There are 75341 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeOlga Clair Garner (Australian, bo.1943)Figures by the Lake, oil on canvas, signed lower left, framed 29 x 39cm. Accompanied by a copy of letter dated 25th May 1982 from Buckingham Palace to the artist's husband, Derek Garner, confirming HM The Queen's acceptance of the gift a landscape painting by Olga Garner.
After Anna Lea Merritt (American, 1844-1930)"Love Locked Out", Cupid standing before a locked door, oil on canvas, early 20th century gilded frame, 115 x 63cm. *After the painting by Anna Lea Merritt first exhibited at the Royal Academy in 1890 and purchased that year by the Chantry Bequest for the Tate Gallery.
Follower of Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Portrait of a bearded old man wearing a beret; oil on panel, 29.7 x 23.8 cm. Provenance: Private Collection, UK. Note: The present work is clearly influenced by atmospheric figure studies which are characteristic of Rembrandt's oeuvre, particularly in their dramatic contrast of light and shade, recalling, for example, the artist's 'Portrait of an Old Man' in the collection of the Fogg Museum [1930.191], and another painting of the same subject in the Louvre Museum [INV 1748].
Attributed to John Rathbone, British c.1750-1807- Cattle watering in a wooded river landscape with mountains in the distance; oil on panel, inscribed 'J Rathbone' verso, bears label for William Rivett (Gainsborough Gallery) attached to the upper stretcher bar, 30.5 x 42.5 cm.; together with Circle of John Berney Ladbrooke, British 1803-1879-, figure on a country lane with a cottage and trees beyond, oil on canvas, 32.9 x 43.1 cm. (2)Provenance: Private Collection, UK. Note: Rathbone's idyllic, pastoral works show the influence of his contemporaries George Morland (1763-1804) and Julius Caesar Ibbetson (1759-1817). Indeed, Rathbone is known to have collaborated with these two artists on a number of occasions, with Morland and Ibbetson sometimes painting the figures in Rathbone's sprawling landscapes. In the present work, the artist presents a romanticised depiction of rural simplicity, with cattle drinking from a still river whilst a shepherd peacefully looks on. Between 1785 and 1806 Rathbone exhibited 48 landscapes at the Royal Academy and two at the Society of Artists.
William Calcott Knell, British 1830-1880- Sailing boats caught in a squall off the coast; oil on canvas, signed and dated 'W.C. Knell / 1873' (lower left), inscribed 'Dirty Weather beating up off the Dutch Coast.' and faintly signed 'W.C Knell' verso, 30.5 x 61.5 cm. Provenance: Anon. sale, Christie's, London, 16 November 2005, lot 532. Private Collection, UK. Note: William Callcott Knell was the son of William Adolphus Knell (1805-1875), and, like his father, specialised in painting maritime scenes. Although Knell painted the seas in all weather, he was clearly particularly drawn to the subject of stormy seas, often depicting dramatic, crashing waves in his compositions, as in a similarly theatrical painting which sold at Roseberys on 19 July 2023 (lot 82) for £1,100.
Ferdinand Joseph Gueldry, French 1858-1945- River landscape, with cottages beyond; oil on panel, signed 'F. Gueldry' (lower right), 25 x 33 cm. Provenance: Private Collection, UK. Note: Gueldry studied under Jean-Léon Gérôme (1824-1904) at the École des Beaux-Arts in Paris. A founding member of the Nautical Society at Marne, Gueldry appears to have had a fondness for painting subjects related to water, painting many rowing scenes, harbour views, as well as tranquil river landscapes, such as the one presented here.
David Hardy, British fl.1835-1870- Chopping firewood; oil on board, signed and dated 'D. HARDY. 1863' (lower left), 23.8 x 19 cm. Provenance: Private Collection, UK. Note: The present painting is a typical example of Hardy's work, with his oeuvre consisting almost exclusively of scenes of a romanticised domesticity, with figures, often with young children, engaging in household tasks in a rustic interior.
Attributed to Sebastiano Ricci, Italian 1654-1726- The Ascension of Christ, an oil sketch; oil on canvas, 74.6 x 62 cm. Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci). Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.
Johannes Frederik Hulk Snr., Dutch 1829-1911- A bustling canal scene with figures unloading a barge; oil on canvas, bears signature 'W. Koekkoek' (lower right), 63.5 x 80.5 cm., (unframed). Provenance: Private Collection, UK. Note: Johannes Frederik Hulk was a member of a famous Amsterdam family of artists, and received tuition from his brother, Abraham Hulk Snr. (1813-1897), as well as from the artist Kaspar Karsen (1810-1896). Johannes Frederik in turn trained his son, Johannes Frederick Hulk Jnr. (1855-1913) and the Hague School painter Bernard de Hoog (1867-1943). Unlike his brother Abraham, who specialised in maritime painting, Johannes Frederik focused instead on street scenes of the villages and towns of the 19th-century Netherlands, evoking the bustling streets with sharply observed detail, combined with areas of looser, gestural brushwork, imbuing his scenes with a sense of busyness and movement. The picture presented here is a particularly fine example of Hulk's output, and shows his ability to create depth within in the picture plane, drawing the viewer's eye from the sunlit street through to the water and church spire beyond. It is possible that the distinctive tower, with its ball finial, may be that of the Westerkerk in Amsterdam, the painter's home city and one of his most frequently revisited subjects. Hulk was an active member of the Amsterdam artistic scene, running a thriving photography studio and artists' supplies business alongside his painting practice. He also joined the artists' society 'Arti et Amicitiae' (for Art and Friendship), of which fellow Romantic School townscape painters Adrianus Eversen (1818-1897) and Cornelis Springer (1817-1891) were also members. A canal scene showing many similarities to the present lot, which also depicts Hulk's typical subject of a bustling canal rendered in his characteristic warm-hued palette, was offered at Christie's, London, 10 November 2005, lot 484 (£26,000).The present picture was previously believed to have been painted by Willem Koekkoek (1838-1895), who painted many similarly refined cityscapes in Amsterdam. We are grateful to the RKD, and to Mr. Christiaan Lucht for confirming the current attribution to Johannes Frederik Hulk on the basis of photographs.
Circle of Patrick Nasmyth, Scottish 1787-1831- Wooded mountain landscape with figures by a stream and cottages beyond, at dusk; oil on canvas, 33 x 46 cm. Provenance: Private Collection, UK. Note: The present work recalls the evocative landscapes of Nasmyth, whose approach was heavily influenced by that of his father, Alexander Nasmyth (1758-1840). The present painting, depicting an expansive vista illuminated by the warm hues of a sunset, is reminiscent of Nasmyth's 'View of Windsor' which sold at Sotheby's, Suffolk, on 19 September 2006 (lot 295).
Johannes Jacobus Paling, Dutch 1844-1892- A father and child playing with a goldfinch; oil on panel, signed and dated 'Joh J. Paling 1870' (lower right), 39.1 x 29.7 cm. Provenance: Private Collection, UK. Note: The present scene is a typical example of Paling's work, which consists largely of atmospheric interior scenes, often occupied by figures looking after children, or engaged in domestic tasks such as sewing and spinning. Paling was clearly heavily influenced by 17th-century Dutch painters, such as Pieter de Hooch (1629-1684), whose interiors were characterised by highly detailed and richly rendered surfaces and textures, just like the pottery and delicate glass on the table in the present scene. Indeed, the goldfinch in the cage with which the child plays perhaps gestures towards Carel Fabritius's (1622-1654) famous painting of the same subject. A similar, sensitively rendered domestic scene depicting a young family is in the collection of the Sheffield Museums [VIS.1563].
James Harris of Swansea, British 1810-1887- A two-masted ship at sea, the coastline beyond; oil on canvas, signed 'Harris' (lower right), bears label for Royal Exchange Art Gallery, London, attached to the lower stretcher bar, 48.4 x 75.3 cm. (VAT charged on the hammer price). Note: Harris seems to have worked in the studio of the marine artist George Chambers, Snr, (1803-1840) whilst in London in the mid 1830s, before returning to Swansea in 1836, with much of his work inspired by the city's dramatic coastal landscape. The present work is a characteristic example of Harris' output, with a similar painting selling at Sotheby's, Port Talbot, on 16 May 1992 (lot 986) for £16,000.
Robert Auer, Croatian 1873-1952- The Temptation of Saint Anthony; oil on canvas, bears indistinct initials (lower right), 20.2 x 24.6 cm. Provenance: Anon. sale, Art Salon Zagreb, 17 December 2016, lot 73. Private Collection, UK. Note: A much larger version of the same composition by Auer is in the National Museum of Modern Art in Zagreb, Croatia [MG-367], which describes how 'Auer’s painting Temptation of Saint Anthony from 1917, depicts a frequently portrayed motif from the life of the 4th-century saint, Anthony the Abbot or Anthony the Great, who faced temptations of carnal desires and resisted them through prayer and fasting. Typically, St. Anthony the Abbot is depicted in his old age, leaning on a staff, wearing a hood and a monastic habit symbolizing his role as the father of monasticism. Here, however, he is shown in a whirlwind of nudes symbolizing the swirling vortex of passions against which he struggles, as a young man with a tonsure, a distinctive haircut introduced in Christianity in the 4th century and abolished in 1972.' Auer studied in Zagreb before travelling to Munich, where he attended the Academy of Fine Arts (1890-91) and the Kunstgewerbeschule (1892-95). Indeed, Auer was the only Croatian artist to participate in the Munich Secession Exhibition of 1896. The present work does not appear to be a preparatory sketch for the completed work, but instead a later version by the artist, perhaps completed as a private commission.
Francis Holman, British 1729-1784- Three views of a British Mail Packet in the Downs off Deal; oil on canvas, signed and dated 'F. Holman / 1766' (lower left), 99 x 149.8 cm. Provenance: (Possibly) Richard Curzon-Howe, 1st Earl Howe (1796-1870), Penn House, Buckinghamshire. with W.B. Sabin, London. Anon. sale, Christie's, London, 2 June 1938, lot 131 (21 gns. to Brockhark [?]). Anon. sale, Bonhams, Knightsbridge, 12 December 1991, lot 104. with Lane Fine Art, London. Note: Holman was born in Ramsgate, the son of a sailor, and his output consisted principally of depictions of ships off the Kent coastline, much like the present work, set off the shore at Deal. The present work, illustrating the same vessel from three different angles, exhibits the artist's highly detailed, precise approach, also evident in his painting of 'The East Indiaman "Nottingham" in three positions off Fort St. George' which sold at Bonhams, London, on 15 January 1998 (lot 141) for £80,000. Holman is also known as the teacher of the marine artist Thomas Luny (1759-1837).
John Glover, British 1767-1849- Gold Rill Beck, Ullswater; oil on canvas, 71.5 x 90.5 cm. Provenance: The Property of the Late Reverend John Watson. Note: John Glover studied under William Payne (1755/60-c.1830) and began showcasing his oil paintings at the Royal Academy in 1795, where his works garnered positive attention, often being compared favourably to those of J.M.W. Turner (1775-1851). In his pursuit of innovative methods to depict light and atmosphere, Glover pioneered a technique involving a split brush for painting foliage, a style evident in the trees and landscape of this current work. The picturesque composition, the dappled treatment of the middle ground and rendering of foliage are all typical of Glover. Glover frequently visited the Lake District, embarking on sketching and painting tours to Cumberland and Westmoreland from 1793. The farm he rented at Blowick, along with the expanse of Ullswater and its winding tributary, Gold Rill Beck, are prominently featured in many of his paintings and drawings. An example depicting this landscape was exhibited with the Society of Painters in Water Colours (SPWC) in 1806. Glover is also known to have rendered this composition in watercolour; an example was presented at Bonhams Australia, 26 June 2019 (lot 76). Glover travelled to Australia in 1831, at the age of 64, becoming one of the most influential and celebrated landscape painters of the country. The attribution of the present work to John Glover was confirmed by the late David Hansen through private communication in November 2023.
Herbert Wilson Foster, British 1846/48-1929- Alma, portrait of a young lady, bust-length, wearing a pink dress with a green-trimmed frill and holding a bunch of daffodils; oil on canvas, signed 'HW Foster' (upper left), bears artist's label attached to the reverse, 47.5 x 40 cm. Exhibited: 130th Royal Academy Exhibition, 1898, no.933. Note: Foster exhibited a number of works at the Royal Academy between 1873 and 1899, including the present painting, which exhibits the artist's great skill and sensitivity as a portraitist. Indeed, Foster's close attention to detail is exhibited by the fact that he worked for a time as a porcelain decorator, specialising in portraits of members of the royal family, amongst other contemporary figures, for manufacturers such as Mintons. In 1893, Foster accepted a position teaching at Nottingham School of Art, where his pupils included Laura Knight (1877-1970) and Harold Knight (1874-1961).
After Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Portrait of Baertje Martens; oil on canvas laid down on panel, 36.4 x 31.1 cm. Provenance: the collection of Sir John Savile Lumley, GCB, according to the label attached to the reverse. Private Collection, UK. Note: The present work is a copy after Rembrandt's original painting from 1640 which is now in the collection of the Hermitage Museum in St Petersburg [ГÐ-729], and which is a companion piece to the artist's portrait of Herman Doomer, now held by the Metropolitan Museum of Art in New York [29.100.1]. Sir John Savile Lumley (1818-1896), 1st Baron Savile, was a British diplomat who held office in Berlin, Washington, Constantinople, Madrid, and St Petersburg, amongst other locations.
Alfred Friedländer, Ritter von Malheim, Austrian 1860-1927/33- Battle scene; oil on cradled panel, signed 'A Friedlaender' (lower left), 16.1 x 10.4 cm. Provenance: Private Collection, UK. Note: The present work is a classic example of Friedländer's military scenes, which typically depict soldiers with their horses, often at rest in an encampment or, as in this painting, in action on the battlefield. The looseness of the artist's brushstrokes imparts the work with a sense of the movement, conveying the speed of the galloping horses.
Attributed to Jeka Kemp, Scottish 1876-1966/67- Fishing boats in a harbour; oil on canvas, 57 x 68.5 cm. Provenance: with Llewellyn Alexander (Fine Paintings) Ltd. Private Collection, UK. Note: The present work resembles a number of other works in Kemp's oeuvre, with a similar painting selling at Lyon & Turnbull, Edinburgh, on 20 January 2021, as lot 2.
Follower of Francesco Guardi, Italian 1712-1793- Capriccio with figures amongst ruins and a Venetian view beyond; oil on canvas, 12.2 x 18 cm. Provenance: Private Collection, UK. Note: The present work, which depicts an imagined view of romantic Classical ruins with the architecture of Venice behind, is evidently strongly informed by Guardi's characteristically loosely-painted Venetian vedute. Similar compositions by Guardi include a painting in Cannon Hall Museum, Barnsley [A.1923], and another in the Holburne Museum, Bath [A318].
RICHARD WANE (1852-1904) Oil on canvas - landscape Depicting a cornfield. Signed R. Wane. Lower left. Gilt framed. 44.5cm x 70cm frame inclusive Richard Wane RBA (1852-1904) Richard Wane specialised in landscape, coastal and genre painting and studied at the Manchester Academy. He was living in Manchester in 1881, Conway 1883, Deganwy 1887, Dulwich 1890 before moving to Egremont in 1895. Wane was at one time President of the Liver Sketching ClubHe exhibited at Royal Hibernian Academy 1902, Royal Scottish Academy 1902, New Water Colour Society 1903, Royal Institute Of Painters 1903, Royal Cambrian Academy 1904, Royal Society Of British Arts 1907, Royal Institute Of Oil Painters 1908. He was also a member of the Royal Society Of British Artists. He had retrospective exhibitions at the Royal Academy Of Arts in 1920 and Manchester Art Gallery in 1932.
Ignacio Lalanne -Contemporary Artist. " Sigillum Rigis" Original Oil on board Monogrammed lower left. Signed, titled and seal marked to Verso. 58.5cm x 43cm A rare opportunity to own an Original work by this artist. Ignacio Lalanne trained at Chelsea College of Art and Design and at Central Saint Martins. Art history, court painting, religious iconography, costume drama and diverse cultural references all influence and inform his art. Using narrative and symbolic elements he tries to discover the innermost sacred hidden deep within us.
An Aboriginal Corroboree Dream painting. "Woman Dreaming "Oil on CanvasBy Eileen Napinunga Gibson from the Warlpiri Tribe & Napperby Community.The painting was created in the hills country. This "Dreaming" tells the story of how the men sit down and think about women's dreaming and how all the Corroborees are to be conducted because the men are the custodians of the woman's dreaming.24.5inch x 24.5inch.
Peter Cosslett - " Fishing Boats on a rough sea" original oil on boardThree Fishing Boats navigate the rough seas near a costal headland.Signed lower left67.5cm x 93cm frame inclusive.Born in Cardiff (1927 - 2016) Peter started his working life in the merchant marines, where he first became fascinated with the power of the sea. After the war he took up painting as a pastime. A serious illness which resulted in a leg amputation was a turning point for Peter and he decided to try to make a career out of his paintings, the one thing he loves. He started to attend art classes at night school but was told that there was no more they could teach him. He continued to teach himself through a process of trial and error.He has been described as probably one of the greatest contemporary realist painters of British seascapes, riverine landscapes and coastal scenes.
Pablo Picasso - Guernica 'Print' A large print depicting Picasso's famous oil painting, depicting the horrors of the Spanish civil war. Created in 1937 in response to the bombing of the Basque town of Guernica by German and Italian forces. Signed Picasso to verso. A cafe/ Restaurant lable to verso with the ink inscription "Pour Sylvette - Picasso" It is believed that Picasso signed this when they were together in the Restaurant. 64.5cm x 131cm frame inclusive. Provenance: Private collection.( no other details) Some staining and minor scuffing to the print surface.
Edward Arthur Walton RI (1860-1922) Portrait of Miss Betty Mylne, three-quarter-length standing, in a pink dress signed 'E. A. Walton' l.r., oil on canvas 122.5 x 71.5cmProvenance: Royal Scottish Academy, 1900, no.269;Sotheby's, 29 August 1995;with Bourne Fine Art, Edinburgh.Condition ReportFramed: 146 x 95cmThe painting is executed in oil on a canvas support which appears to be lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition, there are a few small losses around the edges. There are some localised areas of overpaint which lie below the varnish, located in the upper right background and sitter’s face. The varnish is even, glossy and slightly yellowed but acceptable. There is a light layer of surface dirt which is slightly smeary in areas with a few scattered fly spots.
Jan Weissenbruch (Dutch, 1824-1880) A street scene in Tielsigned 'JAN WEISSENBRUCH' l.r., inscribed with title on plaque, oil on canvas41 x 55cmProvenance: With W H Patterson, London.Condition ReportOverall: 42.5 x 66cmThe painting is executed in oil on a canvas support which has been lined. The canvas is in plane with good tension. The paint layers are in a good, stable condition. There are scattered areas of overpaint across the surface, finely applied and mainly covering age cracks and small areas of abrasion. The overpaint is slightly matte but reasonably well matched to the original. The varnish is clear, even and glossy. Please see additional condition images.
Manner of Barent Gael Figures outside an inn;A gathering of villagersa pair, oil on panel20 x 25cm, in 18th-century giltwood frames (2)Condition ReportFramed: 32 x 36.5cmThe grain of the panel is visible in places where the paint is thinly applied. The painting of the villagers congregating has some light scratches to the sky in the upper left corner and a mark to the centre of the top edge.The other painting has as a small chip to the extreme top edge in the upper right corner. Not examined under UV light, for a ful report please contact the department.
Circle of Juan Pantoja de la Cruz (Spanish, 1551-1608) Portrait of a lady, three-quarter-length standing, in a gold-embroidered white dress and holding a bibleinscribed and dated 'CATHARINA/FILIA STRENVI MILITIS/DNI FRANCISI III SONZONIO/OBIT FERRARIE/1618' u.r., oil on canvas116 x 84cmProvenance: Bonhams, London, 1 November 2006, lot 122;private collection, The Old House, Aspley Guise, Bedfordshire.Condition ReportFramed: 129 x 96cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is slightly slack but overall, the picture is in plane. The canvas weave is evident in the surface texture of the paint, caused through lining. Old dirt and varnish residues are caught in the texture, creating a slightly mottled appearance although this is partly caused by wear and abrasion across the surface. In some areas, the age cracks are raised which has led to flaking and scattered losses across the picture. Areas of overpaint are visible with the naked eye. The varnish is dull and no longer adequately saturating the paint layers below, in areas the varnish has become opaque and yellowed with age, noticeable in the dark background.
Wijnand Jan Joseph Nuijen (Dutch, 1813-1839) Fishing boats in calm waters by the shoreindistinctly signed and dated '1832' l.r., oil on canvas76 x 96cmProvenance: Private collection, Moor Park, Hertfordshire.Condition ReportFramed: 98 x 118cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. An old tear in the lower right quadrant has been secured but is slightly proud of the picture plane with a few scattered losses. The paint layers are in a stable condition overall. There are areas of overpaint across the surface, in areas applied in quite a brushy, loose manner but mainly covering age cracks. The varnish is slightly yellow, glossy and even.
John Theodore Heins (German-British, 1697-1756) Portrait of Lucy, Lady Gage, daughter of William Knight of Kingerby, Lincolnshire, wife of Sir Thomas Gage, 5th Bart, of Hengrave, half-length, in a satin dress and blue wrapsigned and dated 'Heins Fec1748' l.l., inscribed 'Lucy Lady Gage, da:of William Knight' l.r., with later inscription on stretcher verso, oil on canvas, feigned oval73 x 63cmProvenance: The Rev Henry S Gladstone;anon. sale, Christie's, London, 22 September 1978, lot 54;Christie’s, South Kensington, 25 November 2003, lot 13;private collection, The Old House, Aspley Guise, Bedfordshire.Condition ReportFramed: 93x 81cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition but the texture has small raised lumps across the surface caused by too much heat used during the lining process. This is mainly located in the upper half of the picture. There are scattered areas of overpaint, particularly at the lower corners. The overpaint is well matched to the original. The varnish is clear but slightly matte in areas and uneven, due to the paint texture. A light layer of surface dust is present on the varnish. A number written with invisible ink fluoresces on the right side of the chest.
Sir William Beechey RA (1753-1839) A portrait of a young officer, half-length, in uniformoil on canvas78 x 64cmCondition ReportFramed: 104 x 92cmCraquelure and light surface dirt. A little spotting to the reverse. Presents well overall when viewed on the wall. Examined under UV light there are a few small scattered speckles of overpaint to the hairline. There is a little further touching up visible to the sitter's collar and jacket. Much of the painting is covered by a layer of varnish which may obscure further restoration.
Circle of Richard Wilson RA (1714-1782) Anglers on the Wyeoil on panel 18 x 21.5cmCondition ReportFramed: 26 x 29.5cmFine cracks radiate across the painting from the centre of the top edge. A little light surface dirt. Not examined under UV light, for a full report please contact the department.
After Bartolomé Esteban Murillo Three boys playing dice oil on canvas140 x 104cmA copy of the original painting in the Alte Pinakothek, Munich, Germany.Condition ReportFramed: 141 x 105cmUnlined. Craquelure and surface dirt with some emerging bloom starting to emerge. Horizontal stretcher marks to the centre. The paint has some raised bumps and surface scuffs. Not examined under UV light, for a full report please contact the department.
Antonietta Brandeis (Czech-Italian, 1849-1926) 'La Porta de Giardino'signed with initials l.r., oil on panel25 x 34cmCondition ReportFramed:36 x 44cmThe painting is executed in oil on a small wooden panel formed from a single board. The panel and paint layers are in a very good, stable condition overall. The varnish is semi-matte clear and even. Please see additional images.
Narcisse-Virgilio Diaz de la Peña (French, 1807-1876) 'La Mare Sous-Bois'signed and dated 'N. Diaz.74.' l.l., oil on panel40 x 55cmProvenance: The collection of J. Wilson;the Amondree Collection;F Blumenthal;George Petit Galleries, Paris;Hazlitt Gallery, London.Exhibited: Hazlitt Gallery, London, 'Barbizon School Exhibition', May-June 1956, no. 19.Condition ReportFramed: 57.5 x 73cmThe painting is executed in oil on a wooden panel formed from a single board. At some stage in its history the panel has been treated with wax on the reverse, covering old labels and stamps, possibly applied to act as a moisture barrier. The panel is in plane with no curvature or splits evident. The paint layers are in a good, stable condition. Examined under UV light there are spots of overpainting visible to the lower half. Much of the painting is obscured by a layer of varnish which may conceal further restoration however in our opinion this is not obvious when viewed under normal light.
Ferdinand Roybet (French, 1840-1920) A cavalier playing a guitarsigned 'F. Roybet' l.l., oil on panel75 x 61cmCondition ReportFramed: 92 x 76cmThere is an abrasion to the surface of the panel in the upper right corner which has been overpainted. Examined under UV light further overpainting fluoresces around the edges. There is a raised area of paint on the cavalier's hat which may be retouched, please see additional images. A layer of varnish covers much of the painting making reading difficult and may obscure further restoration.
Philip James de Loutherbourg RA (French-British, 1740-1812) Figures and cattle in a mountainous landscapesigned 'P. l de Loutherbourg' l.l., oil on canvas71 x 91cmCondition ReportOverall: 82 x 102cmRelined. Craquelure. A 12cm scratch to the upper centre. A small loss with the potential for flaking to the centre of the right edge. A small patch of retouching is visible to the upper edge, centre right. A little further overpaint to the upper left corner and sky. Viewed under UV light much of the lower half of the painting is obscured by a layer of varnish which may conceal further restoration. Please see additional condition images.
Cornelis Springer (Dutch, 1817-1891) A market by the town hall Ulm, Württemberg signed and dated 'C Springer Dec 69' l.l., also signed, inscribed and dated on artist's label verso, 'Le soussigne declare que/ce tableau, representant le/Marché et Hôtel de Ville d'Ulm/Royaume de Wurtemberg/est peint/par lui /Amsterdam/le 30 Dec 1869/C Springer', with artist's seals, oil on panel60 x 86cmProvenance: Private collection, Moor Park, Hertfordshire.Literature: Willem Laanstra, H C de Bruijn & Dr J H A Ringeling, 'Cornelis Springer (1817-1891)', Utrecht, 1984, p.164, no. 69-10, as De Mark ten het Raadhuis te Ulm, illustrated. Condition ReportFramed: 82 x 109cmThe painting is executed in oil on a panel support. The panel is in a good condition, remaining flat with no evidence of splits. The paint layer are in an excellent condition. The varnish is clear, even with a high level of gloss.
Fredrik Marinus Kruseman (Dutch, 1816-1882) A winter scene with figures on a frozen river, with windmills and a distant town signed 'F M Kruseman' l.l., oil on panel58 x 78cmProvenance: With Frost & Reed;purchased from E Stacy-Marks Ltd.;private collection, Moor Park, Hertfordshire.Condition ReportFramed: 76 x 94cmThe painting is executed in oil on a wooden panel support. The panel is in a good condition, remaining flat with no evidence of splits. The paint layers are stable and secure. There are fine areas of retouching across the surface, mainly located in the sky, covering age cracks. The gloss varies across the surface, partly due to the overpaint appearing slightly matte. The varnish is clear with a high gloss. There are a few light scuffs present.
Circle of Jan Lievens (Dutch, 1607-1674) Portrait of a young man, head and shoulders, in profile oil on panel 32 x 24.5cmProvenance: Private collection, Holland; H M Ingle, Paignton, Devon; with the Brod Gallery, London, as by Jan Lievens. Literature: Doctor Hans Schneider, in a letter dated 13 January 1926, confirms that the painting is in his view an autograph work by Lievens, although it is not clear which portrait study or tronie it is in his subsequent ‘Jan Lievens: Sein Leben and Seine Werke’, published in 1932 and updated in 1973 by Rudolf Ekkart. The painting is not included in the more recent catalogue by Bernhard Schnackenburg , ‘Jan Lievens: Friend and Rival of the Young Rembrandt, with a Catalogue Raisonné of his early Leiden work, 1623-1632’, 2018.Condition ReportFramed: 53 x 45.5cmThere is a vertical line crossing the sitter's cheek which appears to be retouching. Further small scattered spots of overpaint are visible to the background. Please see additional images. Viewed under UV light a thick layer of varnish has been applied which makes reading difficult and may obscure further restoration.
William Frank Calderon (1865-1943) Sheep in a pen; Horses drinking at a stream two, both signed l.r., the first dated '05', oil on board 30 x 40cm (2) Condition ReportFramed: 39 x 49cm Both works present well overall. 'Horses drinking at a stream': there is dark spot on the black building on the left side of the painting and it is unclear if this is original. Not examined under UV light, for a full report please contact the department.
William Raymond Dommersen (Dutch, 1850-1927) A Dutch estuary scene, with fisherfolk on the shoresigned 'W. Dommersen' l.r., oil on canvas 41 x 61cmCondition ReportOverall: 54 x 74cmCraquelure and infilling with retouching visible, please refer to illustration. The reverse of the canvas is backed, however the painting appears to be relined. Not examined under UV light, for a full report please contact the department.
Circle of Jacob van Hulsdonck (Flemish, 1582-1647) Still life of flowers in a glass beaker, with butterflies and insects on a stone ledgeoil on panel53 x 41cmProvenance: Vicomte du Bas sale, 14 April 1896;Duke of Westminster;Frederick S Stafford, Paris;with H Terry-Engell Gallery, London, as Jacob van Hulsdonck;private collection, Moor Park, Hertfordshire.Exhibited: Kunstzaal Kleykamp, the Hague, 1929 and 1932;Kunsthandel De Boer, Amsterdam, 1934, catalogue no. 273, illustrated, as Follower of Jan Brueghel the ElderStrasbourg, 'La Hollande en Fleurs', 1949, catalogue no.11;New Orleans, Isaac Delgado Museum of Art, 1966-67, catalogue no. 161, illustrated p.97.Condition ReportFramed: 73.5 x 61.5cmThe painting is executed in oil on a wooden panel support which appears to be formed from a single board with the woodgrain running vertically. A cradle has been added to the reverse of the panel at a later date for reinforcement. The panel has a slight vertical curvature. The paint layers are in a good condition overall. There is a network of age cracks running in a vertical orientation. A few small areas of overpaint are present covering a small dent and other minor areas. The varnish is clear, even and glossy with a light dust layer.
Continental School, early 19th century Landscapes with riverside townsa pair, oil on panel35 x 43cm (2)Provenance: The estate of Baron John Mauger Langin.Condition ReportFramed: 51x 60cmThe panels are bowed. Craquelure and surface dirt. One painting has a loss to the bridge, lower centre, and also to the tree, upper centre. Viewed under UV light retouching shows to the top and right edges. There is a little infilling, predominantly to the sky and around the trees on the left side. The second painting has a vertical line of retouching/ discolouration corresponding to a repaired split in the panel with rubbing to the left edge. Examined under UV light there is an area of retouching in the centre of the top edge. Patches of overpaint are also visible to the upper right corner, the centre of the right edge and to the sky in the upper right. Further touching up fluoresces around the edges.
George Frederic Watts OM RA (1817-1904) The Three Graces - a study of three classical figuresa grisaille oil sketch on canvas39 x 27cm, in a late 19th-century Florentine carved giltwood frameProvenance: With Christopher Wood, London.Condition ReportFramed: 55 x 43cmRelined. The paint appears to have been thinly applied. Examined under UV light scattered spots of retouching show, mainly concentrated in the upper left quarter, and to the thigh of the central figure. There is a further small patch of overpainting in the upper right quarter and a line of retouching to the background fluoresces in the lower right corner. The surface of the painting is partially obscured by a layer of varnish which may conceal further restoration. Please see additional images.
August de Wilde (Belgian, 1819-1886) An interior scene with figures enjoying the dance of the broomstick signed 'August de Wilde' and dated '1879' l.l., oil on canvas53.5 x 66cmCondition ReportOveall: 62.5 x 75cmUnlined. Large scratch/ abrasion below plate rack. Slit to canvas across face of the seated laughing man. Scratch to left and below plate rack. Scratches and abrasions around the edge of the painting. Overall the painting has a slight yellow hue due to discolouration of the varnish. Light surface dirt, may benefit from a clean. Examined under UV light some areas of the figures and their clothing are fluorescing which suggests some overpainting has taken place however the application of varnish makes reading difficult. When viewed on the wall any touching up in these areas is not obvious to the naked eye.
English School, mid-18th century Portrait of a young girl, full-length, in a blue dress, with a spaniel at her feetoil on canvas 127 x 103cmProvenance: Private collection, The Old House, Aspley Guise, Bedfordshire.Condition ReportFramed: 122 x 147cmRelined. Craquelure. Horizontal stretcher marks to the centre with corresponding retouching visible to the left side. A light surface scuff to the background in the upper left quarter. Rubbing to the edges with minor losses to the the extreme top and bottom left corners. Superficial surface scuffs/ abrasions to the bottom of the left edge. Light surface dirt. Examined under UV light there are some small spots of retouching visible to the right side of the girl's face, neck and arms, please see additional images. Further areas of retouching around the edges. There are scattered spots of overpaint to the background. Much of the painting is obscured by a layer of varnish which may conceal further restoration.
Circle of Bartolomé Esteban Murillo (Spanish, 1618-1682) Mater Dolorosa oil on canvas59 x 49cmCondition ReportFramed: 84 x 74cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is adequate and the picture is in plane. The paint layers have developed a network of age cracks with a cupped surface and raised edges. There are small, scattered losses across the surface, mainly occurring at the junction of the cracks. There are a few scattered areas of overpaint. The varnish is dull and yellowed with age, no longer adequately saturating the paint layers below. The back of the canvas is boxied and has not been seen. Conservation and cleaning undertaken at the Hamilton Kerr Institute, University of Cambridge, 2013.
Circle of Pierre Mignard (French, 1612-1695) Portrait of Elisabeth (Isabelle) d’Orleans, Duchesse de Guise et d’Alencon, half-length seated, in a gold embroidered dressoil on canvas 97 x 84cm Provenance: Christie's, London, 28 May 2003, lot 11, described as 'Portrait of Louise Renée de Penancoet de Kéroualle, Duchess of Portsmouth (1649-1734)';private collection, The Old House, Aspley Guise, Bedfordshire.Condition ReportFramed: 128 x 96cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is adequate and the canvas is in plane. The paint layers have a network of age cracks, some of which are slightly raised but stable. Overpaint is present across the surface in broad strokes. The varnish is slightly dull and opaque in areas, no longer adequately saturating the paint layers below. Craquelure and surface dirt. Surface scuffs and abrasions. Examined under UV light there is extensive restoration to the background and the sitter's dress. Small spots of overpaint fluoresce on the sitter's chest and arm. A thick patchy and uneven varnish covers much of the surface and may obscure further restoration. Please see additional images.
Anton Weiss (Austrian, 1801-1851) Still life of roses and summer flowers in a vase on a stone ledge signed 'Ac Weiss' l.r., oil on panel 37 x 30cm Provenance: Private collection, Moor Park, Hertfordshire. Condition ReportFramed: 48.5 x 33cm The painting is executed in oil on a wooden panel support formed from a single board. The panel is in good condition remaining flat with no splits evident. The paint layers are in a good, stable condition. Drying cracks have formed in the darker passages and there is overpaint covering the cracks. Overpaint is also present covering age cracks around the signature and reinforcing some elements of the composition. Overall, the overpaint is well matched to the original. The varnish is clear and semi-matte. There are some smears across the surface where a light layer of dust has been disturbed.
Circle of John Michael Wright (1617-1694) Portrait of King Charles II, three-quarter-length seated, in robes of the Order of the Garterextensively inscribed, oil on canvas125 x 102.5cmProvenance: Private collection, The Old House, Aspley Guise, Bedfordshire.A copy of the painting in the National Portrait Gallery.Condition ReportFramed: 149 x 124cmLate 17th/ early 18th century. Relined. Craquelure. Presents well overall when viewed on the wall. Under raking light the varnish is a little uneven. When viewed from the side a superficial diagonal scratch can be seen crossing the sitter's hair on the right side. Examined under UV light overpainting is visible in the upper right corner with further small patches of restoration around the edges. There are spots of retouching to the sitter's left eye, beneath the inscription, next to the sitter's right sleeve and in the area around the sitter's left hand. Further restoration may be obscured by a layer of varnish. Please see additional images.
Follower of Canaletto The Grand Canal looking east from the Carità towards the Bacinooil on canvas62 x 102cmProvenance: Private collection, Moor Park, Hertfordshire.This painting has been previously attributed to Canaletto's best known English follower, William James.Condition ReportFramed: 86.5 x 121.5cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition. There are scattered areas of retouching across the surface, mainly located in the sky. The overpaint is well matched to the original. The varnish is clear, even and glossy.
Loading...
