Posts filed under Painting

Sir Alfred Munnings

Sir Alfred J Munnings. 

A very substantial example of one of England's most poular artists. This is probably one of very few large works by Munnings. 

55 x 66 in. (127 x 167.7 cm)

Posted on March 27, 2017 and filed under Painting.

James Sant (1820-1916)

Princesses Louise and Victoria

Oil on Canvas 

A beautiful portrait of Queen Victoria's daughters Victoria and Louise, by her favourite artist James Sant.

Posted on March 17, 2017 and filed under Painting.

Joseph Wright of Derby (1734-1797)

Portrait of Evelyn Chadwick of West Leake, Nottinghamshire (b. 1741)

C 1790-95

Oil on Canvas, 50 x 40in / 125 x 100cm in a carved and gilded frame. 

Provenance: By descent in the family of the sitter. Jules Porges (1839-1921), acquired before 1920 and by descent to his only child Henrietta Helene, Marquise de la Ferte-Meun. 

Literature:

B. Nicholson, Joseph Wright of Derby: Painter of Light, London 1968, vol. I, p.186 (as A Half length of Mr Chadwick, £25.4 Among late pictures). 

 

Posted on March 17, 2017 and filed under Painting.

Joseph Wright of Derby, A.R.A (1734-1797)

Portrait of a Beggar, c. 1768-71

Oil on Canvas, 30 x 25in / 76.2 x 63.5cm

Provenance:

Probably Joseph Wright of Derby's posthumous studio sale 6th May 1801 lot 29 (6 gns) as 'Study of a Beggar'. Bt Borrow then sold to Richard Arkwright, Jnr (1781-1832), Mark Hall, Essex. Then by family descent. 1943 Alfred Savill & Son, The contents of Mark Hall, Harlow, Essex, lot 619 (30 1/2 gns). Then Private Collection, UK. 

 

Posted on March 17, 2017 and filed under Painting.

JOSEPH BAUDIN (London 1691-1753/4)

JOSEPH BAUDIN

(London 1691-1753/4)

Venice: The Grand Canal, looking North-East from the Palazzo Foscari to the Rialto Bridge

Oil on canvas 21 x 31 ⅞ in. (53.3 x 81 cm.)

Provenance: Sir Henry Strakosch (1871-1943), “Heatherside”, Walton-on-the-Hill, Tadworth, Surrey. Samuel Harris, by whom purchased with the house from Strakosch’s estate; his sale, Phillips Son & Neale and Harris & Gillow (on the premises), 25 May 1951 [=3rd day], lot 844, as ‘Canaletto’ (retained by the family).

Posted on March 17, 2017 and filed under Painting.

GIOVANNI ANTONIO CANAL, IL CANALETTO (Venice 1697 – 1768)

GIOVANNI ANTONIO CANAL, IL CANALETTO

(Venice 1697 – 1768)  

Venice: The Rialto Bridge from the South

Oil on canvas, 21 ¾ x 28 ¾ in. (55.3 x 73 cm.)

Provenance: Frederick Anthony White, 170 Queen’s Gate, London; Christie’s, London, 18 December 1925, lot 40, as ‘B.Canaletto’ (120 guineas to Lesser). Private collection, England, as Michele Marieschi. With Hazlitt, Gooden & Fox, London, 1964-68.

Literature: J.G. Links in W.G. Constable, Canaletto: Giovanni Antonio Canal 1697-1768, 2nd ed., London, 1976, II, no. 227*(a). C. Beddington, ‘Some little-known Venetian views by Canaletto of the 1720s’, The Burlington Magazine, Vol. CXLVIII, No. 1244, November 2006, pp. 776-7, fig. 51 (as Whereabouts unknown).

Posted on March 17, 2017 and filed under Painting.

JAN ABRAHAMSZ. BEERSTRATEN (Amsterdam 1622-1666)

JAN ABRAHAMSZ. BEERSTRATEN

(Amsterdam 1622-1666)

A South Holland Single-Decker and other Shipping off a rocky Swedish Coast

Signed with initials ‘I B’ (bottom, to left of centre)

Oil on panel, 35 ⅜ x 48 ½ in. (89.8 x 123 cm.)

Provenance:

By descent in an English noble family.

A beautiful and detailed work. This picture is held in a private collection and has serious interest from The National Trust. However the family would like it to go in to a private hands rather than the National Trust. The name of the family will be made known on purchase of this painting and we have been reassured that it's provenance is exceptional. 

 

 

Posted on March 17, 2017 and filed under Painting.

Antonio Canaletto

Antonio Canaletto 

Canal Grande da Palazzo Babi a Rialto 1731-32

Oil on canvas, 85 x 139cm  / 33.5 x 54.7 in

This is a very fine example of the work of one of the world's most famous painters. Canaletto is sought after by collectors throughout the world. 

Posted on February 9, 2017 and filed under Painting.

Michiel Janszoon Van Miereveldt ( 1567-1641)

Portrait of A Man

Circa 1645

Signed and Dated, Oil on canvas 78 x 71cm Framed / 60 x 52cm Canvas

Miereveldt was a prolific and popular portrait painter of his time, famed for his productivity and for the detail in rendering of his sitter's garmenst. This is an exceptional example of his work, even more so because it is signed. Running a productive studio meant often his works were noet signed. 

Posted on January 31, 2017 and filed under Painting.

Willem Eversdijck (c.1620-1671)

Eversdijck - Family Group.jpg

Willem Eversdijck (c. 1620 – 1671)

A family group, presumably from Middelburg

Oil on canvas: 54 ¼ x 76 ¼ in. (138 x 194 cm.)

Painted circa 1665

Provenance

H. Buttery, Christie’s, London, 20 November 1925, lot 97 (as signed and dated 1665, with all three children); sold 170 gns. to F. Partridge; Lady Baron, Christie’s London, 10 May 1935, lot 46, (as signed and dated 1665, with all three children), sold 28 gns. to W. Sabin; his sale Christie’s London, 24 February 1939, lot 57, (as signed and dated 1665, with all three children), sold 17 gns. to Berendt; Stevens sale, Christie’s London, 17 March 1939, lot 23, sold 35 gns. to Suttle; Flower sale, Sotheby’s London, 28 November 1951, lot 147, (as signed and dated 1665, with only two children), bt. by Appleby Brothers, Bury Street, London; Private collection, Spain, until 2015.

Willem Eversdijck (c. 1620 – 1671) was the son of the portrait painter CornelisWillemsz. Eversdyck (d.1649). We know very little about the artist except for a few details: he was born in Goes, in the province of Zeeland and followed into his father’s profession where he seems to have flourished,  earning several important commissions, including the large group portrait of Admirals, painted 1667, in the collection of the Rijksmuseum, Amsterdam, another version of which is also in the collection of the Walker Art Gallery, Liverpool, known as ‘An Allegory of the Herring Fisheries’. From this we can deduce that he flourished in the 1660s, successful enough to receive important municipal commissions. It is possible that these Admirals were from the deep-sea herring fishing port of Brielle, in Zeeland. Eversdijck’s patrons all appear to originate from the province of Zeeland, for another known portrait by the artist is of Cornelisz. Fransz Eversdijck (1586 – 1666), a mathematician and Treasurer of Zeeland. It is possible that this sitter was the artist’s father, but almost certainly a relation. Around the same time, 1666, he also painted a pair of pendant portraits of (his sister?) and her husband: Maria Blancardus nee Eversdijck (b. 1628), and Nicolaes Blancardus (1624 – 1703) (Rijksmuseum, Amsterdam), professor at Franeker, privy councilor and personal physician to Princess Albertine Agnes of Nassau.[1]

Eversdijck must have painted this group portrait of an unidentified family circa 1665-70  as the mother’s costume can be confidently dated to that period:  she wears a plain satin gown with a fashionable pointed waist and paned sleeves lined with blue and decorated with gold lace and pearls. Her hair is worn in a mass of tight curls decorated with strings of pearls, and she wears drop crystal earrings and a pearl necklace, with a black diamond and pearl broach pinned to the front of her bodice. In contrast, her husband and young son are dressed in fantasy hunters’ costume of loose, knee-length tunics. The inclusion of their hunting dogs in the foreground and display of captured hares and birds enhances the sense of the Arcadian setting used in this family group portrait and the sense of role-play enlivens the representation of the sitters. However, the allusion to hunting pursuits also has a serious purpose as they are a clear reference to the aristocratic pretentions of this unidentified family – it becomes evident that they own a country estate and can indulge in one of the privileges of the aristocracy – the right to hunt.  In contrast, the young daughter is dressed in a Classical-style costume and roman–style sandals. Her hairstyle, however, could not be more fashionable: her hair hangs down in corkscrew curls whilst on top it is combed back tightly and done up in a bun with pieces of pearl jewellery in her hair. She also wears pearl earrings, a pearl necklace and a richly bejewelled collar and waistband.

In the top-left corner of the painting it is apparent that one of the children in the family had already died for, as is often the case with deceased children, they are included in the guise of a small angel. Whilst the lack of angel wings makes this portrait unusual, her head is crowned with a wreath of flowers to protect her from evil spirits. This motif dates back to Classical Antiquity, when sarcophagi were decorated with morning cupids wearing similar wreaths, and wreaths and bouquets continued to remain part of the symbolic imagery in the seventeenth century.[2] However, in this instance the attention is firmly on their other children and as the parents gently hold hands and turn towards their living children, these tender gestures may be interpreted as an allusion to the idea that their children were their parents’ greatest riches.

[1] For records of these three family portraits, see Moes, 1897 – 1905, vol. I, no. 2422, no. 2423, no. 705:1.

[2] Jan Bapist Bedaux and Rudi Ekkart, ‘Pride and Joy. Children’s Portraits in the Netherlands 1500-1700.’ Amsterdam, 2000, p. 276

Posted on January 30, 2017 and filed under Painting.

Giovanni Antonio Canal, called Canaletto ( 1697-1768)

Giovanni Antonio Canal, called Canaletto (1697-1768) 

The Rialto Bridge from the South 

Oil on canvas, 153 x 208cm

Provenance

(Probably) Baron James de Rothschild (1827-1905), Chateau de Ferrieres, Ferrieres-en-Brie, France, by 1859.

The Rothschild Family by Descent

Confiscated by the Einsatzstab Reichsleiter Rosenberg (inv. R 21)

Transferred to the Jeu de Paume, Paris, for holding (Linz No 2798)

Located at eth Munich Art Repository and repatriated to France, 19th September 1946

Restituted to the Rothschild Family.

Maurice Rheims, Paris, thence by descent to the present owner. 

 

A very important painting by one of the most notable names in art. One couldnt ask for better in terms of provenance and history and the quality is matched only by those by the same artist that are held in the Royal Collection. There is further information on this work which we have emailed you already but I can re-send when you are ready to look. 

 

 

 

 

Posted on January 27, 2017 and filed under Painting.

Thomas Gainsborough R A (1727-1788)

Thomas GAINSBOROUGH, R.A. (Sudbury, Suffolk 1727 – 1788 London)

Wooded Upland Landscape with Herdsman and Cattle, early 1770s

watercolour and oil on brown prepared paper, mounted on canvas, and varnished

41.8 x 55.7 cm. (16½ x 21 ⅞ in.)

Provenance:

William Alexander.

His Sale; Sotheby’s, London, 14 March 1817, lot 1262 (£1.1).

(Probably) Keale, acquired at the above sale.

(Possibly) D. Heinemann, Munich.

Mrs. Trimmer.

Galerie Sedelmeyer, Paris (according to a stamp, verso).

Rt. Hon. George Augustus Frederick Cavendish Bentinck M.P., P.C. (1821 – 1891), London.

His Sale; Christie’s, London, 13 July 1891, lot 692 (44 gns. 2s).

McLean, acquired at the above sale.

Agnew’s, London.

Lord Blackford, acquired from the above.

Agnew’s, London.

Leggatt, London.

Private Collection, England.

Literature:

J. Hayes, The Drawings of Thomas Gainsborough, New Haven and London, 1971, vol. I, pp. 194-95, no. 369 (illus. vol. II, pl. 129).

Exhibitions:

(Possibly) London, Grosvenor Gallery, Exhibition of the Works of Thomas Gainsborough, 1885, no. 198 (listed with incorrect measurements).

Engraved:

J. Laporte, 1802.

According to Hayes (op. cit.), ‘The broad washy treatment of the foliage and the landscape and the rough highlighting in oil are related to the landscape with herdsman and cows in Wakefield (no. 367), and the handling of the cow on the right and the mound beneath are very close to the landscape with shepherd, sheep and cows in     

Posted on January 25, 2017 and filed under Painting.

William Barnes Wollen (1857-1936)

WILLIAM BARNES WOLLEN (1857 – 1936)

Norman Ramsey at Fuentes Onoro

Signed and dated lower right: W B Wollen, 1891

Oil on canvas

60 x 98 in (152.5 x 249 cm)

Gilt frame (outer measurements):78 ¾ 115 in (200x292 cm)

This large painting hangs in a private members club in Berkeley Square, London. It is on loan from a private individual and is in need of restoration and cleaning.  

“Suddenly the multitude became violently agitated; an English shout pealed high and clear, the mass was rent asunder, and Norman Ramsay burst forth, sword in hand, at the head of his battery, his horses, breathing fire, stretched like greyhounds along the plain; the guns bounded behind him like things of no weight, and the mounted gunners followed close, with heads bent low and pointed weapons in desperate career.” – Napier

Wollen’s 1897 painting shows a dramatic incident in the peninsula campaign of the Napoleonic Wars.  Fuentes de Oñoro is a place on the border between Spain and Lisbon half way between Salamanca and Porto.  The subject of the painting comes from a passage in Sir William Napier’s History of the War in the Penninsula (1828-40).  Captain William Norman Ramsay of the Royal Horse Artillery had entered the army in 1798, aged sixteen.  He served in Egypt and then in the peninsula where the event depicted in the present painting took place in 1811.  He was raised to the rank of brevet-major in 1813.  He was killed at the Battle of Waterloo in 1815.

PROVENANCE

W.G. Constable (bought from the artist for 105 guineas);

Thence by descent.

EXHIBITIONS

London, Royal Academy of Arts, 1897, no.478;

Liverpool, Autumn Exhibition, 1897.

 

 

Posted on January 25, 2017 and filed under Painting.

Henri Millot (fl.1699 – 1756)

Henri Millot

French

(fl.1699 – 1756)

Portrait of a lady and her daughter

Oil on Canvas, 160 x 110 cm
Provenance: Private collection, Portugal

                       Thence by decent

This sumptuous and elegant double portrait of a mother and her daughter is imbued with symbolic meaning, which would not have been lost on an 18th Century audience. They are both dressed in extravagantly beautiful clothes. The daughter’s dress of blue silk is embroidered with gold and silver thread, whilst her mother is wrapped in maroon velvet and has drop pearls in her hair and as earrings. A further indication of their wealth is that they are standing by an orange tree which, would have been nurtured in a “stove house”.

The orange blossom, which the mother is holding above her daughter’s head, is symbolic of purity, chastity and innocence. This association with orange blossom originates in China, where brides wore it or images of it on their wedding dresses. It worked its way along the silk route through India and Persia and was introduced into Western Europe by the crusaders.

Henri Millot who has managed to capture the subtle surface textures of these clothes with such bravura, worked closely with Nicolas de Largillière (1656-1746) which is evident from his technique. He was a close friend of Marie-Claire Hermant, Lagillière’s first cousin and acted as a witness at her marriage to Georges Roettiers on 18th May 1711. We know this, as he signed the wedding contract.

He worked in Munich, from 1721-1724, during which time he painted the portrait of Duke Gustav Adolph des Deux Ponts (1722, Schleissheim museum). By 1730 he was in Strasbourg, but definitely back in Paris by the end of his life where he exhibited 2 portraits at the Académie de Saint Luc in 1756.

Dominique Brême, the expert on the artist, has confirmed its authenticity from first hand inspection.

Posted on January 25, 2017 and filed under Painting.