Dreweatts 1759 | Old Master, British and European Art

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ENGLISH SCHOOL (18TH CENTURY), A SET OF SIX PORTRAITS

62

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ITALIAN SCHOOL (18TH CENTURY), PORTRAIT OF A GENTLEMAN IN A RED JACKET

63

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CIRCLE OF JOSEPH HIGHMORE (BRITISH 1692 - 1780), PORTRAIT OF LORD SUFFIELD

64

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PIEDMONTESE SCHOOL (LATE 18TH CENTURY), PORTRAIT OF A GIRL

65

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FRANZ IGNAZ OEFELE-PIEKARSKI (GERMAN 1721-1779), PORTRAIT OF A LADY

66

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VENETIAN SCHOOL (17TH CENTURY), PORTRAIT OF A SULTANA

67

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ATTRIBUTED TO MATHER BROWN (AMERICAN 1761-1831), PORTRAIT OF A GENTLEMAN, POSSIBILY CASPAR WISTAR

68

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ATTRIBUTED TO MATHER BROWN (AMERICAN 1761-1831) PORTRAIT OF A GENTLEMAN, POSSIBILY CASPAR WISTAR Oil on canvas 89.5 x 69.5cm (35 x 27¼ in.) This fascinating portrait of a young anatomist, painted in the late 18 th century is characteristic of the work by Anglo-American portrait painter Mather Brown. The portrait shows a medical man at the beginning of his career, and of particular interest is the specimen jar at his elbow. In this jar can be seen preserved a human foetus. On even closer inspection this can be seen to be a two-headed example. The inclusion of such an object in a portrait underlines the curiosity that such phenomena aroused in the medical world at that time. Mather Brown was born in America but moved to London before he was 20. At the start of his career, he was helped by two established American artists working in London: Benjamin West and Gilbert Stuart. All three artists made something of a point of painting American sitters as they passed through London, both Americans who had remained loyal to the Crown through the War of Independence or those who were now the new political representatives of the emerging American nation. Brown's sitters included such luminaries as John Adams, the 2 nd President of the United States and Thomas Jefferson who would follow him as the 3 rd President. Brown's 1786 portrait of Thomas Jefferson (National Portrait Gallery Smithsonian Institution) in fact bears particularly close comparison with this present work. Colonel William Smith of the same date (Adams National Historical Park) and Sir Richard Arkwright , painted in 1790 (New Britain Museum of American Art) are also strikingly similar in their treatment of each sitter. Brown worked from around 1781 for some 50 years until his death in 1831, but it is his early work that is now regarded as his finest. His portraits from the late 1780s and early 1790s rank with the best of their day and tellingly it was then that he was appointed 'History and Portrait Painter' to the Duke of York. The identification of the sitter in this intriguing portrait is difficult. He is obviously a medical man, and one with a particular interest in anatomy. He wears unusual dress for an English sitter of the day. His cravat is a little more severe, and the cut of his clothes a little more angular. In all his costume appears plausibly American. It is possible then, that we are looking at a young American medic passing through London. One of the most famous medical schools in the world at that date was that in Edinburgh and several foreign students, Americans among them, were drawn to further their studies in the Scottish capital. The only appropriately aged medical man, known to have sat for Mather Brown in the late 1780s is one William Spooner, who's portrait is currently untraced. But reading descriptions of the picture from early 20th century records, there are too many discrepancies for this present portrait to depict him. However, he did have a close friend, a man called Caspar Wistar (1761 - 1818), who like Spooner himself, graduated from the University of Edinburgh in 1786. Wistar toured Europe briefly after his graduation, returning to America by 1787. We can conclude then that if we are looking at Caspar Wistar painted by Brown in London, it would most likely have been done in 1786. That date is totally consistent stylistically with other works by Brown from that date. It is quite probable that a newly qualified medical man would get his portrait painted in his professional attire, as is depicted here, shortly after graduation. Furthermore, Caspar Wistar is known to have been particularly keen on 'specimens' and his collection of these still exists today in the institute named after him - the Wistar Institute at the University of Pennsylvania in Philadelphia. We know that Wistar's friend William Spooner had chosen the ex-pat American Mather Brown as his own portrait painter, therefore it is not such a leap to suggest that this might in turn be the connection between Wistar and Brown. Caspar Wistar became a highly celebrated American physician. He was a fellow of the American Academy of Arts and Sciences and of the American College of Physicians. He published his famous System of Anatomy in 1811, and alongside that had developed a system of preserving human remains by injecting them with wax. He was an early pioneer of vaccination, a prominent abolitionist, a friend, despite their difference in years, of Thomas Jefferson and is also remembered today by having had the plant Wisteria named after him. Only one confirmed image of Wistar is known today, a portrait painted the year before he died, by Bass Otis in 1817. Here Wistar is considerably older than he would have been in 1786 but when comparing the two faces, they are not at all dissimilar. A copy painted in 1830 by Thomas Sully of this later portrait can be found in the collection of the American Philosophical Society Library (No 58.P.26).

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THOMAS BEACH (BRITISH 1737-1806), PORTRAIT OF JOANNA HELYAR

69

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8,000 GBP

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THOMAS BEACH (BRITISH 1737-1806), PORTRAIT OF HARRIET HEYLAR PLAYING GUITAR

70

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JOHN WOOD (BRITISH 1801-1870), PORTRAIT OF THREE CHILDREN IN A LANDSCAPE WITH A DOG

71

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ENGLISH SCHOOL (19TH CENTURY), CLASSICAL FRIEZE WITH FIGURES ON HORSEBACK

72

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EGIDIO MARIA BORDONI (ITALIAN 18TH CENTURY), TROMPE L'OEIL OF LETTERS AND OTHER OBJECTS

73

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AFTER THOMAS WILLEBOIRTS, CALLED BOSSCHAERT AND PAUL DE VOS, THIUMPHANT CUPID ...

74

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JACOB VAN DER KERCKHOVEN, CALLED GIACOMO DA CASTELLO (FLEMISH CIRCA 1637-1712), A DEAD COCKEREL

75

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JACOB VAN DER KERCKHOVEN, CALLED GIACOMO DA CASTELLO (FLEMISH CIRCA 1637-1712), A TURKEY

76

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FOLLOWER OF SANTI DI TITO, PORTRAIT OF MARIA DE MEDICI

77

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AFTER DIEGO VELAZQUEZ, PORTRAIT OF DON JUAN MATEOS

78

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FOLLOWER OF NICOLAS TOURNIER, THE FORTUNE TELLER

79

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AFTER ANDREA SACCHI, THE VISION OF SAN ROMUALDO

80

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400 GBP

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400 - 600 GBP

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CORNELIS VAN LELIENBERGH (DUTCH 1626-1676), STILL LIFE WITH POULTRY

81

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2,000 GBP

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ENGLISH SCHOOL (EARLY 19TH CENTURY), GREYHOUND WITH A FOX

82

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CIRCLE OF BARTOLOMEO BIMBI (ITALIAN 1648-1729), VASE WITH FLOWERS ON A STONE LEDGE

83

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CIRLCE OF GIACOMO LEGI (FLEMISH CIRCA 1600-1640), FIGURES IN A GAME LARDER

84

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CIRCLE OF MELCHIOR D'HONDECOETER (DUTCH 1636-1695), A PEACKOCK, COCKERELS, PIGEONS, AND DUCKS

85

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FOLLOWER OF WILLEM VAN DE VELDE THE YOUNGER, THE 'RESOLUTION' IN A GALE

86

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A LARGE VICTORIAN CARVED GILTWOOD AND GESSO MARITIME PICTURE FRAME

87

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700 GBP

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700 - 1,000 GBP

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JOHN OPIE (BRITISH 1761-1807), GIL BLAS BINDING DAME LEONARDA

88

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6,000 GBP

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FOLLOWER OF SIR THOMAS LAWRENCE, PORTRAIT OF VICTOR LE VISCOMTE D'ARLINCOURT (1789-1856)

89

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2,000 GBP

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FOLLOWER OF ENOCH SEEMAN, PORTRAIT OF GENTLEMAN WITH TURBAN

90

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MASON CHAMBERLIN (BRITISH 1727-1787), PORTRAIT OF GEORGE LINDSAY-CRAWFORD

91

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15,000 GBP

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15,000 - 20,000 GBP

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JOHN THOMAS (SEATON) SETON (SCOTTISH CIRCA 1738-1806), PORTRAIT OF A LADY

92

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93

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CIRCLE OF THOMAS HUDSON (BRITISH 1701-1799), PORTRAIT OF WILLIAM GRAY

94

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DUTCH SCHOOL (EARLY 17TH CENTURY), PORTRAIT OF A GENTLEMAN IN ARMOUR

95

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WILLIAM BEECHEY (BRITISH 1753-1839), PORTRAIT OF A YOUNG BOY HOLDING A BOOK

96

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5,000 GBP

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WILLIAM ETTY (BRITISH 1787-1849), THE YOUNG ANGEL

97

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4,800 GBP

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WILLIAM ETTY (BRITISH 1789-1849), EVE AND THE SERPENT

98

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900 GBP

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WILLIAM ETTY (BRITISH 1787-1849), FEMALE NUDE

99

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750 GBP

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800 - 1,200 GBP

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WILLIAM ETTY (BRITISH 1787-1849), NUDE WITH FLORAL WREATH

100

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750 GBP

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800 - 1,200 GBP

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WILLIAM ETTY (BRITISH 1787-1849), PORTRAIT OF THE ACTOR WILLIAM CHARLES MACREADY

101

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WILLIAM ETTY (BRITISH 1787-1849) PORTRAIT OF THE ACTOR WILLIAM CHARLES MACREADY APPARENTLY IN THE ROLE OF HAMLET Oil on canvas 93 x 70cm (36½ x 27½ in.) This portrait depicts the actor and theatre manager, William Charles Macready (1793-1873), known for his Shakespearian roles. Macready played Hamlet on numerous occasions during his successful and lengthy career, first performing the role in Newcastle upon Tyne in 1811, when he was just eighteen years old. It was also in Newcastle that he appeared opposite Mrs. Siddons (lot 131) when the latter offered him some parting words of advice: 'You are in the right way, but remember what I say: study, study and do not marry till you are thirty). He took on the by now established role of Hamlet again in Bath in 1814, and made his London debut at Covent Garden theatre as Hamlet in 1821. He was later to reprise the role in Paris to great acclaim in 1827 and 1844. Macready was famously hissed by his American counterpart, Edwin Forrest, whilst playing the protagonist in Edinburgh. This sparked a rivalry which came to emblematise Anglo-American social and class tensions that climaxed in the explosive 'Macready Riots' of 1849 at Astor Place, New York. Given the centrality of Macready's Hamlet to the international controversy, it was natural that the actor should want to portray himself confidently embodying the role. He had himself previously engraved as Hamlet for popular dissemination, as well as being painted by Daniel Maclise and William Etty and in his diary he recorded visiting Etty's studio where he was 'delighted with his gorgeous colours and ravishing forms'. William Etty (1787-1849) was the only important British painter before the 20th century to have dedicated his career to painting the nude and semi-nude. He was successful during his lifetime despite the censure of the press who accused him of indecency. His reputation was such that he was elected an associate of The Royal Academy (ARA) in 1824 and a full academician (RA) in 1828. He held a one-man exhibition at the Society of Arts in 1849, where he exhibited 133 of his pictures. Macready and Etty met when travelling in Italy in the 1820s and remained close friends after this chance encounter. Correspondence between the pair, now held in the Folger Shakespeare Library in Washington D.C., includes letters from Etty to Macready dated 1838-1843 congratulating him on his performances in King Lear, Comus and Much Ado About Nothing. Condition Report: The painting presents a general craquelure across the whole surface, and minor surface losses of paint on the right border. UV light reveals a thick layer of vanish across the whole surface, and there are various retouches, most evidently on the sitter's left cheek, chin, neck, left eye, and nose - such retouches are in some cases quite extensive (check, chin, and neck). Although smaller, various retouches are also present on the sitter's hand and shoulder. Two spherical retouches are also present on the right of the sitter's head, which are evident also in racking light, and extensive restorations have been applied on the chair and drapery. Condition Report Disclaimer

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WILLIAM STEPHEN COLEMAN (BRITISH 1829-1904), UNDER THE LEMON TREE

102

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1,000 GBP

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JOHN HAYTER (BRITISH 1800-1891), INTERIOR OF A PAINTER'S STUDY - EDWIN LANDSEER (1802-1873)

103

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15,000 GBP

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15,000 - 25,000 GBP

JOHN HAYTER (BRITISH 1800-1891) INTERIOR OF A PAINTER'S STUDY - EDWIN LANDSEER (1802-1873) AT HIS EASEL Oil on canvas 76.5 x 63.5cm (30 x 25 in.) Provenance: Ernest J.C. Savory, Orsett Terrace, London Sale, Christie's, London 19 May 1899, Lot 82 (as Wilkie School - An Artist's Studio ) Leggatt Brothers Private Collection, USA Exhibited: London, British Institution, 1830, No 81 This highly engaging picture, coming to light after more than 100 years of obscurity, shows Sir Edwin Landseer, perhaps England's greatest ever animal painter, at still only some 20 years of age, in the process of creating one of his early masterpieces, The Larder Invaded (1822). The artist is seated at his easel, where that picture is positioned. In the foreground another young man - most probably John Hayter the painter himself - is urging a dog on to enrage a cat, whom we see perched up on the right-hand margin of the picture. Landseer turns to sketch this cat with its arched back and outraged expression. Landseer's paintings, hugely popular in his lifetime are still recognized today, but his own image is less well-known. Those images which are in the public sphere tend to show him in his pomp as a middle or late-middle aged man. Francis Grant's portrait of him in the National Portrait Gallery - and its variants - or Landseer's own self-portrait working while observed by two dogs in the Royal Collections are perhaps the best known. But images of Landseer as a young man are not at all common and a full exhibition picture of him in his early days - and at his easel painting - is a considerable rarity. That the artist at the easel is Landseer is easily demonstrated. Not only does it look like him, as early pencil sketches of him by both John and George Hayter show, but of course the work on the easel in this picture is clearly his Larder Invaded . The Larder Invaded , shown at the British Institution in 1822, was in fact the picture that propelled the young Landseer to fame. His ability to draw - animals in particular - was well known to those around him. But when this picture went on public view it was hugely admired and eventually won the artist a prize in the considerable sum of £150 from the Institution. That his close friend John Hayter should have chosen to put The Larder Invaded on his friend Landseer's easel for his own picture here and then shown it at the British Institution himself is also telling. Landseer had not only had a major success with The Larder Invaded at the BI, but also two years later with the Cat's Paw (1824) at the same venue. To cap it all, in 1830, Landseer had just been given the status of a full Royal Academician at the still young age of 28. So to exhibit in 1830 a picture of his friend engaged in creating one of the great BI pictures, referencing (with the cat) another BI success and showing it in the year of his election as full RA, was probably quite a canny marketing strategy by Hayter. Landseer as a subject would have been a highly saleable proposition at that moment. John Hayter and Edwin Landseer were friends from an early age. Both families were close and Hayter's first picture at the RA was indeed titled: The Cricketer, a portrait of Master E Landseer . Hayter was just 15 years old at this point and Landseer 13. But there is no more eloquent a witness to this friendship than John Hayter's memorable 1823 group A Controversy on Colour , now held at the Shipley Art Gallery in Gateshead, in which John paints himself standing behind three seated figures; his father, the miniaturist Charles Hayter, his brother, the painter George Hayter but also the young, blond-haired Edwin Landseer. Landseer we can see was effectively 'family'. Further sketches of Edwin Landseer's recognizable, tousled-hair countenance came from Hayter's pencil in the 1820s. It can also be noted that John Hayter's depiction of his own features in the Gateshead group are very similar indeed to those of the second figure in our present painting. But while friendly interaction between the two painters is clear, what enables us to give this present picture definitively to John Hayter is its inclusion in the 1830 exhibition of the British Institution. Listed under Hayter's name in that year is a picture called Interior of a Painter's Study . It does not refer to Landseer as the subject by name; but this is convention. Portraiture as such was not welcome at the Institution, so artists tended to get round that obstacle by titling their pictures as generally as they could without mentioning the names of any sitters. The Institution also usefully gave (framed) sizes in their catalogues. The size given for this exhibit is in exactly the right proportions for our 30 x 25 inch painting. If we add a 4 ½ inch frame to that, the overall size is identical. But perhaps the most telling piece of evidence is the review of the 1830 show in the Morning Post which picked up this Hayter exhibit. It is inexact and quirky - as so many reviews of that date were - but its references are far too co-incidental for it to be referring to any other picture. It is worth quoting in full: 81. Interior of a Painter's Study. J.Hayter. The artist has for the moment turned from his easel, and is apparently lost in some mental abstraction of his art. He is in that state of mind which is technically described as a "brown study", quite insensible to the living objects about him. A favourite greyhound on the point of making a spring upon his master, is very pleasingly introduced to contrast with and heighten the repose which pervades all the other parts of design. The figure of the artist is, we believe, a portrait of Mr Hayter, so that we have the genius and the person of the painter depicted in this specimen of his works. In point of colouring, chiaro-scuro, and composition, this performance is highly creditable to the fame of its author. Now we can note the discrepancies. The dog is not a greyhound. It is not in the act of leaping on its master, but on a cat etc. But we must be forgiving here. An 1830 reviewer would have the problems of poorly lit pictures, and of pictures often hung too high to see in detail. Similarly, in the absence of any kind of illustration, reviewers had to rely on their own notes and memories when they went back to write up their copy. If we add to that the fact that many of them might be doing this after a good lunch to boot, then all art-historians have had to allow for these writers' inexactitudes in what were after all not much more than social columns. Despite the above, the Morning Post reviewer has noted the artist "turned from his easel" - our artist is. He has noted that there were "other living objects about him" - there are. He has pointed out a dog "on the point of making a spring" - there is one. Taken together these references (especially the dog) are simply too specific to be referring to any other interior picture. When we add to that the fact that in all the exhibited titles in the Royal Academy and in the British Institution between 1822 and 1830 this is the only one with an appropriate title, we must conclude that our picture is indeed one and the same as John Hayter's 1830 exhibit. ... Click here to read more .

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THOMAS ROWLANDSON (BRITISH 1756-1827), A HOUSE IN A RIVER LANDSCAPE

104

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THEODULE-AUGUSTIN RIBOT (FRENCH 1823-1891), STUDY OF HANDS

105

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DAVID COX (BRITISH 1783-1859), SHIPPING OFF THE COAST

106

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BENJAMIN DEAN WYATT (BRITISH 1775-1850), GEOMETRICAL ELEVATION OF THE HOUSE AND OFFICES DESIGNED FOR

107

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108

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ATTRIBUTED TO MARTIN JOHANN SCHMIDT (GERMAN 1718 - 1801), A FEMALE DIETY

109

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EDWARD LEAR (BRITISH 1812-1888), VIEW OF MOUNT MODINO, NEAR ABETONE, TUSCANY

110

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ATTRIBUTED TO DAVID ROBERTS (SCOTTISH 1796 - 1864), VIEW OF VENICE

111

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DAVID ROBERTS (SCOTTISH 1796-1864), THE FOUNTAIN OF NEPTUNE

112

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HENRY PETHER (BRITISH 1828-1865), A VIEW DOWN THE THAMES TOWARDS ST PAUL'S CATHEDRAL

113

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FREDERICK RICHARD LEE (BRITISH 1798-1879), VIEW OF STERLING FROM THE FORTH

114

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FREDERICK WATERS WATTS (BRITISH 1800-1870), WOODED LANDSCAPE

115

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PIERRE EUGÉNE MAISON (FRENCH 1814 - 1879), ALLEGORIE DE LA MUSIQUE ET DE LA DANSE (2)

116

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GERMAN SCHOOL (CIRCA 1800), THE HUNTING PARTY'S RETURN

117

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ANGLO-CHINESE SCHOOL (19TH CENTURY), THREE INTERIOR SCENES DEPICTING DAILY LIFE (3)

118

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COLONIAL SCHOOL (CIRCA 1800), A PAIR OF VIEWS OF LES CHUTES DE LA MADELEINE, NEW CALEDONIA

119

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INDIAN SCHOOL (19TH CENTURY), PORTRAIT OF AN INDIAN RULER ON HORSEBACK, JODHPUR

120

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THOMAS LONGCROFT (BRITISH ACTIVE CIRCA 1784-1811), HASAN REZA'S MOSQUE AT FAIZABAD

121

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