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Live
Venue address
Dreweatts
Donnington Priory
Newbury, Berkshire
RG14 2JE
United Kingdom
Town & Country: Baroness Rawlings, Eaton Square and Adlington Hall, Cheshire
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
Baroness Rawlings, Eaton Square: Lots 1-160: Introduction by Nicky Haslam... read more!
Adlington Hall, Cheshire: Lots 171-334: The Historic Collection dating back over 700 years... read more!
Viewing in London (highlights): Dreweatts London, 16-17 Pall Mall, St James’s, London SW1Y 5LU
07 Jan 2025: 10:00 - 16:00
08 Jan 2025: 10:00 - 16:00
09 Jan 2025: 10:00 - 16:00
10 Jan 2025: 10:00 - 16:00
Viewing in Newbury (full sale): see below
Auction dates
22 Jan 2025 10:30 GMT
Viewing dates
19 Jan 2025 10:00 - 15:00 GMT
20 Jan 2025 10:00 - 16:00 GMT
21 Jan 2025 10:00 - 16:00 GMT
22 Jan 2025 09:00 - 13:00 GMT
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Featured lots
We found 59 items matching your search
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λ ANGEL PONCE DE LEON (SPANISH B. 1925)
PERAS NEGRAS
Oil on canvas
Signed (lower right)
81 x 130cm (31¾ x 51 in.)
Angel Ponce De Leon was a Spanish artist who studied at the Ecole des Beaux Arts in Madrid. He travelled around South America visiting Rio de Janeiro, Qutio, and Buenos Aires, but relocated to the south of France in the early 1950s. Here he met and collaborated with the noted painter Georges Braque - who was an important exponent of Fauvism and a developer of Cubism. Ponce De Leon was also influenced by the French Abstract and Cubist painter Auguste Herbin, and consequently, moved his art practice towards a type of abstraction.
Condition Report:
Overall fine craquelure, no obvious damage, some dirt collected on high parts of the impasto and need of a clean. Simple frame and not glazed
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λ ANGEL PONCE DE LEON (SPANISH B. 1925)
NATURE MORTE
Oil on canvas
Signed and dated 60 (lower centre); further signed, titled and dated Villpancha 60 (verso)
81 x 130cm (31¾ x 51 in.)
Condition Report:
All three have front right base corners with chips, two glued and the chip on the largest is missing. The mid sized box has a minor chip on the back of the lid
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1
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7,000 - 10,000 GBP
LODEWIJK FREDERIK HENDRIK (LOUIS) APOL (DUTCH 1850-1936)
THE EASTERN GATE (DELFT) IN A WINTER LANDSCAPE
Oil on canvas
Signed (lower left)
70 x 92cm (27½ x 36 in.)
Saleroom notice:
Please note our cataloguing has been updated
Apol specialised in painting snowy winter landscapes and his picture Winter in the Forest received much acclaim when it was exhibited in the Hague in 1875 and was subsequently bought by the State. He was taught by J.F. Hoppenbrouwers and P.F. Stortenbeker and in 1868, at the age of 18, he received a scholarship from the Dutch King, Willem III. In 1880 Apol took part in an expedition on the SS Willem Barents to Spitsbergen <https://en.wikipedia.org/wiki/Spitsbergen> in the Arctic Ocean. The impressions of this journey were a source of inspiration during his whole life. His work is in the Rijksmuseum Amsterdam and the Kunstmuseum in the Hague.
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ALFRED WHEELER (BRITISH 1851 - 1932)
PORTRAIT OF THE RACEHORSE 'LADAS' WITH JOCKEY UP
Oil on canvas
Signed and inscribed (lower right)
35.5 x 46cm (13¾ x 18 in.)
Seen here in profile is the racehorse Ladas (inscribed bottom right) painted by Alfred Wheeler. Ladas was a successful British racehorse owned by Archibald Philip Primrose, 5 th Earl of Rosebery. Lord Primrose - who served as Prime Minister between 1894-1895 - had an enthusiasm for horseracing, and in 1868, registered his silk colours as a hooped primrose and rose shirt set with a rose cap. Here you can see this depicted on the jockey, most likely Mr J. Watt. Ladas raced a total of eleven times and won seven, including: The 2000 Guineas Race at Newmarket and the famous Derby at Epsom.
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JOHANNES ROSIERSE (DUTCH 1811-1901)
PEELING CARROTS BY CANDLELIGHT
Oil on panel
Signed (lower right)
34.5 x 26.5cm (13½ x 10¼ in.)
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3,000 - 5,000 GBP
PIERRE FRANCOIS DE NOTER (FRENCH 1779-1843)
L'EGLISE DE SAINT-GERVAIS
Oil on panel
Signed, inscribed and dated '1822' (upper right)
35 x 29cm (13¾ x 11¼ in.)
Apol specialised in painting snowy winter landscapes and his picture Winter in the Forest received much acclaim when it was exhibited in the Hague in 1875 and was subsequently bought by the State. He was taught by J.F. Hoppenbrouwers and P.F. Stortenbeker and in 1868, at the age of 18, he received a scholarship from the Dutch King, Willem III. In 1880 Apol took part in an expedition on the SS Willem Barents to Spitsbergen <https://en.wikipedia.org/wiki/Spitsbergen> in the Arctic Ocean. The impressions of this journey were a source of inspiration during his whole life. His work is in the Rijksmuseum Amsterdam and the Kunstmuseum in the Hague.
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1
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5,000 - 8,000 GBP
λ PATRICK PROCKTOR (BRITISH 1936-2003)
TWO FIGURES IN A ROOM
Mixed media with collage
Signed and dated 12/63 (lower right); titled (verso)
74.5 x 55cm (29¼ x 21½ in.)
Provenance:
Redfern Gallery, London
Private Collection, Michael Armitage (25th July 1964)
Condition Report:
Unexamined out of glazed frame. Artist's pinholes to each corner. Some slight possible discolouration to the sheet and light creasing to the lower evident to the lower part of the sheet. Otherwise, in overall good condition.
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λ GLORIA VANDERBILT (AMERICAN 1924-2019)
WALKING DOLL
Mixed media on paper
Signed (lower left); titled (verso)
41 x 31cm (16 x 12 in.)
Gloria Vanderbilt was an American artist, socialite, actress and designer. She was born to the wealthy and influential Vanderbilt family, and her aunt was Gertrude Vanderbilt Whitney - founder of the Whiteny Museum of American Art. She attended the Art Students League of New York where she practiced oil painting and held solo exhibitions. She is known as an important contributor to the development of the designer blue jean, and spent most of her life within the public eye. Her varied artistic practice explores portraiture and pattern in multicolour and she showed across New York and Vermont.
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ATTRIBUTED TO CHARLES JONES (BRITISH 1836-1892)
SHEEP IN A LANDSCAPE
Oil on canvas
Indistinctly signed (lower left)
76.5 x 127cm (30 x 50 in.)
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1
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30,000 - 50,000 GBP
λ VŨ CAO ĐÀM (FRENCH/VIETNAMESE 1908-2000)
MOTHER AND CHILD WITH HORSE LEAPING
Oil on board
Signed and dated 55 (lower right)
41 x 33cm (16 x 12 in.)
Provenance:
Galerie Les Beaux Arts, St. Paul de Vence
Vũ Cao Đàm, was an important Vietnamese artist who established a unique French-Vietnamese style and explored ideas of motherhood and folklore.
Vũ Cao Đàm was born in Hanoi under French Colonial rule and attended the École Supérieure des Beaux Arts de I'Indochine, set up by the French government in 1924. The director, Victor Tardieu, formed a syllabus to promote the study of Western traditions in art, whilst allowing space for native Vietnamese aesthetics to grow.
In 1931, Vũ Cao Đàm received a scholarship to travel to France and practice at the Cité Universitaire in Paris. During this period Vũ Cao Đàm was drawn to the impressionist and post-impressionist artists who accurately captured everyday scenes en-plein air with rapid, energetic brushstrokes, such as Van Gogh, Matisse and Renoir. Vũ Cao Đàm went on to exhibit at the Angkor Wat Pavilion during the Exposition Coloniale Internationale, as well as in the Far East Section of the École du Louvre.
In 1956, Vũ Cao Đàm relocated to the south of France where he made an important acquaintance with Marc Chagall (whose work The Story of Exodus can be seen in Lot 98). Chagall's swirling style and dream-like landscapes offer a clear delineation into Vu Cao Dam's own work, particularly Lot 142 Mother and Child with Horse Leaping . The mother and child are illustrated with gentle, soft features, and are sat within a clouded, formless landscape, blending outline with colour and recalling the visual lyricism of the French Impressionists. The motif of mother and child is further explored in subsequent lots 143 and 144. The artist has focused his attention on a close-up composition directing the viewer to the mother's affectionate gaze upon her child against a backdrop of a hazy blue and green pigment.
' Vu Cao Dam practices a very original art... His colors are dazzling, with strong blues and harmonies which are almost celestial .'
(Wally Findlay in Masters of the French School of Hanoi: Vu Cao Dam and Le Po, Wally Findlay Galleries exhibition catalogue, 1965)
Condition Report:
There is surface dirt throughout and a short surface scratch centre left. Otherwise, in generally good condition. No evidence of retouching visible under ultraviolet light.
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30,000 - 50,000 GBP
λ VŨ CAO ĐÀM (FRENCH/ VIETNAMESE 1908-2000)
MOTHER HOLDING BABY IN AN ORANGE TUNIC
Oil on canvas
Signed (lower right)
25.5 x 27cm (10 x 10½ in.)
Condition Report:
Surface dirt throughout. There is a scratch to the board lower right and associated retouching. Ultraviolet light reveals further scattered retouching throughout.
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30,000 - 50,000 GBP
λ VŨ CAO ĐÀM (FRENCH/ VIETNAMESE 1908-2000)
MOTHER AND CHILD
Oil on panel
Signed (lower left); further signed and dated Vence 55 (verso)
35 x 27cm (13¾ x 10½ in.)
Condition Report:
Surface dirt throughout. Ultraviolet light reveals some scattered retouching, notably an area to the hair by the neck. Otherwise, in generally good condition.
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λ DORIS CLARE ZINKEISEN (BRITISH 1898-1991)
HUNGARIAN GYPSY PRINCESS
Oil on canvas
Signed (lower left); titled (to stretcher verso)
46 x 38cm (18 x 14¾ in.)
Provenance:
Sale, Phillips, 10 May 1988, lot 184
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2,000 - 3,000 GBP
λ RENE DUVILLIER (FRENCH 1919-2002)
DIABLES DE MER X
Oil on canvas
Signed (lower right); further signed, titled and dated 62 (verso)
60 x 72.5cm (23½ x 28½ in.)
Unframed
Provenance:
Sale, Christie's, London, 28 October 2008, lot 461
In the mid-1950s, art critic Charles Etienne invited René Duvillier to Brittany, France, where the artist immediately struck by the sea's immense power and the wondrous shapes formed by the movement of its waves. This inspiration culminated in the early 1960s with Duvillier's series Diables du Mer ("Sea Devils"). Lot 155, titled Diables du Mer X , exemplifies Duvillier's engagement with lyrical abstraction, featuring dynamic blue and black paint strokes radiating energetically from a central point and flowing spontaneously across the canvas.
" I found the movement and the gesture there. Everything was moving, the waves, the shore, the sky, the birds. I was especially struck by the spectacle of the Breton horses, manes flowing in the wind, springing out of the foam. I also found the ancient Greek myth of the birth of the sea ". René Duvillier, Françoise Livinec
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CONTINENTAL SCHOOL (20TH CENTURY)
NUDE IN A LANDSCAPE
Oil on canvas
Indistinctly signed Kolder/Kilder (lower right)
39 x 29cm (15¼ x 11¼ in.)
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λ FRANCOIS GALL (FRENCH/HUNGARIAN 1912-1987)
LA FEMME EN MAUVE
Oil on canvas
Signed (lower right)
22 x 27cm (8½ x 10½ in.)
Condition Report:
The canvas is not relined. There is some retouching to the dress visible under ultraviolet light. Otherwise, in generally good condition.
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λ FRANCOIS GALL (FRENCH/HUNGARIAN 1912-1987)
MERE ET ENFANT
Oil on board
Signed and inscribed Paris (lower left)
22 x 27cm (8½ x 10½ in.)
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A PAINTED HATCHMENT FOR REV' HENRY WRIGHT OF MOTTRAM HALL
POSSIBLY 18TH CENTURY
Oil on canvas, retinted/retouched
142cm high, 142cm wide
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1
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2,000 - 3,000 GBP
AFTER SIR GODFREY KNELLER
PORTRAIT OF QUEEN MARY, HALF-LENGTH, IN A BLUE DRESS EDGED WITH ERMINE AND HOLDING A SCEPTRE
Oil on canvas laid to board
Inscribed (centre right)
91.5 x 76cm (36 x 29¾ in.)
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W. SHUTTLEWORTH (19TH CENTURY)
A DARK BAY HUNTER IN A LANDSCAPE
Oil on canvas
Signed and dated '1827' (lower left)
58.5 x 75cm (23 x 29½ in.)
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CIRCLE OF ALEXANDER NASMYTH (BRITISH 1787-1831)
ST. BERNARD'S WELL, EDINBURGH
Oil on canvas
44.5 x 60.5cm (17½ x 23¾ in.)
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199
Quantity
1
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1,500 - 2,000 GBP
AFTER HENRY TILSON
PORTRAIT OF SIR JOHN MAYNARD (CIRCA 1602 - 1690) WEARING ACADEMIC ROBES AND CAP
Oil on canvas laid to board
123 x 100.5cm (48¼ x 39½ in.)
Provenance:
Possibly commissioned by Joanna Maynard for Adlington Hall, and thence by descent
A full length version of this portrait, attributed to Henry Tilson (1659 - 1695), is kept the in National Trust Collection at Blickling Hall, Norfolk. This primary version is considered to have descended from Maynard's collection at Gunnersbury House to Blickling Hall by his Great-grandson John Hobart, 1st Earl of Buckingham.
By his first wife the sitter, Sir John Maynard had two sons, John and Joseph, and four daughters, Elizabeth, Honora, Johanna, and Martha. His third daughter, Johanna, married Thomas Legh of Adlington; Maynard survived all his children, except his youngest daughter, and devided his estates in trust for his granddaughters and their issue in tail by a will so obscure that to settle the disputes to which it gave rise a private act of parliament was passed in 1694, notwithstanding which it was made the subject of litigation in 1709.
A speculative theory as to how a copy of the original composition found itself hung on the walls at Adlington Hall, could be that Sir John presented a version of the work to his daughter Johanna on occasion of her marriage to Thomas Legh.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF THOMAS CHARLES LEGH (1644-1691)
Oil on canvas, feigned oval
Later inscribed with identifying inscription and biography of the sitter (to canvas verso)
72.5 x 60cm (28½ x 23½ in.)
In a carved and gilded frame
Provenance:
Probably commissioned by the sitter for Adlington Hall and thence by descent
Thomas Legh's (1644-91) tenure at Adlington was brief. According to a manuscript held at Tabley House, on 6 April 1691 'Col. Legh, of Adlington, layning on a raile in Adlington, which breaking his fell and broak his neck and dyed'.
Whilst his tenure was short and his 'end' tragic, Thomas rebuilt the north front of Adlington . He was Colonel of Militia, High Sheriff of Cheshire and admitted to Gray's Inn on 16 May, 1662/3.
He married Joanna Maynard, daughter of Sir John Maynard and was the father of John Legh.
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1
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2,000 - 3,000 GBP
PIETER JOHANNES VAN REYSCHOOT (FLEMISH 1702-1770)
PORTRAIT OF JOHN LEGH, HALF-LENGTH, IN A BLACK COAT, WHITE STOCK AND BROWN CLOAK
Oil on canvas, feigned oval
Signed (lower left)
74 x 62cm (29 x 24¼ in.)
Provenance:
Probably commissioned by the sitter for Adlington Hall, and thence by descent
John Legh (1668- 1739) was the son of Colonel Thomas Legh (1644-1691) and Johanna Maynard (unknown- 1700). He was a member of Parliament for Bodmin in Cornwall between 1715-1722. John married Lady Isabella Robartes, the grand-daughter of John Robartes 1 st Earl of Radnor (first creation) and daughter of Robert Robartes, Viscount Bodmin and Sarah Bodville, later Countess of Radnor.
John is credited for commissioning the the famed Aglington Organ in the Great Hall. Both Lady Isabella and her husband were passionate about music, and it is probable that the organ was a gift to her shortly after they arrived in Adlington. Stylistically, the organ case can be dated around 1700, and it is surmounted by a coat of arms celebrating the marriage of Lady Isabella and John.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF ISABELLA LEGH, HALF-LENGTH IN A GREY DRESS AND WHITE CHEMISE
Oil on canvas, feigned oval
75 x 62cm (29½ x 24¼ in.)
Provenance:
Probably commissioned by the sitter's husband, John Legh, and thence
by decent at Adlington Hall
Lady Isabella Legh, nee Robartes (1674-1725), was the daughter of
Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-
1720). She was born in 1674 at Lanhydrock House, Cornwall. On 18 July
1693, she married John Legh Esq. of Adlington Hall (1688-1739) with
whom she had two children, Lucy Frances Legh (1695-1728) and Charles
Legh (1697-1781).
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SCOTTISH SCHOOL (CIRCA 1830)
PORTRAIT OF JOHN NAPIER OF MOLLANCE, HOLDING A WALKING STICK
Oil on canvas
91.5 x 71cm (36 x 27¾ in.)
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SCOTTISH SCHOOL (19TH CENTURY)
PORTRAIT OF MRS NAPIER OF MOLLANCE (1766 - 1839), IN A FUR-EDGED BLACK DRESS
Oil on canvas
91.5 x 71cm (36 x 27¾ in.)
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1
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2,000 - 3,000 GBP
FOLLOWER OF SIR HENRY RAEBURN
PORTRAIT OF JAMES NAPIER AS A YOUNG MAN
Oil on canvas laid to board
90 x 62.5cm (35¼ x 24½ in.)
In a carved and gilded acorn running pattern frame
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3,000 - 5,000 GBP
FOLLOWER OF JOHN WATSON GORDON
PORTRAIT OF ARTHUR JOHN ROBERTSON; AND OF HIS WIFE, MARIANNE
Oil on canvas, a pair
Each 108 x 84cm (42½ x 33 in.) (2)
Provenance:
Possibly commissioned by the sitter on the event of his marriage to Miss Marianne Pattinson of Montreal
The Lairds of Inshes, Inverness
Thence by descent to Arthur Masterson Robertson Renny
Removed to Adlington Hall
Thence by descent
It is likely that the sitters in the present lot are the grandparents of Arthur Masterton Robertson Renny who married Caroline Mary Florence Legh, nee Cotton (1873-1940), daughter of Florence Hester Lavinia Legh and heiress of Adlington. The portraits were then most likely brought to Adlington on the event of his marriage, towards the end of the nineteenth century.
Upon the death of the sitter whose family had been Lairds of Inshes for over four hundred years, the connection between the clan Robertson and the town of Inverness was broken.
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15,000 - 20,000 GBP
THOMAS HUDSON (BRITISH 1701-1779)
PORTRAIT OF A GENTLEMAN, POSSIBLY CHARLES LEGH OF ADLINGTON (1697 - 1781)
Oil on canvas
124.5 x 100cm (49 x 39¼ in.)
In a carved and gilded frame
Provenance:
Probably commissioned by Charles Legh for Adlington Hall, and thence by descent
Thomas Legh (1735-75), was the only son and heir presumptive of Charles Legh of Adlington and his wife, Hester, daughter and co-heir of Robert Lee of Wincham, Cheshire. Known as Thomas Legh of Wincham, the estate he inherited through his mother, he married Mary, daughter of Francis Reynolds of Strangeways, Lancashire. Thomas Legh predeceased his father at age 40, and left no surviving issue. Upon the eventual death of his father Adlington was inherited by Thomas' cousin, Elizabeth Davenport, the daughter of Lucy Francis Legh and Sir Peter Davenport.
Thomas Hudson (1701-1779) was both a pupil of and son-in-law to the painter Jonathan Richardson (1667-1745). The solemn poses inherited from Richardson can also be seen in the work of Van Loo, whose work Hudson must have studied whilst he was in London between 1730 and 1740. Hudson's work appealed to more formal and tradition sitters, who resisted the introduction into portraiture of the genial and 'human' element in character exploited by artists such as William Hogarth and Joseph Highmore. As a fellow Devonian, a young Joshua Reynolds was apprenticed to Hudson between 1740 and 1743. Hudson also taught Joseph Wright of Derby. Between 1748 and 1752 the artist travelled around Europe, however his style remained unchanged, and by the mid-1750s he was regarded as one of the most fashionable portrait painters in London, rivalled only by Allan Ramsay.
Condition Report:
The canvas presents an unevenly applied varnish, and a subtle craquelure across the whole surface. UV light reveals various retouches which have been badly applied and are even visible to the naked eye. Such retouches are scattered, for the most part on the clothing of the sitter, such as a 4 cm wide retouch to near the right sleeve, various scattered retouches on the right arm, the largest of which is approx. 6 cm in length, and sits on the elbow. To conclude a few dotted retouches, yet hardly noticeable compared to the retouching on the clothing, are visible to the left of the nose and on the neck.
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20,000 - 30,000 GBP
THOMAS HUDSON (BRTISH 1701-1779)
PORTRAIT OF CHARLES LEGH; AND HIS WIFE HESTER
Oil on canvas, a pair
124.5 x 99cm (49 x 38¾ in.) (2)
Provenance:
Probably commissioned by the sitter for Adlington Hall, and thence by descent
Literature:
Adlington Guide Book: 'The Dining Room'.
This pair of portraits were presumably commissioned by the sitters to proclaim their status, joint fortunes and influence on the fabric of Adlington Hall.
Charles Legh (1697-1781) was the son and heir of John Legh (1668-1739) and Lady Isabella Robartes, sister of the 2nd Earl of Radnor. He married his wife, Hester (née Lee), in around 1730. Hester was the daughter of Robert Lee and through him inherited an estate at Wincham.
Charles Legh perhaps made the most extensive and fashionable improvements to Adlington Hall and its parkland. Evidently, he valued the historical part of his house ensuring that the older areas were incorporated into his new scheme. He created a new west wing comprising a principal staircase, dining-room, drawing-room, library and ball-room, completed in around 1749. The south front has a pediment frieze above the tall portico entrance with its four Ionic columns, and is inscribed 'Charles and Hester Legh 1757'. Charles Legh was also responsible for creating the stables, although there is no record of him having employed an architect for any of the architectural works at Adlington. It seems likely that he designed the additions himself, and used local builders and materials to implement his designs. Charles Legh was a friend of Handel, who is said to have visited Adlington Hall to play on the magnificent organ in the Great Hall, which was probably installed during the tenure of Charles' father, John, when he inherited Adlington in 1696.
Charles Legh's only son, Thomas Legh (1735-75), predeceased him, and when he himself died in 1781, the male line of the family became extinct, and the inheritance descended through the female line to his niece Elizabeth Rowlls, nee Davenport, who upon her inheritance took the name Legh.
Condition Report:
The Gentleman:
The canvas is relined and presents a subtle craquelure across the whole surface. UV light reveals a few retouches on the white dress at the height of the chest, as well as a few dotted retouches on the on the sitter's left cheek and forehead - such retouches, however, a very minor. In addition, UV light reveals some infilling of the craquelure to the left of the sitter, and a heavy varnish unenvied applied in wide brush strokes. Further restoration is alp present on the background curtain. To conclude, various superficial damages are visible to the border of the painting, as well as a few dotted losses of paint in the background.
The Lady:
The canvas is relined and presents a visible craquelure across the whole surface. A few dotted losses of paint caused by the craquelure are present to the lower left corner and lower right. UV light reveals various infills of the craquelure at the height of bust, as well as a curved shaped retouch to the right of the lady's visage, which travels the length of the cheek. To conclude, various scattered retouches are visible near the bottom border, as well as damages to the edges.
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THOMAS HUDSON (BRITISH 1701-1779)
PORTRAIT OF MASTER THOMAS LEGH HOLDING A TRICORN HAT UNDER HIS ARM
Oil on canvas
124.5 x 100.5cm (49 x 39½ in.)
Provenance:
Probably commissioned by Charles Legh for Adlington Hall, and thence by descent
Literature:
'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130,
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1963 and p. 1961, fig. 3.
Thomas Legh (1735-75) was the only son and heir of Charles Legh Esq. of Adlington and his wife, Hester, daughter and co-heir of Robert Lee Esq. of Wincham, Cheshire. Known as Thomas Legh of Wincham, the estate he inherited through his mother, he married Mary, daughter of Francis Reynolds, Esq., of Strangeways, Lancashire. Thomas Legh predeceased his father at age 40, and left no surviving issue. The present portrait was most probably commissioned by the sitter's father, Charles, to sit alongside the pair of portraits of himself and his wife Hester, commissioned from the same artist, to proclaim the 'future' of a house which had just been aggrandised into a fashionable Georgian mansion.
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JOHN OPIE (BRITISH 1761-1807)
PORTRAIT OF JUDGE GEORGE LEWIS NEWNHAM
Oil on canvas laid to board
126 x 101.5cm (49½ x 39¾ in.)
In a Maratta frame
Literature:
(G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1962 and fig. 4 'The Dining-Room, beneath the Drawing-Room).
George Lewis Newnham (c. 1733-1800) was an English lawyer and politician who sat in the House of Commons from 1774 to 1780.
Newnham was the eldest son of Nathaniel Newnham, a London merchant and MP, and his wife Sarah Adams. He was educated at Eton College from 1745 to 1748 and was admitted to Lincoln's Inn on 20 November 1749 and Clare College, Cambridge on 10 April 1751. He was called to the bar on 3 February 1757.
Newnham's father recommended his son to the Duke of Newcastle for a seat in Parliament in 1761, but the Duke appeared to exclude him from opportunities at Lewes. In 1768 Newnham stood at Nottingham but withdrew before the poll. He became a Bencher of Lincoln's Inn and King's Counsel in 1772. At the 1774 general election, he was returned unopposed as Member of Parliament for Arundel on the interest of Sir John Shelley. In Parliament he voted with the opposition, but does not appear to have
spoken. He did not stand in the 1780 general election.
Newnham married Mary Ashton of Lincoln's Inn Fields on 7 October 1778. He succeeded to his mother's Newtimber estate on her death in 1788. He died on 2 August 1800. He and his wife Mary had one son and a daughter, Louisa, who married Sir Thomas Legh in 1812.
Condition Report:
Craquelure throughout the surface with small areas of flaking paint above the figures head. Inspection under UV light reveals heavy retouching along the upper edge and extensive retouching to the upper right corner, with restorations approximately 10cm in length. Furthermore, there is approximately a 10cm area of retouching to the right of the sitter's head. In addition, extensive infills are present on the visage of the sitter as well as to the left border of the canvas. Wide patches of restoration are present on the right sleeve and below the right hand. A cloudy varnish is unevenly applied across.
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JOHN OPIE (BRITISH 1761-1807)
PORTRAIT OF MRS NEWNHAM WITH HER CHILD
Oil on canvas laid to board
126 x 101.5cm (49½ x 39¾ in.)
In a Maratta frame
Mrs Newnham was the wife of Judge George Lewis Newnham.
Condition Report:
Canvas has been relined. Abrasions to the edge of the canvas with associated paint loss. Craquelure throughout which has caused some small areas of peeling at the woman's waist. Yellowing varnish. Inspection under UV reveals extensive retouching to the drapery folds as well as the various areas of retouching to the background. There appears to be a layer of pink retouching to the visages, however these do not fluoresce under UV.
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25,000 - 35,000 GBP
JOHN SOUCH OF CHESTER (BRITISH 1593-1645)
DOUBLE PORTRAIT OF THOMAS LEGH THE ELDER WITH HIS WIFE ANN GOBARTE, HE IN BLACK COAT AND BREECHES TRIMMED WITH GOLD BRAID, SHE WEARING A BLACK DRESS AND WHITE LACE COLLAR, WITH A SPANIEL IN A LANDSCAPE
Oil on canvas
217 x 212cm (85¼ x 83¼ in.) (2)
In a Lely panelled frame
John Souch ( c. 1593 - 1645) was born in Ormskirk, Lancashire and painted predominantly in the North-West of England. In 1607, at the age of fourteen, he was apprenticed to Randle Holme I, a herald painter and antiquary who had been appointed deputy Herald of the College of Arms in Cheshire, Lancashire and North Wales. His workshop would have produced heraldic devices, coats of arms, hatchments and the more gifted artist's also produced portraiture. Souch flourished under Holme's tutelage and when he left in 1616 he became a Freeman of Chester. He also became a member of the Painters and Stationers Company, a guild that met in the upper room of the Pheonis Tower on the city walls.
He was based in Chester but also travelled for commissions. His first recorded portrait is most probably that of Francis Clifford. 4 th Earl of Cumberland, which he painted at Skipton Castle in 1620 for which he was paid 30 shillings. His masterpiece is his group portrait of Sir Thomas Aston at the deathbed of his first wife , dating from 1635 and now in the Manchester City Art Gallery. There is also a marriage portrait signed and dated 1640 in the Grosvenor Museum, Chester.
He is recorded as having one apprentice by the name of Thomas Pulford in 1636. He died in 1645 and it is possible that he, like Randle Holme, were royalist supporters and died in the siege of Chester during the Civil War.
Thomas Legh, like his sons, was a staunch Royalist and on two occasions Adlington was taken by the Parliamentarians during the Civil War. According to a 1952 Country Life article about the collection, this picture was defaced and marks made by sword-slashes can still be seen.
The sitters are depicted hand-in-hand and have conspicuously removed their gloves to do so. A sign of their tender intimacy.
Condition Report:
The canvas presents a subtle craquelure across the whole surface, and an unevenly applied varnish across. The canvas has two visible folds which horizontally cross the whole panting, and within which, in some section there is loss paint. Such folds are situated at the height of the bust of both sitters, and at the height of the feet. In addition there is a fork shaped tear to the right of the man's head which continues to the upper border, which has now been sealed.
UV light reveals a heavy varnish under which it is difficult to analyse the restoration. Nevertheless, various retouches are present scattered in the background, various infillings on the dress of the lady, together with various retouches (which however do not fluoresce under UV) are visible to the Lady's visage - such retouches are the pink pigments that have been applied. Furtherer retouching is present onto he hair. The gentlemen's visage seems to be in better condition, expect a few added pink retouches, and some restoration to the right of his eye. Further restoration is present on the hands of the sitters at the centre, and, to conclude, various damages are present to the borders of the canvas, such as a scratch on the dog in the lower right corner. To conclude, various superficial scratches are visible, as well as scattered dirt stains.
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λ CARLOS SANCHA (20TH CENTURY)
GROUP PORTRAIT OF CHARLES, JANE AND CAMILLA LEGH IN THE GROUNDS OF ADLINGTON HALL
Oil on canvas
Signed and dated '1965' (lower right)
124.5 x 100cm (49 x 39¼ in.)
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WILFRED GABRIEL DE GLEHN (BRITISH 1920-2001)
PORTRAIT OF CYNTHIA LEGH, O.B.E. HALF-LENGTH IN A RED DRESS
Oil on canvas
Signed (upper right)
74 x 70cm (29 x 27½ in.)
Painted 1946.
Exhibited:
London, Royal Academy, Summer 1946 (according to handwritten label verso)
During the Second World War Cynthia Legh (1896-1983) converted part of Adlington Hall into a maternity hospital for the wives of servicemen.
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2,000 - 3,000 GBP
CIRCLE OF PHILIP MERCIER (GERMAN 1689-1760)
A PAIR OF FETE GALANTE SCENES
Oil on metal
Each 34.5 x 47cm (13½ x 18½ in.) (2)
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ATTRIBUTED TO MARY BEALE (BRITISH 1632-1697) AFTER SIR PETER LELY
LETITIA ISABELLA SMITH, COUNTESS OF RADNOR (CIRCA 1630 - 1714) IN PEERESS' ROBES
Oil on canvas laid to board
101.5 x 99cm (39¾ x 38¾ in.)
Provenance:
Possibly commissoned by John Robartes, 1st Earl of Radnor for Llanhydrock, until inherited by Lady Isabella Legh, nee Robartes, or Charles Legh, and thence by descent at Adlington Hall
Literature:
Another version of this portrait
https://www.nationaltrustcollections.org.uk/object/352351
Letitia Isabella Smith was the daughter of Sir John Smith of Bidborough, Kent. She was the second wife of John Robartes, 1st Earl of Radnor with whom she had nine other children, including Francis, and Araminta, who married Ezekiel Hopkins, Bishop of Derry. Letitia has been identified as the "Lady Robarts" mentioned in Count Hamilton's Mémoires du Comte de Grammont, par le C. Antoine Hamilton. Edition ornée de LXXII portraits, Graves d'apres les tableaux originaux., A Londres , [1793], and was described by Samuel Pepys as "a great beauty indeed". Although confusingly previously identified as Harriet, Wife of William, 1st Earl of Radnor (2nd Creation) another version of this work is housed at Llanhydrock House, Cornwall, inscribed as being Letitia Isabella Smith.
The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to or purchased by the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
Condition Report:
The measurements are wrong, and the correct ones are the following: 124.5 x 99 cm
The canvas is heavily relined. UV light reveals various retouches across the whole surface. Numerous retouches cross the whole left border, with many of about 4cm in width, and the larger, in the upper left corner, of about 8cm. Many retouches are also visible on the dress, especially on the red cloth where scattered retouches are added in the folds. In addition, a 8 cm vertical long restoration is present on the white cloth near the bottom border. Furthermore, extensive retouching is present in the background, especially on the back curtain. A few scattered pink coloured retouches, which are also visible to the naked eye, are present on the hands, and arms, and slightly on the hair. To conclude, a 7 cm long superficial scratch is present to he left of the sitter.
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AFTER SIR PETER LELY
PORTRAIT OF SARAH BODVILLE, THE HON. MRS ROBERT ROBARTES, LATER VISCOUNTESS BODMIN AND COUNTESS OF RADNOR
Oil on canvas laud on board
122 x 114.5cm (48 x 45 in.)
Provenance:
Possibly commissioned by the sitter, until inherited by Lady Isabella Legh, nee Robartes, and thence by descent at Adlington Hall
Literature:
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1962 and fig. 6 'Detail of the Ceiling and Overmantel in Mrs. Legh's Bedroom. The portrait is Sarah, Countess of Radnor'.
Picture at Lanhydrock
<https://www.nationaltrustcollections.org.uk/object/884968>
Lady Sarah Bodvile (1640-1720) was the wife of Lord Robert Robartes, Viscount Bodmin (1634-82) and mother to Charles Bodvile Robartes, 2 nd Earl of Radnor (1653-1723). Due to the premature death of her husband and as the mother of the 2nd Earl she was granted the right to use the title 'Countess' upon the death of her father-in-law, the 1 st Earl in 1685.
The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
Condition Report:
The canvas has been heavily relined. UV light reveals various retouches across the whole surface, most evidently in the section of the drapery, where numerous retouches are applied. More retouching is visible on the visage of the sitter, which presents dotted patches of restoration on the nose, eyes, and eyebrows, as well as substantial retouching on the left cheek, neck and breast. Furthermore, various retouches are applied on the arms and hands - retouches which are visible to necked eye. To conclude, the canvas presents a thick varnish which as been applied unevenly.
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AFTER SIR GODFREY KNELLER
PORTRAIT OF ELIZABETH CUTLER, COUNTESS OF RADNOR (DIED CIRCA 1696)
Oil on canvas
Later inscribed with identifying inscription (to stretcher verso)
117 x 95.5cm (46 x 37½ in.)
In a carved and gilded frame
Literature:
The primary version at Llanhydrock <https://www.nationaltrustcollections.org.uk/object/884939>
Lady Elizabeth Cutler (d. 1696) was the daughter of Sir John Cutler, 1st Bt., of Wimpole Hall, Cambridgeshire, and his second wife, Elicia Tipping. On 4 June 1689, Lady Elizabeth married Charles Bodvile Robartes, 2nd Earl of Radnor, son of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-1720). She died on 13 January 1696, without issue. The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to or purchased by the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF LADY ISABELLA LEGH
Oil on canvas
Later inscribed with identifying inscription (verso)
121 x 99cm (47½ x 38¾ in.)
Provenance:
Probably commissioned by the sitter's husband, John Legh, and thence by decent at Adlington Hall
Literature:
'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130, 'The Drawing-Room'.
Adlington Guide Book: 'The Drawing Room'.
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1960, fig. 2 'The mid-Georgian staircase in the West front.
Lady Isabella Legh, née Robartes (1674-1725), was the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-1720). She was born in 1674 at Lanhydrock House, Cornwall. On 18 July 1693, she married John Legh Esq. of Adlington Hall (1688-1739) with whom she had two children, Lucy Frances Legh (1695-1728) and Charles Legh (1697-1781).
Both Lady Isabella and her husband were interested in music, and it is probable that the organ in the Great Hall was a gift to her from him shortly after they arrived in Adlington. Stylistically, the organ case can be dated around 1700, and it is surmounted by a coat of arms celebrating the marriage of Lady Isabella and John.
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30,000 - 50,000 GBP
ANGLO-DUTCH SCHOOL ( CIRCA 1645)
GROUP PORTRAIT OF LADY BODVILE WITH HER TWO DAUGHTERS, AND A PAGE
Oil on canvas
Later inscribed with identifying inscription ' THE RIGHT HONOURABLE LADY BODVILE & HER DAUGHTERS, SHE WAS MOTHER TO THE RIGHT HONOURABLE SARAH, COUNTESS OF RADNOR' (to the stretcher verso)
107 x 127cm (42 x 50 in.)
In a wood frame carved with a sun, heads of flowers and scrolling foliage
Provenance:
Possibly commissioned by Sir John Bodvile for Bodvile Castle
Inherited by Sarah, Countess of Radnor and possibly at Llanhydrock,
Lady Isabella Legh, nee Robartes and thence by descent at Adlington Hall
Literature:
'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130, 'Portraits of former Leghs over chimney-piece'.
Adlington Guide Book: 'The North Front Rooms'.
'Beneath the spectator in Fig. 4 is a portrait attributed to Van Dyck of Lady Bodville and her two daughters, the elder of whom, Sarah, subsequently married the Viscount Bodmin, whose portrait has already been mentioned. After her father-in-law's death in 1865 she was granted by Royal Warrant the precedence of the wife of an earl, as if her husband had succeeded to the Radnor title. Pepys met her and described her as a "great beauty and a fine lady indeed"
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1962 and p. 1961, fig. 4 'The Dining-Room, beneath the Drawing-Room.
This portrait is of Lady Anne Bodvile, née Russell (1612-69), wife of Sir John Bodvile of Bodvile Castle, Gwynedd, Wales, and her two daughters, Sarah (1640-1720) and Lucy (1655-unknown).
The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
Condition Report:
The canvas presents an evident layer of yellowing varnish which renders the analysis of the restoration difficult. Nevertheless, a subtle craquelure is present, and a few retouches scattered across, most evident on the drapery of the mother to the left, where various retouches are visible to the folds, most noticeably above the hand, as well as an approx. 12cm long retouch below the hand which curves towards the bottom left corner. More retouching is present on the hair of the girl to the right, who also presents a grey superficial cloudy surface, most likely caused by the varnish. Further scattered retouches are visible in the foliage, and a few, yet minor, on the stone bugling behind.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF LADY ISABELLA LEGH, HOLDING FLOWERS IN A ROCKY LANDSCAPE
Oil on canvas
With later identifying inscription (to canvas verso)
121 x 96.5cm (47½ x 37 in.)
In a carved and gilded frame
Provenance:
Possibly commissioned by John Robartes, 1st Earl of Radnor for Llanhydrock, Cornwall
Inherited by Lady Isabella Legh, nee Robartes or Charles Legh
Thence by descent at Adlington Hall
Literature:
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1961.
Lady Isabella Legh née Robartes (1674-1725) was the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile, later Countess of Radnor(1640-1720). She was born in 1674 at Lanhydrock House, Bodmin, Cornwall. On 18 July 1693, she married John Legh of Adlington Hall (1688-1739) with whom she had two children, Lucy Frances Legh (1695-1728) and Charles Legh (1697-1781).
It is possible that the present portrait was commissioned by the sitter's father as a series of portraits depicting his daughters or children. It most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF A LADY, POSSIBLY ELIZABETH CUTLER OR LADY LAETITIA SMYTH
Oil on canvas
120 x 95cm (47 x 37¼ in.)
The present lot has traditionally be described as a portrait of the second wife of the 2nd Earl of Radnor. However the 2nd Earl (first creation) was only married once. It is more likely then that this is either the second wife of the 1st Earl (first creation), Lady Laetitia Smyth, or the first and only wife of the 2nd Earl, Elizabeth Cutler.
Elizabeth Cutler was the daughter of Sir John Cutler, 1st Bt. and his second wife, Elicia Tipping. On 4 June 1689, she married Charles Bodvile Robartes, 2nd Earl of Radnor, son of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile (1640-1720). She died on 13 January 1696, without issue.
The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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AFTER SIR GODFREY KNELLER
PORTRAIT OF LADY LUCY BOOTH
Oil on canvas
125 x 100cm (49 x 39¼ in.)
Provenance:
Possibly commissioned by John Robartes, 1st Earl of Radnor for Llanhydrock, Cornwall
Inherited by Lady Isabella Legh, nee Robartes or Charles Legh
Thence by descent at Adlington Hall
Literature:
Another version at Llanhydrock
https://www.nationaltrustcollections.org.uk/object/884941
Lady Lucy Booth, nee Robartes (unknown-1717), was the sister of Lady Isabella Legh née Robartes (1674-1725) and Charles Bodvile Robartes, 2nd Earl of Radnor (1653-1723), and the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile, later Countess of Radnor (1640-1720). She married George Booth Esq. the brother of Henry Booth, 1st Earl of Warrington.
Another version of this painting can be found at Lanhydrock, Cornwall. It has previously been suggested that the sitter could be Mary Oldbury, Countess of Warrington ( circa 1680-85 - 1740), Lucy's sister in law, but a label on the back of the Lanhydrock version would suggest that Lucy is a more likely candidate.
The present portrait most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF LADY ESSEX ROBARTES, HOLDING A BASKET OF FLOWERS ON A LEDGE
Oil on canvas
124.5 x 100.5cm (49 x 39½ in.)
In a carved and gilded frame
Provenance:
Possibly commissioned by John Robartes, 1st Earl of Radnor for Llanhydrock, Cornwall
Inherited by Lady Isabella Legh, nee Robartes or Charles Legh
Thence by descent at Adlington Hall
Literature:
Adlington Guide Book: 'The Drawing Room'.
Lady Essex Robartes (unknown-1727), was the sister of Lady Isabella Legh née Robartes (1674-1725) and Charles Bodvile Robartes, 2nd Earl of Radnor (1653-1723), and the daughter of Robert Robartes, Viscount Bodmin (1634-82), and Sarah Bodvile, later Countess of Radnor (1640-1720). She appears to have been unmarried.
It is possible that the present portrait was commissioned by the sitter's father as a series of portraits depicting his daughters or children. It most likely entered the Legh collection following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to, or purchased by, the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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GEORGE WILLIAM SARTORIUS (1759-1828)
STILL LIFE OF FRUIT WITH A MALLARD AND A SONGBIRD
Oil on canvas
Signed (lower right)
42 x 53.5cm (16½ x 21 in.)
In a carved and gilded frame
Literature:
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1962 and p. 1961, fig. 4 'The Dining-Room, beneath the Drawing-Room.
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ATTRIBUTED TO JOHN SOUCH OF CHESTER (1593-1645)
PORTRAIT OF COLONEL THOMAS LEGH THE ELDER, AGED 39
Oil on canvas
Inscribed 'Aetatis suae 39' 'And Dou 1632' (upper left)
104.5 x 89cm (41 x 35 in.)
Provenance:
Probably commissioned by the sitter for Adlington Hall, and thence by descent
Literature:
O. Millar, The Career o . f 'John S'ouch of 'Chester
Burlington Magazine. May I 997. p.306. fig. I I
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1963 and p. 1961, fig. 3.
,
Adlington Guide Book: 'The Drawing Room'.
Thomas Legh The Elder was the son of Sir Urian Legh (1566-1627) and Margaret Trafford, daughter of Sir Edmund Trafford. He married the heiress, Ann Gobart (1590-1675) in 1610. He was twice High Sheriff of Cheshire (1629 and 1642) and a Colonel in the Royalist Army during the Civil War. He lost Adlington Hall in December 1642 but regained it soon after. In February 1644 the house was again besieged. This time it had to be surrendered to the Parliamentarians in order to prevent severe damage.
Later that year, Colonel Legh died at Chester, to be succeeded by his son, also Thomas (1614-87). The estate was not returned to the family until 1656 after heavy fines had been paid.
Condition Report:
The canvas is relined and presents various damages to the borders. UV light reveals a few dotted retouches in the 'background area to the right of the sitter, a horizontal 4 cm wide retouch on the hair, a few retouches on the sitter;s left sleeve, one of which is visible to the naked eye and of about 3 cm in width; another patch of retouching on the sitter's right arm of about 3 cm in diameter, and, to conclude, a layer of cloudy varnish applied across.
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CIRCLE OF SIR GODFREY KNELLER (BRITISH 1646-1723)
PORTRAIT OF ANNE, WIFE OF COLONEL THOMAS LEGH THE ELDER
Oil on canvas, feigned oval
71 x 61cm (27¾ x 24 in.)
Provenance:
Possibly commission by the sitter's son, Thomas Legh The Younger for Adlington Hall, thence by descent
Literature:
Adlington Guide Book: 'The Drawing Room'.
Ann Gobart (1590-1675) married Thomas Legh (1593-1644) on 24 August 1610. She was heir to her father's estate as the eldest of his two daughters. It is possible that, after the death of her husband in 1644, her son Thomas Legh The Younger commissioned this portrait to accompany the earlier portrait of his father.
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ATTRIBUTED TO SIR PETER LELY (DUTCH 1618 - 1680) AND STUDIO
PORTRAIT OF SARAH BODVILE, THE HON. MRS ROBERT ROBARTES, LATER VISCOUNTESS BODMIN AND COUNTESS OF RADNOR
Oil on canvas
124 x 100cm (48¾ x 39¼ in.)
In a Kentian frame surmounted by an Earl's coronet
Provenance:
Probably commissioned by the sitter for Llanhydrock, later inherited by Lady Isabella Legh, nee Robartes, or Charles Legh and moved to Adlington Hall, thence by descent
Literature:
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1962 and fig. 6 'Detail of the Ceiling and Overmantel in Mrs. Legh's Bedroom. The portrait is Sarah, Countess of Radnor'.
Picture at Lanhydrock
<https://www.nationaltrustcollections.org.uk/object/884968>
Lady Sarah Bodvile (1640-1720) was the wife of Lord Robert Robartes, Viscount Bodmin (1634-82) and mother to Charles Bodvile Robartes, 2 nd Earl of Radnor (1653-1723). Due to the premature death of her husband and as the mother of the 2nd Earl she was granted the right to use the title 'Countess' upon the death of her father-in-law, the 1 st Earl in 1685.
The present portrait is believed to be the primary version of this portrait, with two other known to be in existence, one also within the Adlington collection and the other at Llanhrydrock. It was most likely commissioned by the sitter to immortalise herself as a Countess within its impressive frame which is surmounted by an earl's coronet. It is probable that it entered the Legh collection at Adlington following the marriage of Lady Isabella Robartes (1674-1725) to John Legh of Adlington Hall in 1693. Alternatively, it is conceivable that it could have been retained at Llanhyrdrock but later gifted to the Legh family upon the death of their cousin, the 3rd Earl of Radnor, in 1741 when the Radnor title and Llanhydrock were separated: the title succeeded by distant cousin and the house, believe by antiquarian John Loveday to be in a sorry state , bequeathed to a nephew.
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ENGLISH SCHOOL (17TH CENTURY)
PORTRAIT OF SIR URIAN LEGH
Extensively inscribed with the sitter's identity and coat of arms (upper right and left)
72.5 x 61cm (28½ x 24 in.)
In a carved and gilded frame
Provenance:
Probably commissioned by the sitter for Adlington Hall, and thence by descent
Literature:
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1963 and p. 1961, fig. 3 and p. 1962, fig. 5.
Adlington Guide Book: 'The Drawing Room'.
Sir Urian Legh was born in 1566. He was the eldest son of Thomas Legh, the builder of much of the Tudor wing at Adlington. As a young man he took part in the attack on Cadiz, and was knighted there by Robert Devereux, Earl of Essex, in 1596. He is among the candidates for the honour of being the Englishman in the famous ballad The Spanish Lady's Love, quoted in Percy's Reliques of Ancient Poetry 'Will you hear a Spanish lady. How she wooed an English man? ... Ten years before the descent on Cadiz.
Sir Urian married Margaret, daughter of Sir Edmund Trafford, and after succeeding his father in 1601 settled at Adlington, where he became Mayor of Macclesfield and High Sheriff of Cheshire' . He died in 1629. The present portrait was most likely commission by the sitter for Adlington and had descended to every incumbent since.
Condition Report:
The canvas has been heavily relined and presents thick varnish which renders the analysis of the restoration difficult. UV light reveals various infills on the the hands, scattered retouches on the inscription to the left, as well as retouching on the decoration on the borders of the jacket. To conclude, the panting presents various dirt satins, as well as various creases.
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50,000 - 80,000 GBP
THOMAS BARDWELL (BRITISH 1704-1767)
VIEWS OF ADLINGTON HALL AND PARK
Oil on canvas, a set of four
Each 61.5 x 101cm (24 x 39.3⁄4 in.) (4)
Provenance:
Charles Legh, descent to current owner
Literature:
County Life, 28 November 1952, p.1734, fig. 1; 12 December 1952, p. 165, fig.9.
J. Harris, The Artist and the Country House , London, 1979, p.321, no.360.
P. de Figueiredo and Julian Treuherz, Cheshire Country Houses , Chichester, 1988, pp.17-18, fig.9.
G. Tyack and S. Brindle, Country Houses of England, 1994, pp.84-85.
J. Harris, The Artist and the Country House . London, 1995, p.84-5, fig. 57-8.
Exhibition:
Sotheby's London, The Artist and the Country House, no.57 and 58.
The present lot is a striking example of English country house portraiture, commissioned as a painterly record of a generation's contribution to the family seat. The tradition of estate painting arrived in England relatively late in comparison with the continent, where Renaissance rulers and aristocrats sought to document their palaces and homes. While oil paintings on canvas of a standalone property are unrecorded in England before 1600, the tradition was taken up with great enthusiasm and the art form reached its zenith in the eighteenth-century.
Born in Suffolk in 1704, Thomas Bardwell was a painter with a varied oeuvre; he travelled across England and Scotland executing country house views, portraits and conversation pieces. He began his artistic career decorating house interiors and initially owned a paint supply business. Although he lacked formal training, in the 1720s he was employed by the successful country house painter Peter Tillemans (c. 1684-1734) to paint Livermere Hall in Bardwell's native East Anglia. Tillemans' influence on Bardwell is discernible from his earliest topographical pictures. Notably, his painting of Hedenham Hall (1735) adopts Tillemans' distinctive equine staffage, shown most prominently in his view of Chatsworth (1720s) . Though charmingly naïve, this early work is also notable for its sensitive observation of detail and miniature-like quality.
Previously attributed to James Shrigley, The Adlington views demonstrate how Bardwell's proficiency in country house painting evolved in his mature years. First and foremost, the works memorialise the architectural achievements of Charles Legh (1697-1781), including the south wing portico, detached stable block, domed Temple of Diana and garden follies. Although early continental estate pictures certainly display a keen interest in preserving specific details, decorative concerns often came at the expense of accuracy and views were compressed to create broad pictorial maps. By the turn of the 18th century, however, artists and patrons responded to the growing study of topography and sets of elevational views proliferated to provide a comprehensive record.
Bardwell's interest in perspectival accuracy therefore made him a fitting choice for the commission. Published in 1756, his study The Practice of Painting and Perspective Made Easy offers the reader a guide to the principles of perspective using illustrations of buildings, gardens and avenues. His principles are brought to fruition in the present works, through geometric precision, carefully manipulated areas of light and shadow and the incisive rendering of architectural detail.
Bardwell's views also act as a celebration of the English estate, with its bucolic scenery and rural pleasures. Following Charles Legh as he strolls around the grounds, the paintings provide a pictorial tour of the landscape. The parkland is characteristic of the mid eighteenth-century designs popularised by Lancelot 'Capability' Brown, with rolling pastures and clusters of trees. Horses graze, deer and rabbits frolic, and Charles Legh is accompanied by a crowd of his cherished dogs. Indeed, the lines between portraiture, landscape, sporting and country house painting blurred in English eighteenth-century conversation pieces and works began to speak to the symbiotic relationship between the home and family. Thomas Bardwell's portraits, for instance, often include the sitter's home in the background and his estate views show figures riding or promenading through the grounds.
John Steegman wrote that 'a house may be called Castle, Abbey, Priory, Park, Hall, Court, Manor, or just a House...But they are all houses, which have been born-in, lived-in and died-in by the family, and which are centred the family's affections and pride'. Bardwell's pictures animate the country house by reflecting the delight and fulfilment of those who inhabit it. In one view, Charles Legh stands proudly before the imposing new facade. Another shows him looking across his sweeping vista and admiring Adlington Hall from a distance. In each picture, however, the figure moves unobtrusively across the landscape; there is an awareness of his transience. While one generation travels through, the home and park remain the constant focus, a testament to one family's enduring legacy.
Condition Report:
White picket fence, centrally located
The paintings has been wax lined. There are multiple chip losses evident and a strong pattern of craquelure present. Examination under UV light reveals touches to many of the chip losses, along with work to a 4 ½ in. (approx.) vertical tear to the canvas, located in the sky on the right, and to a few additional infills in the sky. In the foreground there are some more dispersed spot touches and some glazing to thinness.
Dogs in front of lake
The painting has been adhered onto an oil tempered hardboard. This structural treatment is designed to support the original canvas which has several repairs to it along with a strong pattern of craquelure. Examination in a raking light suggests a good adhesion within the work and a certain level of structural stability. Examination under ultra violet light reveals some scattered retouches to a combination of isolated chip loses, some of these combine to form a more concentrated area of work, and to a few infills in the sky, one above the buildings on the right and two more
Man with blue coat
The picture has been adhered to an oil tempered hardboard. This structural treatment designed to support the original canvas which has several repairs to it across the sky. Examination in a raking light suggests a good adhesion within the work and a certain amount of structural stability. Examination under a UV light shows restoration to what appears to be a number of holes and some linear breaks to the canvas. The two largest of these are above the trees on the right and in the sky in the upper left quadrant.
Horses
The painting has been wax lined. This lining is designed to support a 3" vertical tear in the right of the sky and a strong pattern of craquelure Examination under ultra violet light shows scattered retouches across the sky, to chip losses and age cracking. This pattern of chip losses continues across the foreground which also has several patches of old varnish.
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HENRIETTE GUDIN (FRENCH 1825 - 1892)
COASTAL SCENE WITH BEACHED FISHING BOATS AND FISHER FOLK ON THE SHORE
Oil on panel
Indistinctly signed (lower left)
12.5 x 21cm (4¾ x 8¼ in.)
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FOLLOWER OF FRANS FRANCKEN
VIRGIN AND CHILD WITH SAINT JOHN, ST. CATHERINE, AND SAINT AGNES
Oil on metal
37 x 28cm (14½ x 11 in.)
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A VICTORIAN `CHIPPENDALE REVIVAL' CARVED OAK PICTURE FRAME
SECOND HALF 19TH CENTURY Surmounted by a crown and with a pierced surround of foliate C- and S-scrolls, now fitted with a mirror
166 x 134cm wide
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ENGLISH SCHOOL (19TH CENTURY)
PORTRAIT OF A LADY , POSSIBLY LOUISA NEWNHAM
Oil on canvas
145 x 113cm (57 x 44¼ in.)
Whilst it is not possible to confirm the sitter with certainty, Louisa Newnham, daughter of Judge George Lewis
Newnham, is a likely candidate owing to the fashion being worn which dates to around 1820. Louisa married Sir Thomas Crosse Legh in 1812. The sitter is depicted resting on Lot 320.
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FOLLOWER OF SIR GODFREY KNELLER
PORTRAIT OF LADY ISABELLA LEGH IN A BROWN DRESS
Oil on canvas
125 x 100cm (49 x 39¼ in.)
Lady Isabella Legh née Robartes (1674-1725) married John Legh of Adlington Hall in 1693. Both Lady Isabella and her husband were interested in music, and it is probable that the organ in the Great Hall was a gift to her from him shortly after they arrived in Adlington. Stylistically, the organ case can be dated around 1700, and it is surmounted by a coat of arms celebrating the marriage of Lady Isabella and Sir John. The organ's arrival at Adlington preceded the friendship between the couple's son, Charles, and the great musician, Handel.
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ATTRIBUTED TO THOMAS HUDSON (BRITISH 1701 - 1779)
PORTRAIT OF HESTER LEGH,
Oil on canvas
124 x 99cm (48¾ x 38¾ in.)
Literature:
'Adlington Hall, Cheshire: The Seat of Mr. A.M.R. Legh', Country Life, 29 July 1905, p. 130, 'The Drawing-Room'.
G. Nares, 'Adlington Hall, Cheshire - III: The home of Mrs. Legh', Country Life, 12 December 1952, p. 1960, fig. 2 'The mid-Georgian staircase in the West front.
Hester Legh, nee Lee, was the wife of Charles Legh (1697-1781). She was the daughter of Robert Lee and through him inherited an estate at Wincham. Charles and Hester perhaps made the most extensive and fashionable improvements to Adlington Hall and its parkland. The south front has a pediment frieze above the tall portico entrance with its four Ionic columns, and is inscribed 'Charles and Hester Legh 1757'.
Condition Report:
The canvas is relined, and presents a very subtle craquelure across, which is most visible on the breast of the sitter. UV light reveals an unevenly applied varnish across, and various retouches, most evident on the red drapery to the left, where numerous 3cm retouches are scattered; a approx. 8 cm patch of restorations to the right sleeve and arm of the sitter; a few scattered retouches on the blue silk of the dress, and a 8 cm wide and 2 cm in height on the white cloth near the breast; various scattered retouches on the hair; and a 10 cm thin retouch which must cover a past scratch crossing the visage a the height f the nose.
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