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Barley Mow Centre
10 Barley Mow Passage
Chiswick, London
W4 4PH
United Kingdom
Old Masters & 19th Century Art
Auction dates
21 Jan 2025 11:00 GMT
Viewing dates
16 Jan 2025 11:00 - 17:00 GMT
17 Jan 2025 11:00 - 17:00 GMT
18 Jan 2025 11:00 - 16:00 GMT
20 Jan 2025 11:00 - 17:00 GMT
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GBP |
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Buyer's premium
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26 % (exc. VAT) |
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VAT on hammer
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0 % |
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AUSTRAILIAN SCHOOL (CIRCA. 1842)
Lot 132
There are 193 lots within this auction
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FLEMISH SCHOOL (LATE 16TH CENTURY - EARLY 17TH CENTURY) The Sacrifice of Issac oil on panel 24 x 15.5 cm. (9 1/2 x 6 in.)
The Sacrifice of Isaac is a powerful and complex narrative from the Hebrew Bible, found in Genesis 22:1–19. This story, also known as the Binding of Isaac (or Akedah in Jewish tradition), has been a cornerstone of theological discourse, artistic inspiration, and philosophical reflection for millennia.
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FLEMISH SCHOOL (LATE 17TH CENTURY) Noil me Tangere oil on panel 7 x 10 cm. (6 3/4 x 4 in.)
"Noli Me Tangere", Latin for "Do not touch me," is a phrase famously associated with a scene from the Bible, specifically in the Gospel of John (20:17). It describes the encounter between the resurrected Jesus and Mary Magdalene outside the tomb. This moment has been a profound subject in Christian theology, art, and literature, resonating as a symbol of divine revelation, transformation, and the boundary between the earthly and the divine. Jesus depicted with a radiant or ethereal presence, often in a gardener’s guise (alluding to Mary Magdalene mistaking him for a gardener) as can be seen in the present panel.
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1
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2,500 - 3,500 GBP
SOUTHERN ITALIAN SCHOOL (LATE 17TH CENTURY) Mary Magdalene with Angels oil on canvas 126 x 93 cm. (49 5/8 x 36 5/8 in.)
Provenance Private Collection, UK
A ribbon that hangs through the centre of the composition is inscribed 'Fulcite me floribus, stipate me malis, quia amore langueo.' Canticum Canticorum 2:5-7
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FLEMISH SCHOOL (LATE 17TH CENTURY) Saint Joseph with the Infant Jesus oil on copper 7 x 9.5 cm (2 3/4 x 3 3/4 in.)
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ITALIAN SCHOOL (EARLY 18TH CENTURY) Madonna and Child with the Infant Saint John oil on copper 5.3 x 5.2 cm. (2 x 2 in.) (arched top)
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ITALIAN SCHOOL (EARLY 18TH CENTURY) The Penitent Magdalene oil on copper 8.5 x 11 cm. (3 1/4 x 4 1/4 in.) (oval)
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ITALIAN SCHOOL (LATE 17TH-EARLY 18TH CENTURY) St John the Baptist with the lamb oil on copper 6.3 x 5.1 cm. (2.5 x 2 in.) (oval)
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6,000 - 8,000 GBP
CIRCLE/STUDIO OF FRANS FRANCKEN JUNIOR (1581-1642) Aaron receiving gifts, with figures worshipping the Golden Calf beyond oil on canvas 83 x 158 cm. (32 5/8 x 62 1/2 in.)
The Golden Calf refers to the Book of Exodus, where the Israelites created and worshipped a golden idol while Moses was on Mount Sinai receiving the Ten Commandments from God. This event is seen as a profound moment of disobedience and idolatry, as the Israelites, feeling abandoned by Moses and God, asked Aaron (Moses' brother) to make them a god they could worship.
While Moses was away for 40 days and nights on Mount Sinai, the people became impatient and feared that Moses might not return. They asked Aaron to make them a visible God to lead them. Aaron then collected gold from the people, melted it down, and fashioned a golden calf. Provenance Private Collection, UK Frans Francken the Younger was born in Antwerp to Elisabeth Mertens and artist Frans Francken the Elder whom he trained with. Following his artistic education with his family he became a master in the Antwerp Guild of Saint Luke in 1605 and was deacon of the Guild in 1616.
References Frans Francken II in: Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool , Antwerpen, 1883, pp. 1615–1619
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AFTER RAFFAELLO SANZIO DA URBIN, RAPHAEL (EARLY 19TH CENTURY) Madonna and Child with Saint John (Madonna of the Goldfinch) porcelain plaque, arched top 27 x 22 cm. (10 1/2 x 8 1/2 in.) Raphael is known for his mastery of composition and the use of space to create harmonious and balanced arrangements. In this painting, he arranges the figures in a way that is both intimate and serene, focusing on the emotional bond between the characters. The original, Madonna com o Menino Jesus e São Joãozinho "Virgem do Pintassilgo', Raffaello Sanzio, 1505-1506 c. is in the Galleria degli Uffizi, Florence, Italy.
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6,000 - 8,000 GBP
WILLIAM ORAM (BRITISH, C.1730-1777) Figures in a Capriccio Italianate Landscape signed and dated, 'W. Oram, 56' (lower left) oil on canvas 63 x 143 cm. (24 3/4 x 41 in.) Provenance Private Collection, London William Oram was originally educated as an architect, with a highlight in his career being the design for the triumphal arch for the coronation of George III of Great Britain. Oram can also be recognised for his work on the grand staircases at Hampton Court and at Buckingham House, which he designed and painted.The present example depicts an Arcadian landscape with a large arch inscribed S.P.Q.R, meaning Senatus Populusque Romanus, an emblem relating to the government of the Roman Republic.
Oram's work was influenced by Claude Lorrain (c. 1600-1682) and Nicolas Poussin (1594- 1665) who similarly depicted such Arcardian landscapes.
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NORTHERN EUROPEAN (LATE 17TH CENTURY) Portrait of a lady with a Crucifix, bust length, charged with the Coats of Arms of Emelaer, Wiehe, Haeften and Kanoy (lower left) oil on oak panel, held within a carved, pierced and gilded frame, with a punch-work spandrel and angels to the top arched corners, with leaves and fruits carved in bold relief to the border, summounted by cherubs, crown and the central panel enscribed 'E.R', on a hazel ground 36 x 29 cm. (14 x 11 1/2 in.)
Provenance Private Collection, UK
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ITALIAN SCHOOL (MID-LATE 18TH CENTURY) St Joseph and a White Lily, with two followers oil on paper laid on panel 9 x 6 cm. (7 1/2 x 10 1/4 in.)
The image of St. Joseph often includes a white lily, symbolising purity, chastity, and his role as the Virgin Mary's husband and Jesus' earthly father. The white lily is a traditional symbol of virtue and is often depicted in religious art to emphasise the holiness and purity of those associated with it.
In imagery, St. Joseph is frequently shown holding a lily, often in a humble and serene posture, reflecting his role as a protector and guide. His features may be portrayed as gentle and compassionate, and the lily reinforces his role as a virtuous man, chosen for his purity and devotion. This visual representation ties into the biblical narrative, where St. Joseph is considered a righteous man who accepted God's will with humility.
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AFTER RAPHAEL SANZIO, CALLED RAPHAEL, ITALIAN (1483-1520) Holy Family with St Elizabeth and St John the Baptiste (The Madonna del Divino Amore) oil on canvas 47.2 x 37.5 cm. (18 1/2 x 15 in.)
Raphael is known for his mastery of composition and the use of space to create harmonious and balanced arrangements. In this painting, he arranges the figures in a way that is both intimate and serene, focusing on the emotional bond between the characters. A 19th Century copy after a larger painting on panel by Raphal dating to 1516-18, and housed in the Museo e Gallerie Nazionali di Capodimonte , Naples (No. 146.). Provenance Private Collection, UK
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3,500 - 5,500 GBP
CIRCLE OF REMBRANDT Vertumnus and Pomona oil on panel 92 x 69 cm. (36 1/4 x 27 3/8 in.)
The tale of Pomona and Vertumnus from Ovid's Metamorphoses is a rich allegory of persistence, transformation, and love's triumph. Pomona's devotion to her garden and her initial rejection of all suitors reflect her self-sufficiency and independence. She is a figure tied deeply to the natural world, caring for the fruits and plants under her care, and her indifference to romantic pursuits highlights her commitment to her own passions.
Vertumnus, the god of seasons and change, embodies adaptability and resourcefulness. His multiple disguises—each representing different aspects of life and labor—symbolise his attempts to connect with Pomona on various levels. The progression of his disguises, culminating in the guise of an old woman, illustrates his growing desperation and ingenuity. The "old woman" serves as a symbol of wisdom and a final, earnest appeal to Pomona’s reason and emotions.
When Vertumnus finally reveals his true self, Pomona's change of heart signifies the power of authenticity and the inevitability of love when it is presented openly and honestly. Their union represents harmony between nature (Pomona) and the changing seasons (Vertumnus), suggesting a symbiotic relationship between constancy and transformation.
The story can also be interpreted as a metaphor for the cycles of nature and the ripening of love, much like fruit ripens in Pomona’s garden. It emphasises the virtues of patience and persistence in the face of rejection, as well as the importance of being true to oneself.
The present example highlights the influence and tradition practiced by Rembrandt and his Amsterdam studio.
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ATTRIBUTED TO LOUISA BERESFORD, COUNTESS OF WATERFORD (FRENCH, 1818-1891) Mythological scene watercolour 16.5 x 20 cm. (6 1/4 x 8 in.)
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8,000 - 12,000 GBP
GERARD DE LAVALL É E (MECHELEN, 1596/97-1667/87) Six scenes from the Book of Samuel: David before the Fight; The Fight between David and Goliath; The Triumph of David presenting the head of Goliath to Saul; David playing the harp before Saul; and The Marriage of David to Michal oil on copper each 70.5 x 87.7 cm. (27 3/4 x 34 1/2 in.) a series of six works (6)
Gerard de Lavallée excelled at religious subjects, as exemplified by the present series, the style and overall type of the paintings point to the likely execution during the 1630/40's. The works can be compared on stylistic grounds to known treatments of the subject during this period. known for his religious and mythological paintings, his detailed works often depicting biblical, mythological, or allegorical subjects. He was highly skilled in painting intricate details and textures, as well as creating complex compositions as can be seen in the present series. Collaborations with the figure painter Pieter van Avont are documented.
Gerard de Lavelle é became master in the Antwerp guild of St Luke in 1626/27 under the name Geeraert de la Vallee .
These six magnificent, detailed works on copper depict the Old Testament story of David, from the Book of Samuel. The story tells the tale of David, a young harpist and shepherd boy who replaced King Saul as King of Israel in 885 BCE (Samuel I 16:1-19).
During the invasion of Philistines of Israelite territory, the Israelites dared not fight a giant named Goliath of Gath. However, David fought the giant and with a powerful final blow he decapitated the beast. David proceeded to present the head of Goliath to King Saul who came to witness the fight on the battlefield. Following this victory, David gained immense popularity and became known as a hero of the Israelites. However, King Saul was jealous of his new-found respect and regarded David as a threat to his royalty.
God found this jealousy unfavourable and decided that David would be King. The spirit of God entered David's body and left Saul's. Saul then fell into a state of madness; he attempted to kill David, and his rage was only consoled by the sweet sound of David playing the harp.
Saul later noticed his daughter Michal's love for David and following this, in the hope that it may lead to David's death, he insisted that if he wanted to take his daughters hand in marriage, he had to first slay one hundred Philistines. David survived the battle and won Michal's hand in marriage, much to the old King's dismay
Provenance Property of a Private London Estate
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CIRCLE OF PIERRE-NARCISSE GUÉRIN (PARIS, 1774 - 1833, ROME) Belisarius Receiving Alms oil on canvas 40.5 x 48.2 cm. (16 x 19 1/8 in.)
Belisarius Receiving Alms is a poignant theme in art and literature, often representing the tragic fall of a once-great figure to a state of poverty and disgrace. The story originates from a legendary episode in the life of Belisarius, a renowned Byzantine general who served under Emperor Justinian I during the 6th century. Though its historical accuracy is debated, the narrative has captivated audiences for centuries as a powerful meditation on fortune's fickle nature and the virtues of humility and loyalty.
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10,000 - 20,000 GBP
JAN GRIFFIER I (AMSTERDAM 1645/56-1718 LONDON) Figures before a mill, in a busy river scence beyond an extensive mountainous river landscape oil on panel 21.5 x 29 cm (8 1/4 x 11 1/2 in.) Provenance Private Collection, London
Jan Griffier was born in Amsterdam and studied under Dutch Golden Age artist Roland Roghman ( c .1620-86) and Dutch landscape painter Jan Looten (1618-81). He was well regarded for his small-scale depictions of extensive landscapes, such as the present example. Notably, English Art Historian Horace Walpole claimed that Griffier executed his work ‘with richness and neat colouring, and enlivened with small figures, cattle and buildings' (Walpole 1888, II, p.130).
References Horace Walpole, Anecdotes of Painting in England , revised edition, London 1888, II, pp.129-31
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3,000 - 5,000 GBP
SIMON HARDIMÉ (BELGIUM, 1672-1737) Peonies, Roses, White Hydrangeas, Flame Tulips, Morning Glory, and Forget-Me-Nots on a stone ledge signed 'S. Hardime' (lower right) oil on canvas 49 x 36.5 cm. (19 1/4 x 14 3/8 in.) Provenance Private Collection, London
Simon Hardimé is recognised for his depictions of still-lifes of flowers. The artist studied in Antwerp under the guidence of J.B Crepu, a Walloon officer in the Spanish service and a flower painter who after retiring from military service operated a workshop in Antwerp. Notably, Hardimé became a master in the guild of St. Luke in c.1688/89 and later in his career when he had spent some time working in London, was commissioned to paint for great British aristocracy.
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6,000 - 8,000 GBP
CORNELIUS JOHNSON, ALSO KNOWN AS CORNELIS JANSSENS VAN CEULEN (LONDON 1593-1661 UTRECHT) Portrait of Sir George Whitmore, Lord Mayor of London (1631-32), bust-length, wearing a black coat, fine lace collar, hair worn curled and natural within a feigned oval oil on canvas 74 x 61 cm. (29 1/8 x 24 in.) Provenance From The Collection of F. H. D. C. Whitmore, Orset Hall, Grays, Essex, thence by family decent
Literature F. H. D. C. Whitmore, Orset Hall, Grays, Essex, listed on page 4 of the catalogue.
Cornelius Johnson ( Cornelis Janssens van Ceulen) was born in London to Dutch or Flemish parents. Johnson's first known work was executed in 1617, from which he went on to have a successful career painting portraits of emerging English gentry. The sitter in the present example, Sir George Whitmore (died 1654) was Lord Mayor of London in 1631 and a member of the Worshipful Company of Haberdashers.
References Carlyle, E. I. (1900). "Whitmore, George" . Dictionary of National Biography . Vol. 61. p. 142.
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FOLLOWER OF BARTHOLOMEAUS VAN DER HELST (17TH CENTURY) Portrait of a Gentleman, possibly a Cleric wearing a white collar and elaborate gold chain oil on canvas 58 x 44.5 cm (22 3/4 x 17 1/4 in.)
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4,000 - 6,000 GBP
EUROPEAN SCHOOL (MID-LATE 18TH CENTURY), AFTER SIR PETER PAUL RUBENS (1577-1640) Self-Portrait the original painted in 1623 oil on canvas laid on board 74 x 61 cm. (29 1/8 x 24 in.)
Sir Peter Paul Rubens, renowned for his large, dynamic compositions, and mastery of light and color. His work is characterized by vibrant movement, sensuality, and dramatic intensity, which set him apart as one of the most important figures of the Baroque period. Provenance Rev Isaac Mills, Rector of Highclare, Hampshire Gifted to his son, William Milles, brother of Jeremiah Milles (President of the Society of Antiquaries and Dean of Exeter between 1762 and 1784), thence by family decent.
The overall style and type displayed a well-observed copy of the original which is currently held by the National Gallery of Austrailia, Kamberri/Canberra, purchased 1983. The treatment of light and the overall handling reveals an advanced understanding of Rubens marsterly handling of portraiture.
Rev. Isaac Milles, who served as the rector of Highclere in Hampshire for 39 years was deeply committed to his parish, education, and charitable works, and during his tenure, he developed a close relationship with Sir Robert Sawyer, the then-owner of Highclere. Sawyer was the Attorney General to Charles II and James II.
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FOLLOWER OF JEAN-BAPTISTE GREUZE (TOURNUS, 1725-1805, PARIS) Portrait of a boy, dressed in a yellow jacket oil on panel 40 x 32 cm. (15 3/4 x 12 5/8 in.)
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BRITISH SCHOOL (LATE 17TH CENTURY) Portrait of a gentleman, bust-length, in armour, red collar, tied white lace stock wearing a curled wig oil on copper 10 x 9 cm. (4 x 3 1/2 in.) (oval)
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1,200 - 1,800 GBP
HENRY PIERCE BONE (1779-1855) Lady Mary Feilding inscribed and dated 'Lady Mary Feilding/Dss of Hamilton/Painted by Henry Pierce/Bone, after Vandyck, col of/ the Earl of Denbigh./ March 1835' (verso) enamel 10 x 7.5 cm. (3 7/8 x 3 in.) (oval)
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3,000 - 5,000 GBP
CIRCLE OF ALLAN RAMSAY (1713 - 1784) Portrait of a lady in a yellow dress with lace trim oil on canvas 77 x 64 cm. (30 1/4 x 25 1/4 in.) Provenance Sale; Christie's South Kensignton, 1980s, (as 'Allan Ramsay'), where puchased by the father of the present owner
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40,000 - 60,000 GBP
SIR THOMAS LAWRENCE AND STUDIO (BRISTOL 1769-1830 LONDON) Portrait of Caroline Lady Suffield of Belton Hall in Grantham (died 1850), seated half-length, landscape beyond inscribed 'Portrait of Caroline Lady Suffield, by Sir Tho.s Lawrence' (verso), bears label inscribed 'Lady Suffield of Belton Hall, Sir Thomas Lawrence' (verso) oil on canvas 82 x 72 cm. (32 1/4 x 28 in.)
This portrait of Lady Caroline Hobart (d. 1850) by Sir Thomas Lawrence has only recently come to light. The composition repeats a three-quarter-length version of the canvas that was exhibited at the Royal Academy in 1793 painted when Lawrence was just twenty-four years old. This canvas remains in the collection of her descendants. 1 Lady Caroline was the second of the three daughters of John Hobart, 2nd Earl of Buckinghamshire (1723–93) and his first wife, Mary Anne Drury. At the death of her father she inherited the Blickling Estate, now the property of the National Trust.
The commission for both portraits must have been prompted by the sitter’s marriage to the Hon. William Assheton Harbord (1766–1821) on 4 June 1792 at St George’s, Hanover Square, London. He succeeded his father as 2 nd Baron Suffield on 4 February 1810. The larger version was probably intended for the sitter’s father, and the other for her husband.
Lawrence’s work was first shown at the Academy in 1790 and the bravura technique and the originality of his compositions were immediately admired and his portrait of Lady Caroline shows both these innovative characteristics. The unusual pose, the sitter’s head turned sharply to her right with her right elbow resting on a plinth and seated above a river landscape has Lawrence’s characteristic relaxed assurance while the handing of the head shows the painter’s distinctive energetic brushwork.
Although commissioned in 1793, neither of the portraits of Lady Caroline were delivered until after Lawrence’s death. Lawrence’s disorganized studio and the gout that killed Lord Buckinghamshire in August 1793 may have contributed to the amnesia regarding the portraits and the two canvases were included in a list of the contents of the studio by Lawrence’s executor, Archibald Knightley. The list totalled 430 items that included nearly 150 portraits, some of which were left unfinished. A manuscript entitled ‘Claims’, now in the Victoria and Albert Museum, 2 includes the two portraits as number 194 and the curious comment, ‘Orig[inal] & copy — both unfinished. about 1/2 ‘. The larger painting, which cost £52.10s, appears entirely autograph whereas the painting presently offered by Chiswick Auctions was left unfinished and completed by one of Lawrence’s assistants after his death. It was bought by the sitter for £26.5s. Both paintings were delivered to the sitter in November 1832.
The ‘Claims’ document described both paintings as ‘unfinished’ and, while the larger canvas in a private collection seems complete, this is a correct description of the canvas presently offered. The costume below the neckline and the background landscape do not have the detailed brushstrokes that enliven the face, the hand and the decorative ruff and these areas of the canvas are just blocked in. There is every reason to believe that Lawrence put the canvas aside in 1793, and neither he, nor his studio, ever touched the canvas again.
References
Kenneth Garlick, Sir Thomas Lawrence , Oxford 1989, p. 204, cat. no. 380, pl. 14.
National Art Library, call number 86.BB.49. The document has been transcribed by Kenneth Garlick in ‘A Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’, Walpole Society , XXXIX, 1962–64, Appendix IV, pp. 274–317
Garlick 1964, p. 292 Provenance Belton House, Lincolnshire; Private Collection, thence by family decent
Literature Kenneth Garlick in ‘A Catalogue of Paintings, Drawings and Pastels of Sir Thomas Lawrence’, Walpole Society, XXXIX, 1962–64, p. 292
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ATTRIBUTED TO GAINSBOROUGH DUPONT (18TH CENTURY) Portrait of a lady, bust length in a white dress with a pink bow, landscape beyond pastel 76 x 64 cm (30 x 25 1/8 in.)
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DUTCH SCHOOL (CIRCA 1846) Portrait of a young man monogrammed 'FA' (lower right) oil on canvas 14.5 x 9 cm (5 3/4 x 7 1/2 in.)
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ATTRIBUTED TO HENRI DUBASTY (FRENCH, 1814-1884) Portrait of a Gentleman indistinctly signed 'D...Adolphe' (lower left) oil on canvas 30.5 x 22 cm. (12 x 8 5/8 in.)
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HENRY WEIGALL JNR. (BRITISH, 1829-1925) Portrait of William Ewart Galdstone, bust-length head and shoulders monogrammed (lower right) oil on board 66 x 54 cm. (26 x 21 1/2 in.) Provenance Private Collection, UK
Born in Liverpool, William Ewart Gladstone (1809-1898) was Prime Minister of the United Kingdom for 12 years between 1868 and 1894. His vibrant career lasted over 60 years, first entering the House of Commons in 1832.
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LUDWIG VON ZUMBUSCH (GERMAN, 1861-1927) Portrait of a young boy signed 'L.V Sumbusch' (lower right) oil on board 32 x 32 cm. (12 1/2 x 12 1/2 in.)
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BRITISH SCHOOL (EARLY-MID 19TH CENTURY) Portrait of Mary Queen of Scotts oil on canvas 49 x 59 cm (19 1/4 x 23 1/4 in.)
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BRITISH SCHOOL (LATE 18TH - EARLY 19TH CENTURY) Portrait of a young girl, bust length, wearing a yellow dress and pearls oil on canvas 40 x 36 cm. (16 x 14 in.)
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MANNER OF ADRIAEN BROUWER (CIRCA 1821) Four tronies of men reading and drinking each indistincly inscribed and dated 'c. 1821' oil on board largest 9 x 11 cm (3 1/2 x 4 1/4 in.); 7 x 10.5 cm (2 3/4 x 4 1/4 in.) respectively (4)
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CIRCLE OF WILLIAM EDWARD FRANK BRITTEN (1848-1916) Walk in the woods (recto), The Pied Piper (verso) oil on board 35 x 26 cm. (14 x 10 1/4 in.)
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EDMUND CHARLES TARBELL (AMERICAN, 1862-1938) The girl in the pines (A Summer Idyll) signed 'Tarbell' (lower right), inscribed ' To Mr & Mrs Bush from The Tarbells' (lower left) oil on canvas 73.6 x 55.8 cm. (29 x 22 in.) Painted in 1893
Provenance With R.H Love Galleries, Inc., Chicago, Illinois. Sale; Sotheby's, American Paintings, Drawings and Sculpture , 25 May 1988, New York, lot 183, Illustrated on page 211 of the catalogue; thence by family decent.
Literature Catalogue of paintings and portraits by E.C Tarbell, Galleries of M. Knoedler & Co., Knoedler & Company, New York, 556-558 Fifth Ave., near 46 th St, February 25th to March 9th, inclusive 1918, No. 20 "Summer Idyl" Washington, D. C. .. Artist F T .’ page 2.
Born in 1862, Groton Massachusetts, Tarbell is now regarded as one of the leading painters of his time. His animated career led him to be known not only as an admired impressionist, but also as a founder of artistic groups and a great teacher, educating artists across America throughout the late 1900s until his death in 1938. Tarbell was head of the Boston School of artists, now named the ‘Tarbellites’. [1]
As a young man, Tarbell attended evening art classes at the Massachusetts Normal Art School. In 1879, he attended the school of the Museum of Fine Arts in Boston, where he was taught under Otto Grundmann. Following this, the artist transported his studies to Paris where he joined the Académie Julian. His exposure to training in the centre of the art world at this time lead to the dual influence of both Old Master traditions and the Impressionists. After some time travelling and developing his craft, Tarbell returned to Boston in 1886.Following his return, in the early 1890s he began to receive positive praise for his plein air works. Notable examples were In the Orchard (Terra Foundation for the Arts, Chicago, Daniel J. Terra Collection, 1999.141), Three Sisters—A Study of June Sunlight of 1890 (Milwaukee Art Museum, Gift of Mrs. Montgomery Sears) as well as the present example, The girl in the pines (A Summer Idyll) which was gifted by the artist and has since been privately owned. Each of these examples showcase the artist's position as an Impressionist painter, inspired by nature and figures (most often his family members) in outdoor scenes.
Here, the figure, dressed in a clean white dress and hat, playfully peaks out from behind a pine tree, smiling at the artist. The vibrant palette and bright treatment of light greatly enhance the depiction of a warm and vivid summers day, typical of much of Tarbell’s early works. References
[1] Sadakichi Hartman in his critique, "The Tarbellites," Art News 1 (March 1897): 3-4. [2] HALE, PHILIP L. “EDMUND C. TARBELL—PAINTER OF PICTURES: LIVING AMERICAN PAINTERS—TWELFTH ARTICLE.” Arts & Decoration (1910-1918) , vol. 2, no. 4, 1912, pp. 129–58. [3] TRASK, JOHN E. D. “ABOUT TARBELL.” The American Magazine of Art , vol. 9, no. 6, 1918, pp. 217–28. [4] Buckley, Laurene, and Edmund Charles Tarbell. Edmund C. Tarbell : Poet of Domesticity . New York: Hudson Hills Press, 2001. Print. [5] Strickler, Susan E et al. Impressionism Transformed : The Paintings of Edmund C. Tarbell . Manchester, N.H: Currier Gallery of Art, 2001. Print.
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MARIA LUISA DE LA RIVA Y CALLOL DE MUÑOZ (SPANISH, 1859-1926) Still life of oranges, pomegranates, and grapes on a marble table signed 'Maria Luisa de la Riva Callol de Mu ñ oz, 1892' (lower right) oil on canvas 60 x 76 cm. (23 1/2 x 30 in.) María Luisa de la Riva y Callol de Muñoz was a renouned Spanish painter who specialised in still life. She was a student of sculptor Mariano Bellver y Collazos and the painters Antonio Pérez Rubio ( Navalcarnero , Madrid 1822-Madrid, 1888), and Sebastián Gessa y Arias . Notably she was considered to have been one of the only Spanish artists to create a training studio for female painters.
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JEAN GOUWELOOS (BELGIAN, 1868-1943) Portrait of a Lady signed 'Jean Gouweloos' (lower left) oil on canvas 55.5 x 41.5 cm. (21 7/8 x 16 1/4 in.) Provenance Sale; Chiswick Auctions, London, 12 December 2017, lot 216, where purchased by the present owner
Jean Gouweloos was a prominent pupil of well respected Orientalist painter Jean-François Portaels (1818-1895), whom he studied under at the Académie Royale des Beaux Arts in Brussels between 1886 and 1888. In 1891 he was a member of "Voorwaarts" and following this in 1895, became a member of the avant-garde group "Le Sillon". Gouweloos participated at the Triennale Salons and the "Salon de la Société des Beaux-Arts". Depictions of women such as this present example were typical of his subject matter for much of his career.
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JOHN CAWSE (BRITISH, 1779-1862) Shakespeare's Last Evening oil on canvas 92.8 x 72 cm. (36 1/2 x 28 3/8 in.)
But this rough magic I here abjure, and when I have required Some heavenly music, which even now I do, To work mine end upon their senses that this airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book. Label on back reads: ".... last evening with his friends .... & Michael Dayton a few days ... death in 1616, ... diary of the Rev. John Ward... ... by 'John Cawse'... ... London... ... Rathbone Place, Oxford. "
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AFTER HORACE VERNET (FRENCH, 1789-1863) A Soldier on the Battlefield oil on panel 14 x 11.5 cm. (5 1/2 x 4 1/2 in.) This work is after the original circa 1818 held by the Norton Simon Art Foundation, Pasadena, USA.
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CIRCLE OF DANIEL MACLISE (IRISH, 1806-1870) Unrequited Love oil on canvas 24 x 19 cm. (9 1/2 x 7 1/2 in.) (unframed)
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JAMES DEVINE ALYWARD (BRITISH, 1871-1966) The Master of Defence signed J. Alyward' (lower right) oil on board 28.5 x 18.5 cm (11 x 7 1/4 in.) Provenance Sale; Christie's, 10 June 1999, London Exhibited London, The Royal Academy, Royal Academy Exhibition, 1919
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FRANK MOSS BENNETT (BRITISH, 1874-1953) Bishop and Monk signed and dated 'F M Bennett, 1923' (lower left) oil on canvas 40 x 50 cm. (15 3/4 x 19 5/8 in.)
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1,500 - 2,500 GBP
CIRCLE OF PHILLIPP PETER ROOS (GERMAN, C. 1655-1706) A Herder with cattle, sheep and goats, within an extensive landscape oil on canvas 90 x 114 cm. (35 1/2 x 41 in.)
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PHILIP PETER ROOS (GERMAN, c.1655-1706) A seated bull, goats and dogs, in an extentive landscape, with a ruin beyond oil on canvas 58.5 x 104 cm. (23 x 41 in.) Provenance Private Collection, UK
Philipp Peter Roos was born in Frankfurt into a family of artists; his father, Johann Heinrich Roos and his brother Johann Melchior Roos were also artists renowned for their work. His early works were heavily influenced by his father, and his progression led to a appointment from Charles I, Landgrave of Hesse-Kassel, who sponsored him to travel Rome in 1677, where he went to practise in the studio of Giacinto Brandi (1621-1691).
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ATTRIBUTED TO FRANCIS BARLOW (BRITISH, 1626–1704) Still life of game with rifle on a stone ledge, and a lurcher, spaniel and terrier below oil on canvas 49 x 60cm. (19 1/2 x 23 1/2 in.)
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2,000 - 3,000 GBP
ATTRIBUTED TO JOHN NOST SARTORIUS (BRITISH, 1759-c.1828) The bay hunter Whisker, held by a groom in an extensive landscape oil on canvas 68 x 88 cm. (27 x 34 1/2 in.) Provenance Paul Mason, Sloan Square Whisker (1812 – 11 March 1832) was a Thoroughbred racehorse who won the 1815 Epsom Derby and was a full-brother to Whalebone, the 1810 Derby winner. Whisker raced until the age of six, although he did not compete in 1817. He was retired to stud in 1819, where he became a successful and influential sire. The descendants of Whisker and Whalebone helped carry on the Eclipse sire-line well into the 20th century.
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4,000 - 6,000 GBP
JOHN DALBY OF YORK (1810-1865) Found in a Pheasant Covert: hounds break out and the Field gallops away signed 'Dalby' (lower left) oil on board 25.5 x 38 cm. (10 x 15 in.) Provenance With Dickinson Roundall Inc. 19 East 66th street, New York, no. 10533b Private Collection, UK
The figures in the present example possibly include Lord Durham, Ralph Lambton and Billy Williamson who were all members of northern hunts and Meltonians and can be seen in other examples of his works from the mid 1800s. John Dalby's father, David Dalby (1794-1836) was also a painter of sporting subjects, and along with his two brothers, likely encouraged his practise. Dalby was first known to have been working as an artist on Stonegate Street in York. In this area of England many hunting groups provided subject matter for artists, such as Badsworth, Ainsty and Middleton to name a few. This example of his work showcases his ability to capture the excitement, velocity and camaraderie of the hunt.
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W.A CLARK (BRITISH, ACT. 1933) Moor Jock, Chesnut Mare wearing a red prize ribbon signed and dated 'W.A Clark/1933' (lower right), titled 'MOOR JOCK' (lower left); further signed 'W.A Clark' (verso) oil on canvas 52 x 62 cm. (20 1/2 x 24 1/2 in.)
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JOHN CHARLES TUNNARD (BRITISH, 1875-?) A saddled Bay Hunter in a stable signed 'J.C Tunnard' (lower left) oil on canvas 51 x 65 cm. (19 3/4 x 25 3/4 in.)
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ATTRIBUTED TO JOHN FREDRICK HERRING JUNIOR (BRITISH, 1815-1907) Horses, ponies, donkeys and dogs in a stable, farmyard beyond oil on canvas bears signature and date 'JF Herring, 1867' (lower left) 84 x 112 cm. (33 x 44 in.)
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CHARLES EMILE JACQUES (FRENCH, 1813-1894) Roosters and hens in a farmyard each signed 'C Jacques' (lower left) oil on board each 21 x 14 cm. (8 1/4 x 5 1/2 in.) (2, a pair)
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4,000 - 6,000 GBP
BRITISH SCHOOL (EARLY-MID 18TH CENTURY) Taxidermy pictures of various exotic birds including a Green Parakeet, a Wader, a Pheasant and a Cardinal, each held in gilded, carved and pierced chippendale-style frames watercolour and taxidermy on paper 43 x 34 cm. (17 x 13 1/2 in.); 34 x 54 cm. (13 1/2 x 21 in.); 52 x 75 cm. (20 1/2 x 29 1/2 in.); 37 x 26 cm. (14 1/2 x 10 1/4 in.), respectively (4) Provenance It has been suggested that the author of the pictures was Mrs Whitmore, nee Mary Foley, born circa 1762. The Whitmores lived at Apley Hall, Shropshire.
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FRANK SOUTHGATE, R.B.A. (BRITISH, 1872-1916) Mallards on the banks of a river signed 'Frank Southgate RBA' (lower right) watercolour and bodycolour 37 x 58 cm. (14 1/2 x 22 7/8 in.)
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AMERICAN SCHOOL (EARLY 19TH CENTURY) Bay Hunter jumping a gate, with two American Saddlebred horses beyond signed 'Dunn' (Iower left) oil on canvas 62 x 85 cm. (24 3/8 x 33 1/2 in.) Provenance Purchased in New Jersey, USA, thence by decent Private Collection, UK
The present work was purchased in the USA and has been in the property of a Private American Collection, thence by family decent. Although not representative of his known works, the artist Harvey T Dunn (American, 1884-1952), who resided in New Jersey for some time, has been suggested as an attribution, supported by the signature ‘Dunn’ (lower left), where this painting may be an early example of his work.
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WILLIAM MOUNCEY (BRITISH, 1852-1901) Dorset, 1924 signed 'W. Mouncey' (lower left) oil on canvas 51 x 77 cm. (20 x 30 1/4 in.)
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FREDERICK SIMPSON COBURN (CANADIAN, 1871-1960) Sawing Logs signed 'F.S Coburn' (lower left) black and coloured crayon 10.2 x 7.8 cm. (4 x 7 in.)
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ALBERT GOODWIN (BRITISH, 1845-1932) The Piazetta with the Salute in the distance signed 'Albert Goodwin' (lower right), and inscribed 'Venice' (lower left) pencil, watercolour and bodycolour on grey paper 3.4 x 25.5 cm. (5 1/4 x 10 in.)
Goodwin was influenced by artists such as J.M.W. Turner, particularly in his use of light and the emotional atmosphere in his landscapes. He was also associated with the Pre-Raphaelite and Aesthetic movements, though his works were often more impressionistic and focused on the power of nature.
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ALBERT GOODWIN R.W.S (BRITISH, 1845-1932) Atrani near Amalfi signed and dated 'A Goodwin, 93' (lower right), and inscribed 'Atrani near Amalfi' (lower left) pencil, watercolour and chalk 17.8 x 5.5 cm. (7 x 10 in.)
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