Dreweatts 1759 | Old Master, British and European Art

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SIR GEORGE HAYTER (BRITISH 1792-1871), PORTRAIT OF AN OFFICER OF THE EAST INDIA COMPANY

122

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SIR GEORGE HAYTER (BRITISH 1792-1871) PORTRAIT OF AN OFFICER OF THE EAST INDIA COMPANY Oil on canvas 76.2 x 63.5cm (30 x 25 in.) The sitter has been identified as the East India Company soldier Edward Nightingale. Sir George Hayter was the son of the miniaturist and drawing master Charles Hayter (1761- 1835). Born in London, he studied at the Royal Academy Schools, but disliking it, ran away to sea as a midshipman in the Royal Navy. At this point his father stepped in and bought him out, deciding that his son could best make his way by continuing his studies at the RA schools, but helping as his father's assistant at the same time. At the RA he was taught by Henry Fuseli among others and emerged a highly confident artist, soon being appointed Painter of Miniatures and Portraits to Princess Charlotte. He left England for Italy in 1816 and in Rome became acquainted with the great sculptor Antonio Canova. He painted Canova's portrait and the latter put him forward for honorary membership of the Accademia di San Lucca, where he was accepted as their youngest ever member. Various further successes followed as he moved about Italy, although his personal life undoubtedly seems to have had a whiff of scandal about it. He lived openly with his mistress, while remaining married to his wife, who had remained in England. However, he returned to England in 1831 full of ambition to make his way in the art establishment and to that end painted, un-commissioned, a vast oil painting depicting the first sitting of the House of Commons after the Reform Bill had been passed. For this he took 400 individual portraits and worked on the canvas for 10 years. Eventually it was bought for the nation, but only in 1854, some 20 years after he had started it. The painting is now in the National Portrait Gallery in London. At the same time, in the 1830s, he had begun painting for the new Queen, Victoria, and received considerable favour in that decade from the Royal Family, painting many portraits for official purposes. To the annoyance of several more established artists and members of the Royal Academy, he was made Principal Painter in Ordinary to the Queen in 1841 and knighted in 1842. However, by the time of the Queen's marriage to Albert in 1840, the wind had begun to change and, with the Prince's seriously held convictions about art, which favoured German and other continental painters, Hayter's star began to fade. In his later years he concentrated some of his efforts on history painting and depictions of biblical scenes. He died in 1871 and his studio contents were auctioned by Christie's later that year.

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Auction date(s): 11 Feb

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FRANCESCO RENALDI (BRITISH CIRCA 1755-1799), PORTRAIT OF MRS. WILLIAM DOUGLAS

123

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70,000 - 100,000 GBP

FRANCESCO RENALDI (BRITISH CIRCA 1755-1799) PORTRAIT OF MRS. WILLIAM DOUGLAS, NÉE JANE BELL, AND HER SON, PHILIP, IN AN INDIAN INTERIOR Oil on canvas Signed and dated '1789' (centre right) 110 x 92cm (43¼ x 36 in.) In its original carved and gilded 'Carlo Maratta' Provenance: By family descent, until sold, Christie's, London, 26 April 1912, lot 48 (50 gns. to Schuster) Private collection, U.K. Described by Mildred Archer as 'one of the most sensitive portrait painters to work in India during the late eighteenth century' (1), Francesco Renaldi (c.1755-1799) was an English-born painter of Italian heritage about whose life relatively little is known. He entered the Royal Academy Schools in London in 1776, aged twenty-one. For two years after 1781, Renaldi traveled in Italy, initially with Thomas Jones, the Welsh landscape painter and pupil of Richard Wilson. Evidently on at least one occasion, Jones exploited Renaldi's name to pass himself off as an Irish catholic in order to gain access to the prior of a monastery at Caserta near Naples - which would normally have been inaccessible to him on sectarian grounds - but Renaldi seems to have accepted this with good grace, even affability. While Jones left behind a now celebrated group of oil sketches on paper of the environs of Naples and other Grand Tour sites, no works executed by Renaldi in Italy are currently known. Years later, in 1798, Renaldi painted a group portrait of Thomas Jones and his family (National Museum of Wales, Cardiff) which may also contain a discreet but cheerful self-portrait. Upon returning to London in 1783, Renaldi attempted without success to establish himself as a portrait painter at 2 Portugal Street, a modest house located near Lincoln's Inn Fields. On November 3 of that year, Jones was pleasantly surprised to bump into Renaldi in Fleet Street and the two dined together not long afterwards. In 1785, perhaps frustrated by commercial sluggishness, even sensing the prospect of professional failure in a highly competitive metropolitan market for portraits, Renaldi applied to the East India Company for permission to travel to Bengal. He supplied the names and addresses of two references - Mr. Job Hart Price of Aldershot House and Robert Codd of the 59 th Regiment of Foot. These guarantors were evidently acceptable to the company, because the following February Renaldi was given formal approval to travel. He sailed aboard the East India Company ship, the Hillsborough , and arrived at Calcutta in August 1786. For the next ten years Renaldi lived and worked in Calcutta, Lucknow and Dacca (now the capital city of Bangladesh). He was therefore one of only a relatively small number of European painters - among them William Hodges, Johan Zoffany, Tilly Kettle and Ozias Humphrey - who spent extended periods painting portraits of and for the nabobs - English, Scottish and Anglo-Irish gentleman of the East India Company - as well as local rulers such as Asaf ud-Daulah, the Nawab Wazir of Oudh. He painted a group portrait of Major William Palmer and his family at Calcutta in 1786. In 1789 Renaldi relocated from Calcutta to Dacca, a large town in eastern Bengal possibly in the hope of finding fresh patronage. He returned to Calcutta and in 1790 embarked on a leisurely tour up-country, reaching Lucknow in 1792 or 1793, where he seems to have remained for several years. In total only around a dozen works - including the present, recently rediscovered portrait of Mrs. William Douglas and her son - painted by Renaldi in India are currently known but amongst them are a group of three individual portraits of Indian women which rank amongst the most intriguing and emotive images produced in British 18 th century painting. They have traditionally been identified as bibis ,the term for an upper-class Indian woman who became a mistress or unofficial wife to a European resident. The first, known in two versions, both dated 1787, depicts a Mughal lady sitting cross legged, wearing gold-striped green pajamas and a white gauzed shift looking straight ahead (Metropolitan Museum of Art, New York; sold Sotheby's, London, 6 December 2023, lot 23, £825,000) and the second depicts the same sitter but with the addition of a hookah pipe (Private collection). The third, a sensuous portrait of An Unknown Woman was painted two years later in 1789 at Dacca and depicts a Mughal lady reclining on a rug and cushion in a small room with green painted shutters and the door of British type - perhaps in a bibi khana , a small house or quarters which was frequently built behind the main house for ensuring privacy from visitors. The girl is holding a hookah and gazing at a piece of jewellery in her hand. As Mildred Archer wrote: 'It is her air of reverie and quiet calm, her ruffled dress with its soft texture, and above all the darting highlights on the hookah, silver pan tray, slippers and jewels that catch the eye and endow the painting with flashing brilliance' (2). The reemergence of this double portrait of Mrs. William Douglas and her son, Philip may provide the key to help identify the subject of the painting at Yale. The young Mrs. Douglas, née Jane Bell, is depicted at full length wearing a white dress with a blue sash, seated in armchair with her right foot resting on a stool and working on a piece of needlework in her lap. Her son, Philip, is seated at a high chair playing with a glass vial of scent from his mother's jewelry box, which sits on top of a circular side table which has a pair of sewing clamps with thread attached. Behind them is an Anglo-Indian daybed draped in red fabric. Natural light is diffused from the left-hand side through a window shaded by green painted shutters of the same type and design as found in the portrait of the Unknown Lady at Yale suggesting that they are situated in a different but related part of the same house. This raises the strong possibility that the present portrait and the Yale portrait were painted closely together, in the same residence, as part of the same commission. The likely explanation is that the Douglases and their young son, newly arrived in India as a family, were staying in the Dacca household of Jane's half-brother, Suetonius Grant Heatly. According to Suetonius Grant's nephew, Henry Green (son of William and Temperance Green) nephew, Heatly 'never married but formed a connection with a native of the Country, a thing of frequent occurrence at that time in India by whom he had several children whom he educated well and provided for - a daughter of his Mary was sent to England for her education' (Green/Heatly family historical archive, Cornell University Library). Suetonius Grant Heatly appears to be the clear candidate to commission portraits of his half-sister and her son, as well as an intimate portrait of his bibi at the same moment from Renaldi at Dacca in 1789. Indeed, Suetonius Grant had a history of patronizing the European artists working in India. He was painted by Arthur William Devis in a group portrait with his sister Temperance and his Indian servants in Calcutta, c. 1786 (3). His brother, Patrick Healty (1753-1834), who also served in the administration of the East India Company was painted by Zoffany in India (Yale Center for British Art, New Haven)... Click here to read more .

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Auction date(s): 11 Feb

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ALFRED POLLENTINE (BRITISH 1836-1890), VENETIAN SCENE

124

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WILLIAM MEADOWS (BRITISH 1825-1901), VIEW OF VENICE

125

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500 GBP

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EDWARD PRITCHETT (BRITISH 1808-1894), THE ENTRANCE TO THE CANNAREGIO, VENICE

126

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CARLO FERRARIO (ITALIAN 1833-1907), VIEW OF VENICE

127

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ARNOLDO CORRODI (ITALIAN 1864-1874), PORTRAIT OF AN ITALIAN GIRL HOLDING A SPINDLE

128

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WILLIAM JAMES MULLER (BRITISH 1812 - 1845), PORTRAIT OF A YOUNG MAN

129

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2,400 GBP

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PAUL FALCONER POOLE (BRITISH 1807 - 1879), THE RETURN OF THE PILGRIM

130

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350 GBP

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EDWARD TAYLER (BRITISH 1828-1906), FIRST COMMUNION

131

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120 GBP

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200 - 300 GBP

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EDWARD TAYLER (BRITISH 1828-1906), YOUNG WOMAN WITH WHITE HEADSHAWL

132

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EDWARD TAYLER (BRITISH 1828-1906), GOLDEN TRESSES

133

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150 GBP

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EDWARD TAYLER (BRITISH 1828-1906), GIRL IN A BLUE DRESS

134

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EDWARD TAYLER (BRITISH 1828-1906), BIANCA

135

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EDWARD TAYLER (BRITISH 1828-1906), GIRL WITH PEARLS

136

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EDWARD CLEGG WILKINSON (BRITISH ACTIVE CIRCA 1882-1904), THE COTTAGE IN THE WOOD

137

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550 GBP

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CONTINENTAL SCHOOL (20TH CENTURY), BEACH SCENE; LOW TIDE

138

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260 GBP

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ATTRIBUTED TO GEORGE ASTON (CIRCA 1867), DUNOLLIE CASTLE

139

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HELEN ALLINGHAM (BRITISH 1848-1926), THE HARVEST FIELD

140

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HECTOR CAFFIERI (BRITISH 1847-1932), A QUIET AFTERNOON

141

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WILLIAM HENRY HUNT (BRITISH 1790 - 1864), HEAD OF AN OLD MAN

142

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750 GBP

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WILLIAM HENRY HUNT (BRITISH 1790-1864), LITTLE BOY READING A RED BOOK

143

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WILLIAM HENRY HUNT (BRITISH 1790-1864), AN INTERESTING LETTER

144

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650 GBP

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CHARLES GREEN (BRITISH 1840-1915), 'GABRIEL VARDEN PREPARING TO GO ON PARADE' FROM BARNABY RUDGE

145

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WILLIAM LEE (BRITISH 1810-1865), SHEPHERDESS WITH MOUNTAIN GOAT

146

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200 GBP

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WILLIAM LEE (BRTISH 1810-1865), SHEPHERDESS WITH BASKET

147

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ALBERT GOODWIN (BRITISH 1845 - 1932), ABOVE WHITBY HARBOUR

148

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750 GBP

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800 - 1,200 GBP

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ALBERT GOODWIN (BRITISH 1845 - 1932), BRISTOL CLOSE

149

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450 GBP

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500 - 700 GBP

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ALBERT GOODWIN (BRITISH 1845-1932), MERAN, TYROL

150

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500 GBP

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600 - 800 GBP

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ALBERT GOODWIN (BRITISH 1845-1932), LAUTERBRUNNEN

151

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300 GBP

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400 - 600 GBP

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ALBERT GOODWIN (BRITISH 1845-1932), AMSTERDAM

152

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300 GBP

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ALBERT GOODWIN (BRITISH 1845-1932), SUNSET THROUGH WOODLAND

153

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450 GBP

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500 - 700 GBP

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ALBERT GOODWIN (BRITISH 1845-1932), THE ESTUARY

154

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200 GBP

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λ KATHARINE CAMERON (SCOTTISH 1874-1965), THE PRAYER BOOK

155

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1,300 GBP

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λ KATHARINE CAMERON (SCOTTISH 1874-1965), THE FAIRY DANCE

156

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λ KATHARINE CAMERON (SCOTTISH 1874-1965), EILEEN ALANNAH

157

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1,800 GBP

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λ KATHARINE CAMERON (SCOTTISH 1874-1965), YOUNG LADIES IN A WOODLAND GARDEN

158

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CARLTON ALFRED SMITH (BRITISH 1853-1946), AFTER SUNDAY CHURCH

159

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750 GBP

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800 - 1,200 GBP

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GEORGE GOODWIN KILBURNE (BRITISH 1839-1924), EDITH AND FLORENCE

160

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750 GBP

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CARLTON ALFRED SMITH (BRITISH 1853-1946), GIRL WITH HER KNITTING

161

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600 GBP

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CONSTANCE PHILLOTT (BRITISH 1842-1931), 'A BLINK O'RESTS A SWEET ENJOYMENT' FROM BURNS' POEM

162

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750 GBP

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800 - 1,200 GBP

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OCTAVIUS OAKLEY (BRITISH 1800-1867), PORTRAIT OF HENEAGE FINCH

163

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900 GBP

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1,000 - 1,500 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

OCTAVIUS OAKLEY (BRITISH 1800-1867), PORTRAIT OF JANE, COUNTESS OF AYLESFORD

164

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900 GBP

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1,000 - 1,500 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

CONSTANCE PHILLOTT (BRITISH 1842-1931), AMINEH

165

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550 GBP

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600 - 800 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

HESPIE FORSYTHE (BRITISH 19TH CENTURY), MOTHER AND CHILD

166

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200 GBP

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300 - 500 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ALICE ELFRIDA MANLY (BRITISH 1846 - CIRCA 1923), IN THAT SWEET MOOD

167

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450 GBP

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500 - 700 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

PHILIPP AUGUSTUS BARNARD (BRITISH FL. 1840-1884), HARRIET AND MARIA FRASER WITH THEIR DOG

168

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

BRITISH SCHOOL (19TH CENTURY), PREPARING FOR BADMINTON

169

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550 GBP

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600 - 800 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

JOHN SIMMONS (BRITISH 1823-1876), ITALIAN BEAUTY

170

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650 GBP

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700 - 1,000 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

SIR FRANK DICKSEE (BRITISH 1853-1928), OLD SONGS

171

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1,800 GBP

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2,000 - 3,000 GBP

SIR FRANK DICKSEE (BRITISH 1853-1928) OLD SONGS Watercolour Signed with monogram (lower right) 28 x 21cm (11 x 8¼ in.) Provenance: Presented by the artist to the British Red Cross Society and the Order of the Hospital of St John of Jerusalem in England, to be sold in their sale, Christie's, London, 16 April 1915, lot 661 Sir Bruce Maxwell Seto, Lord Abercorn, of Durham House, Chelsea, his sale Christie's, London, 4 June 1920, lot 17 Sale, Sotheby's, London, 26 May 1983, lot 240 Maas Gallery, London Julian Hartnoll, London Pre-Raphaelite Trust Literature: Simon Toll, Frank Dicksee 1853-1928 - His Art and Life , Suffolk, 2016, pp.69, 228 cat.No.FD.1885.3 illustrated in colour p.69 Old Songs was inspired by the composition of Frank Dicksee's first popular success, the picture that launched his career and made him famous, Harmony of 1877 (Tate). In the 1877 oil the female musician faces in the opposite direction and her enraptured listener is a male devotee. Most crucially, the earlier picture is a medieval romance whilst the watercolour of 1885 is a modern celebration of music. The motivation to paint Old Songs was Dicksee's friendship with the beautiful and talented Mrs Jessie Shepard, the wife of his great friend Henry Dunkin Shepard and the mother of Ernest H. Shepard the well-known book illustrator. Dicksee had known Jessie before she was married as her father and his father were close friends. Her father was a painter, William Lee, and her mother Harriet was an opera singer from whom Jessie inherited her musical talent. Dicksee often enjoyed her musical recitals at the Shepard's home at 53 Gordon Square and on one occasion he was inspired to paint Old Songs in which he depicted Jessie twice. Jessie posed for several other pictures by her friend Dicksee but she died tragically young in 1890. This was not the end of the story and Old Songs inspired a large oil painting Memories which became one of Dicksee's best-known paintings after it was exhibited at the Royal Academy in 1886 - it was almost entirely destroyed by a fire but survives in one small fragment and a watercolour version is in the collection of Manchester City Art Gallery. We are grateful to Simon Toll for his help in preparing this catalogue entry.

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

FREDERICK JAMES SHIELDS (BRITISH 1833-1911), PORTRAIT OF A WOMAN, POSSIBILY MATILDA BOOTH

172

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950 GBP

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1,000 - 1,500 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

EDWARD JOHN POYNTER (BRITISH 1836-1919), A SUSSEX GARDEN

173

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3,800 GBP

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4,000 - 6,000 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WALTER FREDERICK ROOFE TYNDALE (BRITISH 1855-1943), RUE DE CLAIRE A VENGLE

174

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350 GBP

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400 - 600 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WALTER FREDERICK ROOFE TYNDALE (BRITISH 1855-1943), THE HOUSE OF SAINT CATHERINE OF SIENA

175

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450 GBP

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500 - 700 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WALTER FREDERICK ROOFE TYNDALE (BRITISH 1855-1943), ITALIAN HILL TOWN

176

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200 GBP

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300 - 500 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

EDWARD STEEL HARPER JUNIOR (BRITISH 1878-1951), ISLAND IN THE LOCH

177

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200 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

EDWARD STEEL HARPER JUNIOR (BRITISH 1878-1951), BLUEBELLS AND GORSE

178

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ADAM BUCK (IRISH 1759-1833), PORTRAIT OF A YOUNG LADY

179

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550 GBP

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600 - 800 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ADAM BUCK (IRISH 1759-1833), PORTRAIT OF A YOUNG GENTLEMAN

180

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450 GBP

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500 - 700 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

SCOTTISH SCHOOL (19TH CENTURY), PORTRAIT OF A SEATED GENTLEMAN IN AN INTERIOR

181

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300 GBP

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400 - 600 GBP

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Auction date(s): 11 Feb

Lot location: Newbury, Berkshire

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Buyer's premium	26 % (exc. VAT)
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