AM BST
Viewing dates
Oct 11, 2024 10:00 AM - 04:00 PM BST
Oct 12, 2024 10:00 AM - 03:00 PM BST
Oct 13, 2024 10:00 AM - 03:00 PM BST
Oct 14, 2024 10:00 AM - 04:00 PM BST
Oct 15, 2024 10:00 AM - 04:00 PM BST
Oct 16, 2024 09:00 AM - 04:00 PM BST
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Featured lots
AN AMRITZAR CARPET
Lot 468
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ATTRIBUTED TO THOMAS BARKER OF BATH (BRITISH 1769-1847)
FIGUREIN AN EXTENSIVE LANDSCAPE
Oil on canvas
Indistinctly signed and dated (lower right)
57 x 70cm (22¼ x 27½ in.)
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10,000 - 15,000 GBP
FOLLOWER OF SAMUEL SCOTT
THE THAMES AND ST PAUL'S CATHEDRAL FROM THE GARDENS OF SOMERSET HOUSE
Oil on canvas
59 x 100.5cm (23 x 39½ in.)
In a carved giltwood Kentian frame
Provenance:
Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent
Illustrated:
The Connoisseur, May 1965, p.3
This painting is a copy of one by Canaletto (1697-1768) entitled 'The Thames from Somerset House Terrace towards the City', now in the Royal Collection (RCIN 400504, <https://www.rct.uk/collection/search#/1/collection/400504/london-the-thames-from-somerset-house-terrace-towards-the-city>house-terrace-towards-the-city <https://www.rct.uk/collection/search#/1/collection/400504/london-the-thames-from-somerset-house-terrace-towards-the-city> ). The Canaletto painting is one of a pair, painted by the artist probably when he returned to Venice from London in c. 1750-1. The accompanying picture is 'Thames from Somerset House Terrace towards Westminster' (RCIN 400506). The Canaletto pair of paintings was acquired by his great friend and patron, Joseph Smith, who was British Consul in Venice, and from whom they were later purchased in 1762 by George III.
Canaletto became popular in England after his visit in 1746-55, which saw the emergence of a group of English topographical painters. One of the most renowned was Samuel Scott (1710-1772), who evolved from being a marine painter to creating drawings and paintings depicting scenes of the Thames and its environs. Scott, for example, completed a series of at least 62 paintings in oil and all but one use the Thames in the foreground, populated by river craft, together with riverside buildings forming a topographical townscape (M. Ellis, 'River and labour in Samuel Scott's Thames views in the mid-eighteenth century', The London Journal , Vol. 37 No. 3, November 2012, pp. 152-73). On occasion, Scott used artistic license rather than topographical accuracy, adding or deleting spires, and omitting material from the background. Scott's sea and cityscapes were fashionable, and he exhibited in London from 1761 at the Society of Artists, the Free Society, the Royal Academy and the Spring Gardens Rooms.
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ALEXANDRER NASMYTH (BRITISH 1758-1840)
PONT ABERGLASYN, NORTH WALES; AND AUCHINLECK CASTLE, AYRSHIRE
The first, oil on panel; the second, oil on canvas, a pair
Each 46 x 61cm (18 x 24 in.) (2)
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FOLLOWER OF GIOVANNI PAOLO PANNINI
CLASSICAL RUINS WITH FIGURES
Oil on canvas, a pair
Each 63 x 46cm (24¾ x 18 in.) (2)
Provenance:
W. Grimshaw
His sale, Christie's, London, 3 December 1898, lot 119
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FOLLOWER OF SAMUEL SCOTT
SOMERSET HOUSE, ST PAUL'S CATHEDRAL BEYOND
Oil on canvas
61 x 131cm (24 x 51½ in.)
In a carved and pierced giltwood frame
Provenance:
Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent
On the second day of Samuel Scott's Studio Sale, 12-13 January 1773, lot 61 is listed: 'one large view from Somerset House to St Pauls by ditto [Samuel Scott]', suggesting this was a popular vista for topographical artists such as Scott (1710-1772), a follower of Canaletto (R. Kingzett, 'A Catalogue of the Works of Samuel Scott', The Volume of the Walpole Society, vol. 48, 1980-82, pp. 24, 124).
The Hon. Florence Julia Gully (1871-1949) was the daughter of William Court Gully, 1 st Viscount Selby. On 12 November 1892, she married Sir William Guy Granet, later General Manager of the Midland Railway. They lived in St George Hanover Square, London, in 1901, and from 1934 until Sir Guy's death in 1944 at Burleigh Court, nr. Stroud, Gloucestershire. She died on 17 September 1949, in Sussex, at the age of 78. Their daughter, Diana Caroline Granet (1893-1949) married Denis George Mackail in 1917.
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1
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1,500 - 2,000 GBP
ATTRIBUTED TO KATHERINE READ (BRITISH 1723-1778)
PORTRAIT OF LETICIA JOHNSON (1747-1798), LATER LADY BEAUCHAMP-PROCTOR
Pastel
57 x 43cm (22¼ x 16¾ in.)
Together with A Pair Of Oval Pastels Of Children , After Sir Joshua Reynolds, one of the Infant Samuel, and the other, the artist's niece Theophila Palmer, titled 'Girl with the Muff' (3)
Provenance:
The present lot is one of a pair of portraits at Gatewick possibly commissioned by Mrs Charles Yorke and thence by descent
Literature:
The Connoisseur, May 1965, p.5
Illustrated:
The Connoisseur, May 1965, p.5
Lady Beauchamp-Proctor was the wife of Sir William Beauchamp-Proctor and the sister of Agneta Yorke (Mrs Charles Yorke). She resided at Langley Hall in Norfolk. By repute, the two pastels painted by Mrs Charles Yorke whilst she had her own portrait painted by Joshua Reynolds.
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1,500 - 2,000 GBP
FOLLOWER OF GEORGE ROMNEY
PORTRAIT OF MRS RATTRAY, HALF-LENGTH WEARING BLACK WITH POWDERED HAIR AND A WHITE BONNET
Oil on canvas
75 x 62cm (29½ x 24¼ in.)
Provenance:
Probably Sir Joseph Sydney Yorke and thence by descent
Literature:
The Connoisseur, May 1965, p.5
Illustrated:
The Connoisseur, May 1965, p.5
Mrs Rattray was the mother of Elizabeth Weake Rattray, who was the first wife of Sir Joseph Sydney Yorke.
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1
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1,500 - 2,500 GBP
CIRCLE OF MICHAEL DAHL (BRITISH 1656/59-1743)
PORTRAIT OF HENRY GREY, DUKE OF KENT (1671-1740), HALF-LENGTH, WEARING THE ORDER OF THE GARTER
Oil on canvas
Inscribed 'Henry Grey Duke of Kent Anno 1731 Father of Amabell Lady Glenorchy' (upper right)
76 x 63.5cm (29¾ x 25 in.)
Illustrated:
The Connoisseur, May 1965, p.4
This painting was possibly at Wrest Park, Bedfordshire in c. 1740. An inventory for the mansion lists a number of portraits of the Duke although the sparsity of their respective descriptions prohibit a firm identification (ed. J. Collett-White, 'Inventories of Bedfordshire Country Houses 1714-1830', The Bedfordshire Historical Record Society, vol. 74, 1995, pp. 251-273). Furthermore, three portraits of the Duke of Kent were sold at the 1917 Wrest Park sale of paintings and drawings (Christie, Manson & Woods, 16 November 1917, lots 8, 26 and 53). Lot 8 in this sale, 'Portrait of Henry, Duke of Kent, in brown coat embroidered with silver and gold, 50 in. by 40 in.' is possibly another closely related ¾ length version of the portrait offered here, sold Abell Auction Company, Los Angeles on 15 October 1995, lot 13, which has the same dimensions as lot 8 in the 1917 sale.
Henry, 12 th Earl and future Duke of Kent (1671-1740), inherited Wrest Park in 1701. A leading courtier and politician, he had been on the Grand Tour in 1690, returning with an appreciation of classicism. At court, throughout his tenure, he was appointed Gentleman of the Bedchamber, Constable of Windsor Castle, Lord Steward of the Household, and Lord Keeper of the Privy Seal while as a politician he held the posts of Privy Councillor, and Lord Chamberlain on the recommendation of Queen Anne's then confidante, Sarah, Duchess of Marlborough The latter role was relinquished when he was created Duke of Kent. In 1715, he engaged the well-known Italian architect, Giacomo Leoni, to modify Wrest Park. Leoni's plans were shown to other leading Italian architects such as Juvarra for their approval by the Duke's two sons whilst on their own Grand Tour. However, finally, the South Sea Bubble and the premature deaths of the Duke's sons deterred the Duke from embarking on Wrest Park's refurbishment.
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AFTER WILLIAM HOGARTH
THE LADY'S LAST STAKE
Oil on canvas
87.5 x 102.5cm (34¼ x 40¼ in.)
In a Kentian frame
The Lady's Last Stake was originally entitled Piquet: or Virtue in Danger and was one of Hogarth's last works. It depicts a domestic scene with a man and a woman who have been gambling on the card game piquet. The woman has lost her fortune to the army officer, and he offers to play one more game. If she wins, he will return her assets, including the money and jewels in his tricorne hat; but if she loses, she must accept him as her lover. She clasps the edge of a fire screen as she considers his offer and make a fateful decision: to be ruined financially, or morally.
The details in the interior are rich in symbolism. These include a small dog, representing faithfulness, which is hiding under the table. There is a painting of a Penitent Magdalene <https://en.wikipedia.org/wiki/Mary_Magdalene> over the fireplace. The mantelpiece bears a clock with the usual figure of Father Time <https://en.wikipedia.org/wiki/Father_Time> replaced by Cupid <https://en.wikipedia.org/wiki/Cupid> , but still carrying a scythe. The cards are being burned in the fire.
The painting is a copy of after the original in the Albright-Knox Art Gallery, Buffalo, New York.
Provenance:
The Hon. Claude J. Yorke, and thence by descent
Literature:
The Connoisseur, May 1965, p.6
Illustrated:
The Connoisseur, May 1965, p.6
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FOLLOWER OF GIOVANNI BATTISTA CIPRIANI
DANCING MUSES
Hand-coloured mezzotints, a pair
Each 17 x 12cm (6½ x 4½ in.)
Together with A Pair Of Studies of Children's Heads , English School (19th Century), Oil on board, Oval, Each 13 x 10 cm
And A Pair Of Landscapes , Dutch School (18th Century), Oil on copper, in gilt bronze frames, Each 11.5 x 17 cm (6)
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FOLLOWER OF CLAUDE-JOSEPH VERNET
MEDITERRANEAN HARBOUR SCENES WITH FIGURES AND VESSELS
Oil on canvas, a pair
Each 25 x 30cm (9¾ x 11¾ in.) (2)
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1
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1,500 - 2,500 GBP
JOHN RATHBONE (BRITISH 1750-1807)
A ROCKY WOODED LANDSCAPE WITH A CASCADE; AND A MOUNTAINOUS WOODED LAKE LANDSCAPE, WITH FIGURES BY A LAKE
Oil on canvas, a pair
Each 35.5 x 48cm (13¾ x 18¾ in.) (2)
Illustrated:
The Connoisseur, May 1965, p.6
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1,000 - 1,500 GBP
AFTER ANGELICA KAUFFMANN
PENELOPE MOURNING UPON THE BOW OF ODYSSEUS; AND CALYPSO, ABANDONED BY ODYSSEUS
Oil on panel, oval, a pair
Each 35 x 21.5cm (13¾ x 8¼ in.) (2)
Copies of a pair of paintings in a private Swiss collection. See B. Baumgartel, Angelica Kauffmann , Dusseldorf, 1998, p. 413.
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CHARLES CATTON (BRITISH 1728-1798)
THE TRIUMPH OF LOVE
Oil on canvas
68 x 90cm (26¾ x 35¼ in.)
Exhibited:
London, Royal Academy, 1776, as 'The Triumph of Love - an emblematic picture'
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3,000 - 5,000 GBP
ROMAN SCHOOL (LATE 17TH/EARLY 18TH CENTURY)
PUTTI WITH ECCLESIASTICAL ACCESSORIES
Oil on canvas, a pair
Each 57 x 120cm (22¼ x 47 in.) (2)
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10,000 - 15,000 GBP
ANGELICA KAUFFMANN (BRITISH 1726-1795)
PORTRAIT OF JOHN SIMPSON OF CO DURHAM, SEATED FULL LENGTH WEARING A RED VANDYCK COSTUME
Oil on canvas
Signed 'Angelica Kauffmann Pinx' (lower right)
74 x 61cm (29 x 24 in.)
In a carved gilt wood Kentian frame
Provenance:
The sitter, (probably) thence by descent to his daughter Maria Susannah, Lady Ravensworth (1773-1845)
(probably) Thence by descent to her daughter Susan Yorke, Countess of Hardwicke (1810-1845)
The Earl of Hardwicke Sale, Christie's, London, 27 June 1924, lot 140
Probably purchased by The Hon. Claude John Yorke from the above sale
Thence by descent to the present owner
Exhibited:
Billingshurst, Sotheby's, Sussex and the Grand Tour : a loan exhibition of paintings and other works of art from collections in Sussex and neighbouring counties, 1986
Illustrated:
The Connoisseur, May 1965, p.6
This picture is one of three versions that the artist painted. One is at National Portrait Gallery, London, and the other (the prime version) in the Belvedere Museum, Vienna. It is a quintessential example of the artist's talent in portraiture. Draped in an elegant red Van Dyck costume, John Simpson is portrayed sitting in a nonchalant posture, crossing his legs and resting his left arm on a classical relief. The calm posture, however, might conceal a hint of melancholy in the eyes, as the relief on the bottom right corner depicting Agrippina and her children mourning over the ashes of Germanicus, seems to suggest - a subject that Kauffmann also painted another time with the painting held at the Kunstpalast of Dusseldorf.
This portrait version probably passed from the sitter to the Yorke family when John Simpson's daughter Maria married in 1796 the 1 st Baron Ravensworth, and whose 6 th daughter married in 1833 the 4th Earl of Hardwicke, Charles Philip Yorke.
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257
Quantity
1
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4,000 - 6,000 GBP
ATTRIBUTED TO GIACOMO (JACOBUS) VICTORS (DUTCH 1640-1705)
PIGEONS AND A GOLDFINCH AT A DOVECOTE
Oil on canvas
73 x 89cm (28½ x 35 in.)
In a white-painted neo-classical overmantel
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1
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2,000 - 3,000 GBP
CONTINENTAL SCHOOL (EARLY 19TH CENTURY)
A BLUE AND YELLOW MACAW IN AN ARCHITECTURAL LANDSCAPE
Oil on canvas
96 x 66cm (37¾ x 25 in.)
In a white-painted Neo-Classical frame probably designed by The Hon. Claude J. Yorke.
Provenance:
Probably The Hon. Claude J. Yorke, and thence by descent
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268
BERNARDO AMICONI (BRITISH/ITALIAN CIRCA 1825-1880)
PORTRAIT OF MARIGO PETER RODOCANACHI (1861-1947)
Oil on canvas, oval
Signed and dated '1866' (lower left)
121 x 97cm (47½ x 38 in.)
Provenance:
Marigo Peter Rodocanachi and then by descent
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270
Quantity
1
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4,000 - 6,000 GBP
AFTER WILLIAM MARLOW
THE MONUMENT TO THE GREAT FIRE OF LONDON AT FISH STREET AND GRACECHURCH STREET
Oil on canvas
104 x 87cm (40¾ x 34¼ in.)
In a carved and pierced giltwood frame
After the engraving by Morris of the picture exhibited at the Royal Academy in 1790
Provenance:
Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent
Literature:
The Connoisseur, May 1965, p.3
Illustrated:
The Connoisseur, May 1965, p.3
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FRANCIS WHEATLEY (BRITISH 1747-1801)
VIEW OF TARBERT, MUNSTER, IRELAND WITH FIGURES DANCING IN THE FOREGROUND
Oil on panel
21.5 x 30cm (8¼ x 11¾ in.)
Provenance:
Mrs. Joseph Mayor
Her sale, Liverpool, 1887, bought by A.J Squarey (according to a hand-written label, verso)
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1
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Estimate
8,000 - 12,000 GBP
ALLAN RAMSAY (BRITISH 1713-1784)
PORTRAIT OF JEMIMA, COUNTESS OF HARDWICKE AND SUO JURE, MARCHIONESS GREY (1722-1797), WIFE OF PHILIP EARL OF HARDWICKE
Oil on canvas
91 x 71cm (35¾ x 27¾ in.)
In a carved and pierced gilt wood frame
Provenance:
'Historical Portraits, Pictures & Drawings, The Property of Lady Lucas, Removed from Wrest Park, Ampthill, Bedfordshire', Christie, Manson & Woods, 16 November 1917, lot 102.
Thomas Agnew & Sons, London (5037)
1 st Viscount Mackintosh
Leggatt, London
Christie's, London, 4 May 1959, lot 39
Exhibited:
Centenary Exhibition, 1948, Bankfield Museum, Halifax, no. 4. Lent by Mackintosh.
Literature:
A. Stuart, Allan Ramsay, a complete catalogue of his paintings, New Haven and London 1999. p. 131, no. 243. reproduced p. 235, fig 79.
This painting was overpainted, possibly in 1836 when Wrest Park, Bedfordshire, was restyled ( A. Stuart, Allan Ramsay, a complete catalogue of his paintings, New Haven and London 1999. p. 131, no. 243. reproduced p. 235, fig 79). Sold from Wrest Park in 1917, it has been cut down from its original size of 45 in. by 37 in. to its present size, 35 ¾ in. by 27 ¾ in. after this date when it was also cleaned to reveal its original open-air setting ( ibid. ). This portrait is related to a portrait of the sitter by Ramsay at Wimpole Hall (NT 207812.1).
Condition Report:
This painting had been extended and overpainted in the 1830s. Sometime after 1917 it was reduced back to its original size and the overpainting removed.
Condition Report Disclaimer
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HENDRICK JAN HEIN (DUTCH 1822-1866)
FRUIT AND FLOWERS ON A LEDGE
Oil on panel
Signed (lower left)
23 x 19cm (9 x 7¼ in.)
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CIRCLE OF FRANCESCO DE MURA (ITALIAN 1696-1782)
ECCE HOMO; AND THE HOLY FAMILY
Oil on copper, oval
Each 22.5 x 17cm (8¾ x 6½ in.)
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289
Quantity
1
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1,500 - 2,000 GBP
ATTRIBUTED TO THOMAS DUNCAN (SCOTTISH 1807-1845)
PORTRAIT OF JOSEPH AUGUSTUS YORKE AGED EIGHT HOLDING A GLENGARRY
Oil on canvas
175 x 102.5cm (68¾ x 40¼ in.)
Provenance:
Sir Maurice Fiennes, and thence by descent
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1
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1,500 - 2,000 GBP
AFTER SIR JOSHUA REYNOLDS PORTRAIT OF MRS LLOYD AS ROSALIND IN AS YOU LIKE IT Oil on canvas 114 x 70cm (44¾ x 27½ in.)
The sitter was the daughter of John Leigh of North Court.
After the picture in the Rothschild Collection, Waddesdon Manor, Buckinghamshire
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HENRY MAURICE PAGE (BRITISH 1845-1908)
THE LOVE LETTER
Oil on canvas
89 x 69cm (35 x 27 in.)
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1
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4,000 - 5,000 GBP
HENRIETTA RAE (BRITISH 1859-1928)
SPRING
Oil on canvas
Signed and dated '1893' (lower right)
126 x 62cm (49½ x 24¼ in.)
Provenance:
Frost and Reed Ltd., Bristol and London, 13th January 1938
F.J. Fry, Leigh Woods, Clifton
Henrietta Rae (1859-1928) was one of the leading painters of late Victorian England. After training at the Female School of Art and Heatherley's, she won a place at the Royal Academy Schools in 1877, and exhibited regularly at the Royal Academy from 1880 to 1919. In 1884, Rae married fellow artist Ernest Normand, and from 1885 to 1893 they lived in a purpose-built artist's studio house on Holland Park Road, becoming part of the circle of artists that coalesced around their next-door-but-one neighbour, Frederic, Lord Leighton. Leighton offered friendly advice, and helped to steer her choice of classical subjects painted in the academic style, though her she also painted historicised and romantic subjects, as in the present work. Something of a celebrity, Rae was frequently profiled in the press, and in 1893, was the first woman to be appointed to the Hanging and Selection Committees of the Liverpool Art Exhibition at the Walker Art Gallery. She was subsequently appointed as President of the Women's Art Section of the 1897 Victorian Era exhibition, Earl's Court, London, and in 1900, was the only woman among 24 artists commissioned to paint mural panels for the Royal Exchange, London.
The present work is 'one of the several studies entitled "Spring"', according to Rae's biographer Arthur Fish, and is probably the Spring exhibited at the New Gallery in 1893, and the Dudley Corporation Art Gallery, Birmingham in September 1894.1 It is one of a group of paintings depicting full or half-length female figures in natural settings that Rae painted around this time, including Flowers Plucked and Cast Aside , exhibited at the Royal Academy in 1893, no. 439 (untraced, illustrated Fish opp. p. 66) and Apple Blossom (1892, private collection). A later version of Spring and its pendant Summer (private collection, c. 1900-2) were offered at Christie's New York on 1 November 2001, lot 66.
In 1893, the year in which the present work was painted, Henrietta Rae was entering the peak years of her career. Although the birth of her first child slowed her output, she was represented with several works at the World's Columbian Exposition in Chicago, where Eurydice sinking back to Hades (1887, untraced) was awarded a gold medal. In its palette and technique, Spring anticipates Rae's greatest painting, Psyche before the throne of Venus (1894, private collection, on long term loan to Tate) , which was begun the same year, and exhibited 'on the line' at the 1894 Royal Academy exhibition, where was described by The Standard as 'the most ambitious and successful woman's work yet exhibited'.
1 Arthur Fish, Henrietta Rae (London: Cassell & Co, 1905), p. 76.
We are grateful to Dr. Amy Lim for her assistance in preparing this catalogue entry
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2,000 - 3,000 GBP
JAMES SANT (BRTISH 1820-1916)
ECO AND EDITH MAY OSWALD, DAUTHGTERS OF ALEXANDER OSWALD OF AUCHINCRUIVE, AYRSHIRE
Oil on canvas, oval
75 x 62cm (29½ x 24¼ in.)
Provenance:
Edith Mary Oswald (right) and then by descent
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ATTRIBUTED TO HUGH DOUGLAS HAMILTON (IRISH CIRCA 1739-1808)
PORTRAIT OF A GENTLEMAN HALF-LENGTH IN A BROWN COAT
Pastel, oval
27 x 23cm (10½ x 9 in.)
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λY CLAUDE HARRISON (BRITISH 1922-2009)
THE ANGLERS, A PAIR OF WORKS; AND EASEDALE HOUSE GRASMERE
Oil on board
The first signed and dated 1960 (lower right); the second signed and dated 1960 (lower left); the third signed with initials (lower left)
The pair 20.5 x 25cm (8 x 9¾ in.); and the third 19 x 24 cm (3)
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λ CLAUDE HARRISON (BRITISH 1922-2009)
TIDAL JOKER
Oil on board
Signed and dated 69 (lower left centre); titled (verso)
58 x 44cm (22¾ x 17¼ in.)
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λ CLAUDE HARRISON (BRITISH 1922-2009)
PORTRAIT OF JAMES YORKE; AND PORTRAIT OF CHARLES YORKE
Oil on board, a pair
The former signed and dated 1971 (along the lower edge); the latter signed and dated 1974 (lower left)
Each 112 x 72cm (44 x 28¼ in.)
(2)
Exhibited:
London, Royal Society of Portrait Painters, 1971
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λ CLAUDE HARRISON (BRITISH 1922-2009)
THE YORKE FAMILY IN THE GARDEN AT GATEWICK
Oil on board
Signed 'Claude Harrison (lower right) and inscribed 'SEP/1954/At Steyning/The family/of David/Yorke' (on the book to the centre of the image)
79 x 127cm (31 x 50 in.)
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MANNER OF FRANCOIS BOUCHER
APHRODITE AND THE APPLE OF DISCORD
Oil on panel
47 x 37cm (18½ x 14½ in.)
Together with an Oil of Venice by Follower of Clarkson Frederick Stanfield in an 18th century carved gilt wood frame (2)
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1
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1,500 - 2,000 GBP
AFTER GEORGE STUBBS
ROSALETTA, A RACEHORSE WITH A JOCKEY UP
Oil on canvas
62 x 75cm (24¼ x 29½ in.)
After Stubbs' painting titled Rosaletta
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1,500 - 2,000 GBP
HENRY BERNARD CHALON (BRITISH 1770-1849)
A BAY HUNTER WITH A GROOM IN BRETTON PARK YORKSHIRE
Oil on canvas
Indistinctly inscribed and dated '1820' (to lower frame)
70 x 89cm (27½ x 35 in.)
According to a later inscription on the reverse the horse was the propriety of Diana Beaumont, Bretton Park Yorkshire.
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CIRCLE OF JOHN BOULTBEE (BRITISH 1753-1812)
A TETHERED HUNTER OUTSIDE A STABLE
Oil on canvas
62 x 75cm (24¼ x 29½ in.)
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A LATE GEORGE III FOLK ART EMBROIDERED PICTURE OF A FARMYARD SCENE EARLY 19TH CENTURY Needlework, felt and textiles on painted backdrop, later set in glazed frame Panel 36.5cm by 51.5cm, frame 53 by 67cm
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FOLLOWER OF THOMAS LAWRENCE
A LITTLE BOY, SEATED
Black and red chalk
29 x 22cm (11¼ x 8½ in.)
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λ DONALD CURRIE (BRITISH 20TH CENTURY)
VIEW OF CHURCH STREET, INCLUDING THE CHELSEA ARTS CLUB
Oil on canvas
Signed (lower left)
36 x 46cm (14 x 18 in.)
Provenance:
Sir W. Guy Granet, G.B.E, bought directly from the artist (according to label on stretcher)
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ALEXANDER BLAIKLEY (BRITISH 1816-1903)
PORTRAIT OF JOHN YORKE, 7TH EARL OF HARDWICKE; EDITH MARY COUNTESS OF HARDWICK;, PORTRAIT OF CHARLE ALEXANDER YORKE AS A BOY, LATER 8 TH EARL OF HARDWICKE; AND PORTRAIT OF ALFRED ERANEST YORKE AS A BOY, LATER 9 TH EARL OF HARDWICKE
Pastel, oval
Three signed and variously dated '1871, 1879, 1873' (lower right)
Each 63 x 48cm (24¾ x 18¾ in.) (4)
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1
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2,000 - 3,000 GBP
CIRCLE OF THOMAS WYCK (DUTCH CIRCA 1616 - 1777)
A MEDITERRANEAN COASTAL INLET WITH BOATS AND A MAN-O-WAR AT ANCHOR BEYOND
Oil on canvas
Initialled (lower right)
48.5 x 64cm (19 x 25 in.)
Provenance:
Sale, Christie's South Kensington, 9th July 2004, lot 28
The collection from Trethill House, Cornwall
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3,000 - 5,000 GBP
SIR EDWIN HENRY LANDSEER (BRITISH 1802 - 1873)
PORTRAIT OF MR BRIDGEMAN SMALL
Oil on canvas
48.26 x 40.64cm (19 x 16 in.)
Provenance:
Sale, Christie's, London, 28th November 1969, lot 211
Somerville & Simpson, May 1984
The collection from Trethill House, Cornwall
Exhibited:
London, Royal Academy, Landseer Memorial Exhibition , Winter 1874, no. 452.
Literature:
Algernon Graves, Catalogue of Landseer's works, 1875, under 1824.
We are grateful to Richard Ormond for his help in preparing this catalogue entry
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455
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1
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1,200 - 1,800 GBP
CIRCLE OF CARLO INNICENZO CARLONE (ITALIAN 1686 - 1775)
THE PERSONIFICATION OF AMERICA; AND THE PERSONIFICATION OF ASIA
Oil on canvas, a pair
33.66 x 36.2cm (13¼ x 14¼ in.)
(2)
Provenance:
Sale, Christie's, South Kensington, 6th July 2005, lot 183
The collection from Trethill House, Cornwall
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FOLLOWER OF CLAUDE JOSEPH VERNET
A VIEW OF POSOLOPPO NEAR NAPLES, WITH FISHERFOLK HAULING NETS IN THE FOREGROUND
Oil on canvas
44.45 x 74.3cm (17¼ x 29¼ in.)
Provenance:
Sale, Sotheby's, London, 5th July 2005, lot 60
The collection from Trethill House, Cornwall
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RICHARD BEAVIS (BRITISH 1824 - 1896)
A MARE AND FOAL IN A FIELD
Oil on canvas
Signed and dated '1865' (lower right)
58.5 x 74.5cm (23 x 29¼ in.)
Provenance:
Richard Green London
Gerald Panchaud, Amhuinnsuidhe Castle
The collection from Trethill House, Cornwall
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1
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3,000 - 5,000 GBP
GIOVANNI MARTINELLI (ITALIAN 1610 - 1659/68)
PORTRAIT OF A LADY HOLDING A CROWN, POSSIBLY THE MUSE MELPOMENE
Oil on canvas, framed as an oval
76 x 71cm (29¾ x 27¾ in.)
Provenance:
Sale, Sotheby's, London, 8 July 2004, lot 390
The collection from Trethill House, Cornwall
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1
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3,000 - 5,000 GBP
CIRCLE OF ONORIO MARINARI (ITALIAN 1627-1715)
SAINT CATHERINE OF ALEXANDRIA
Oil on canvas, framed as an oval
76.84 x 59.69cm (30¼ x 23¼ in.)
Provenance:
Sale, Christie's, South Kensington, 26 April 2006, lot 196
After the picture in the Uffizi, Florence.
The collection from Trethill House, Cornwall
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488
Quantity
1
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Estimate
5,000 - 8,000 GBP
SIR HENRY RAEBURN (SCOTTISH 1756 - 1823)
PORTRAIT OF KATHERINE, LADY MACKENZIE OF SLEAT (1754-1829), HALF LEGTH IN A GRAY WRAP AND WHITE TURBAN
Oil on canvas
73.66 x 60.96cm (29 x 24 in.)
Provenance:
Sale, Sotheby's, London, 20 November 1985, lot 63
The collection from Trethill House, Cornwall
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