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Old Master, British & European Pictures

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70-76 Knights Hill West Norwood SE27 0JD Lambeth, United Kingdom
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Lot 226 - Follower of William Hogarth, British 1697-1964- Portrait of Simon Fraser, Lord Lovat; oil on canvas, 66.1 x 49.5 cm. Provenance: Private Collection, UK. Note: The present painting is a near-contemporary interpretation of William Hogarth's 1746 print of Simon Fraser, 11th Lord Lovat (1667-1747). Lovat was a prominent Jacobite, supporting the Stuart claimant 'Bonnie Prince Charlie', Charles Edward Stuart (1720-1788) at the Battle of Culloden in 1746. After the Highlanders' defeat, Lovat was charged with High Treason and sentenced to death, becoming, in 1747, the last person in Britain to be executed by beheading. Hogarth met with Lord Lovat in 1746, shortly before the elderly Scotsman’s execution, while they were both staying at a St Albans inn. The artist made sketches of Lovat during that meeting (like the example held in the collection of the Harris Museum & Art Gallery, Preston, PRSMG : P985), and the etching which resulted from this sitting was published that same year. Hogarth’s etching was widely circulated and became popular as soon as it was published, providing inspiration for many other artists working at the time. A portrait of Lord Lovat similar to the example presented here, which was previously attributed to Hogarth himself but is now also believed to be an early copy of the 1746 print, is held in the collection of the National Portrait Gallery [NPG 216]. The minor variations in colouring between that portrait and the present version suggest that both works were not exact copies but rather free interpretations of Hogarth's original. The early popularity of Hogarth’s print is further attested by a late 18th/early 19th century head study after the portrait in the collection of the British Museum [1893,0516.390]. In the 1746 etching, Hogarth has depicted Lord Lovat counting on his fingers, allegedly counting the number of clans who supported the prince during the Jacobite rising. Perhaps aware of the significance of this aspect of Hogarth's portrait, the artist of the present painting appears to have paid particular attention to the rendering of the sitter's hands, which are picked out with precise brushstrokes.

Estim. 1 500 - 2 500 GBP

Lot 241 - Henry Edridge, British 1768-1821- Furness Abbey, Cumbria; pencil and watercolour on paper, signed and dated 'H. Edridge 1814' (lower left), bears label for the John Booth Collection attached to the reverse of the frame, 31.5 x 44.8 cm. Provenance: Anon. sale, Sotheby's, London, 24 September 1987, lot 182. Published: D. Thomas and I. Bennett, The Price Guide to English Watercolours 1750-1900, Antiques Collectors' Club, p. 155. Note: Edridge was a prominent watercolourist, principally known for his portraits, depicting well-known public figures such as Lord Nelson (1758-1805), William Pitt the Younger (1759-1806), and John Wesley (1703-1791). Alongside his thriving career as a portraitist, Edridge also enjoyed painting landscapes, and the present work is an example of the artist's serene, romantic output in this genre. Edridge's landscapes in particular show the influence of the 'Monro School' of artists, with whom he was associated. This group of artists, which included Joseph Mallord William Turner (1775-1851), Thomas Hearne (1744-1817) and Thomas Girtin (1775-1802) often gathered at the home of prominent art collector and physician Dr. Thomas Monro (1759-1833), who is also depicted in a portrait by Edridge [Indianapolis Museum of Art, 1996.156]. The work presented here depicts the historic ruin of Furness Abbey in Barrow-in-Furness, Cumbria, which, by the 15th century, was the second richest and most powerful Cistercian abbey after Fountains Abbey in Yorkshire.

Estim. 600 - 800 GBP

Lot 272 - Edwin Long, RA, British 1829-1891- Spanish Pottery Painters; oil on canvas, signed and dated 'E LONG 1872' (centre left), bears label for the Boydell Galleries, Liverpool, attached to the stretcher, 96.5 x 132.5 cm. Provenance: Private Collection, UK. Note: Edwin Longsden Long began his long and prolific artistic career as a portrait painter, but became famous for his large-scale depictions of Biblical and historical subjects, as well as his Orientalist scenes, and his romanticised depictions of daily life in Spain. Long first travelled to Spain with his teacher, the Scottish painter John Phillip (1817-1867), where he became acquainted with the work of Diego Velázquez (1599-1660) and Bartolomé Esteban Murillo (1617-1682). Both Sevillean masters would have a profound influence on Long's work. The composition presented here, for example, which shows women engaged in manual labour, clustered together around their tasks in a way that suggests both conviviality and concentration, strongly recalls Diego Velazquez's 'Las Hilanderas', which Long is known to have admired, and which the artist even copied on one of his many visits to Spain. Long's version of Velazquez's painting is held in the collection of the Royal Academy [inv. no. 03/822]. Long appears to have returned to the subject of the Spanish pottery several times, and in addition to the picture presented here, two other versions of this composition are known. A smaller, unfinished oil sketch appeared at Chiswick Auctions on the 5th February 2019, lot 84. Another version, also dated 1872, and slightly larger than the present picture, was recorded in the collection of The Leicester Galleries, London. That example is likely the version of the subject which sold at Christie's on 13 June 1903, lot 133, and also probably the picture referenced in M. Bills, Edwin Longsden Long RA, 1998, p. 100, no. 24. The present, smaller-scale version, closely relates to the painting mentioned by Bills, though Long does appear to have made some small changes while working on this composition. In the background of the present lot, for instance, there are more women seated around the workshop table, whereas in the other version a woman stands in the arched doorway, balancing a jar upon her head. It was not uncommon for Long to revisit his own compositions, perhaps to meet the great demand for his works among his Victorian audience. The artist's reduced-scale 'replica' of his famous Babylonian scene 'Thisbe' was sold at Christie's, 15 Jul 2021, lot 51 (£52,500).

Estim. 8 000 - 12 000 GBP

Lot 274 - Attributed to William Edward Frost, RA, British 1810-1877- Venus in a woodland glade, with an infant faun and an attendant; oil on canvas, 71 x 98.5 cm. Provenance: With E. Stacy-Marks, (as 'William Etty RA', according to an old label on the reverse) Private Collection. Note: William Edward Frost first trained at the Royal Academy Schools, starting out as a portrait painter before devoting his practice almost entirely to depicting the female nude. In this approach he followed closely in the footsteps of his slightly older contemporary William Etty (1787-1849), whose works appear to have had a significant influence on Frost's artistic practice. The painting presented here, like many of Frost's works, appears to position the women in a loosely mythological setting, surrounded by classical attributes. The subject has allowed the artist to show off his fine brushwork, particularly in the porcelain-like rendition of the women's skin, and the glint of the precious objects that lie scattered on the forest floor. The marble-like, almost sculpturally modelled figures are strongly reminiscent of those in Frost's 'Three Graces' in the collection of the Yale Centre for British Art (B1998.24.3), as well as his painting of 'Sabrina', exhibited at the Royal Academy in 1871 and later recorded at Sotheby's, 14 July 1983, lot 149. The central figure of Venus, depicted with her arm raised in the air, also recalls the figure of Venus in Frost's 'Venus disarming Cupid', which was sold at Christie's, 20 February 2003, lot 171 (£32,000). We are grateful to Richard Green of York University for suggesting the attribution to Frost on the basis of photographs.

Estim. 4 000 - 6 000 GBP

Lot 286 - Henry Bone, RA, British 1755-1834- Danaë, after Titian; enamel on copper, inscribed 'London/ April 1812/ Painted for the Marquis of Lansdown by/ Henry Bone RA. Enamel painter in Ordinary/ to His Majesty and Enamel painter to H.R.H./ the Prince Regent after the Original by Titian/ in the Collection of the Earl of Darnley' to the reverse, 31.7 x 22.6 cm. Provenance: The collection of the Earl of Darnley. The artist's sale, London, Christie's, 30 June 1832, lot 66. Private Collection, UK. Exhibited: London, Royal Academy, 1810, no. 652. Literature: R. Walker, 'Henry Bone's Pencil Drawings in the National Gallery', in The Walpole Society, 1999, p. 359, cat. no. 672. Note: Bone was known for creating some of the largest enamel paintings of his time, achieving recognition in 1801 when he became an associate of the Royal Academy and was appointed enamel painter to King George III. Bone went on to retain this position through the reigns of George IV and William IV. In 1811 Bone was elected as a Royal Academician, and this same year completed a large enamel painting after Titian’s Bacchus and Ariadne. That picture was sold at Christie's London on the 4th July 2013 (lot 2). This present work by Bone is also derived from the work of Titian, and depicts the mythological princess Danaë, as narrated by Ovid and Boccaccio. The Venetian painter Titian and his workshop made at least six versions of Danaë (or Danaë and the Shower of Gold), between about 1544 and the 1560s. Ovid recounts how Danaë was confined to a bronze tower following a prophecy that her firstborn would kill her father. Depicted in this work is the moment that Danaë is seduced and becomes pregnant by Zeus, who descended from Mount Olympus to seduce her in the form of a shower of gold. The presence of Cupid on the left-hand side is emblematic of Zeus's desire.

Estim. 3 000 - 5 000 GBP

Lot 288 - Attributed to Charlotte Jones, British 1768-1847- Portrait of a noblewoman, possibly Princess Charlotte Augusta of Wales, bust-length, wearing a black gown with elaborate lace collar, a lace-trimmed black headdress, and gold and gem-set jewellery; watercolour on ivory, 8.2 x 6.3 cm, held in a gilt metal frame cast with rocaille motifs and a coronet finial. Ivory submission reference: D2SREBTK. Provenance: Private Collection, UK. Note: This delicately painted portrait possibly depicts Princess Charlotte Augusta of Wales (1796-1817), and would have likely been painted around the end of the Princess's life or shortly after her untimely death. Princess Charlotte was the only child of George, Prince of Wales (later George IV) and Caroline of Brunswick. The Royal Collection describes her as the original 'People's Princess', and after her death from complications of childbirth in 1817 the nation mourned her passing, which saw the publication of many commemorative prints, and resulted in many portraits. After receiving her training from Richard Cosway (1742-1821), Charlotte Jones was appointed miniature painter to Princess Charlotte in 1808, and many of her portraits of the Princess are still held in the Royal Collection. The present portrait, with its finely picked-out shimmering jewellery and soft, blushing facial features, strongly recalls Charlotte Jones's depictions of the Princess, including her portrait of circa 1812 in the Royal Collection [RCIN 421481].

Estim. 600 - 800 GBP

Lot 289 - OF ROYAL INTEREST A Victorian album of drawings and royal ephemera, probably assembled by Augusta Penelope Hayter, nee Kirby (1818-1888), containing drawings by Queen Victoria (1819-1901), Sir George Hayter (1792-1871), James Roberts (c.1800-c.1897), other members of the Hayter family, and various other hands, to include: Four drawings by Queen Victoria: Knight on Horseback, ink, inscribed 'original sketch by the Royal Highness The Princess Victoria. (Her Majesty). 1833, July(?)'; Veiled woman on horseback, pencil, inscribed 'part of a sketch by HRH The Princess Victoria July(?) 1833'; Woman on horseback, pencil, inscribed 'sketch by HRH Princess Victoria, July(?) 1833'; and A seated woman with a crown and sash, 1838, ink, inscribed 'by Her Majesty 1838'; Various drawings in pencil, pen, and ink, by Sir George Hayter: The order of knighthood being conferred by Her Majesty Queen Victoria to Sir Richard Charles Kirby, 1788-1867 (Augusta's father), signed with initials 'G.H.'; The Queen in her Coronation Robes, the Queen in her Parliamentary Robes (first sketches), signed 'Sir George Hayter'; Study of A Young Girl c.1760-1800 after one in the collection of Queen Victoria attributed to Jean-Baptiste Greuze (1725-1805); La Partenza, signed with initials 'G.H.' and dated '13/12/40'; portrait of Louisa Hayter, signed with initials 'G.H.' and dated 'July 14 1818 Rome'; Scholastica, signed with initials 'G.H.'; and further sketches; A watercolour on paper by James Roberts depicting Queen Victoria's Birthday Table at Osborne, signed and dated 'J Roberts / May 1856' (lower right), 22.9 x 20 cm.; Royal ephemera: An 1821 Invitation to the Coronation of King George IV at Westminster Abbey; A King George IV Coronation Pass Ticket, Westminster Hall, inscribed 'Duke of Bedford, not transferable' (lower left) and 'G. Hayter' (middle right), bears wax seal; and George Hayter’s personal invitation to the Coronation of Charles X at Reims Cathedral of 1825; Further drawings by various members of the Hayter family, including John Hayter, RA (1800-1895), Charles Hayter (1761-1835), and Louisa Hayter (19th century); And a quantity of other drawings by various hands. (VAT charged on the hammer price) Note: Augusta Penelope Hayter, nee Kirby (1818-1888), was married to Angelo Collen Hayter (1819-1898), the son of George Hayter (1792-1871), Principal Painter in Ordinary to Queen Victoria (1819-1901).

Estim. 1 500 - 2 500 GBP