incorporating
1
Introduction T
his catalogue is the first publication that combines C18th paintings from James Harvey British Art and C19th Paintings, watercolours and decorative arts from the re launched Christopher Wood Gallery, which I have now incorporated into one business operating from the existing Gallery in Chelsea. I hope that the vision and flair that the late Christopher Wood had for the Victorian period will be continued and that old and new clients will find temptation in the wider selection of our stock.
In this Jubilee year we are thrilled to be exhibiting an exceptional patriotic watercolour by the celebrated Edwardian artist Mary L Gow which is illustrated on page 42–43. Painted in 1900, the subject of the artist's three nephews is a very sensitive portrait that celebrates the life of the distinguished Gow brothers. The artist returned to the composition in 1914 adding the White Ensign and laurel leaves to commemorate the life of the youngest brother Roddy.
We are currently preparing our first combined exhibition which will take place at Masterpiece London, from 28th June – 4th July. Located in the South Grounds of the Royal Hospital Chelsea, London SW3. Our stand will showcase both periods focusing on each of the galleries disciplines. Masterpiece is a new concept in Art and Antiques fairs which provides an international venue that attracts leading dealers in a wide range of subjects in an inviting environment that provides fine dining and education alongside a conventional art fair that now has a reputation as one of the world’s leading art events. We very much hope that you will take the opportunity of visiting us either at the fair in June or in our gallery. Please do not hesitate to contact us for further information.
James Harvey
2
3
Opposite top:
Above:
THOMAS PEAT (FL.1791–1831)
JOSEPH FRANCIS GILBERT (1791–1855)
Portrait of Sir Samuel Hannay of the 2nd Life Guards with his dark bay charger outside Kirkdale House
A view in the Lune Valley, Lancashire, from Caton looking north-east towards Gressingham, with Ingleborough Peak and the Pennines in the distance and Caton Mill in the middle ground
Signed lower left “T. Peat” and dated “179(0 ?). It has been suggested that the final digit has been somewhat abraded and was originally an “8”. Oil on canvas Unframed: 62 x 75 cm Framed: 83 x 94 cm
Opposite below:
CHARLES TOWNE (1763–1840) Portrait of J.C. Shaddock Esq., with his chestnut hunter Oil on canvas Unframed: 69.9 x 95.3 cm Framed: 88.2 x 114.9 cm Contained in its original “Morland”-style carved giltwood frame PROVENANCE By family descent, latterly in Badminton, Gloucestershire.
Oil on canvas Unframed: 71.8 x 127 cm Framed: 90.2 x 145.4 cm Contained within a carved and giltwood frame PROVENANCE Perhaps commissioned by Thomas Eskrigge, (b. circa 1801) cotton manufacturer of Warrington, and by descent to his son, William L. Eskrigge (b.1828), mill owner, and by descent to his son W L T Eskrigge of Stockport, Lancashire, (b.1860) Ownership inscriptions by William Eskrigge are attached to labels on the reverse of the canvas
4
5
Jean-Baptiste Lallemand (1716–1803) Pair of Gouache Landscapes depicting classical ruins Signed Lalman Roma Gouache and watercolour Unframed: 32 x 39 cm Framed: 46 x 53.5 cm Contained in their original period frames
6
7
Charles Henry Schwanfelder (1774–1837) Grouse shooting in a moorland landscape, a pair Signed and dated Feb 1830 lower left Oil on canvas Unframed: 58.5 x 76 cm Framed: 73 x 91 cm
8
Above:
Opposite top:
Sir Edwin Landseer, R.a. R.I. (London, 1802–1873)
James seymour (1702–1752)
A greyhound with a hare Oil painting on canvas Signed with initials and dated lower right: EL 1817 Framed: 43.3 x 53.8cm Contained in a period carved and giltwood “Morland” frame PROVENANCE Sedley Taylor (by descent from his parents who may have commissioned the work). S. Redgrave (probably Samuel Redgrave, brother of the artist Richard Redgrave, who published a popular Dictionary of British Artists); sale: Christie's, London, 23rd March 1877, lot 334 (bought by Smith for £95.11). The late Mrs Melville Russell Cooke.
A hunt in full cry Oil on canvas Unframed: 82 x 99cm Opposite below:
Francis Sartorius (1734–1804) Huntsmen and hounds – gone away Oil on canvas Unframed: 92 x 152cm Framed: 107x 168cm
9
10
11
Francis Sartorius (1734–1804) A liver-and-white English Springer Spaniel sitting by a fowling-piece, a shot -flask and a cock pheasant in a wooded landscape Indistinctly signed lower left and dated 31st October 17... Oil on canvas Unframed: 92 x 112 cm Framed: 107 x 127 cm
12
Above:
Jacques laurant agasse (1767–1849) Two Fox Terriers Oil on canvas Unframed: 48.9 x 77.5 cm Framed: 68.6 x 97.2 cm PROVENANCE Number 164 with Galerie Neupert, Zurich
Opposite:
Hugh Barron (1747–1791) A portrait of a youth holding a cricket bat and ball with his pet black-and-white springer spaniel in a clearing by wooded landscape. Oil on canvas Signed and dated 1768 lower right Unframed: 78 x 65 cm Framed: 94 x 77 cm Contained in a George III carved and giltwood frame
13
14
15
Opposite:
Above:
George Henry Harlow (1787–1819)
William van der Hagen (fl. 1720–1745)
Three quarter length portrait of Midshipman (later Captain) John Windham Dalling RN (1789-1853) memorialising his presence on HMS Defence at the Battle of Trafalgar Oil on canvas Unframed: 130 x 106 cm Framed: 154 x 126 cm Contained in its original giltwood George III frame PROVENANCE By family descent
King William III off the coast of Ireland, June 1690, with an English Royal Yacht and the Lord High Admiral's first-rate flying the Royal Standard Oil on canvas Unframed: 85.8 x 142.9 cm Framed: 104 x 160 cm
16
17
Thomas Hickey (Dublin 1741–1824 Madras) A set of eight portraits of members of the Bedford (originally Tubb) Family of Acton, London: the father William Bedford (1744-1825) and his wife, and their children, including John Bedford, 2nd son (1771-1807) The reverse of the paintings variously inscribed with the names and dates of the sitters. Painted circa 1783 Oil on canvas Each portrait oval unframed: 36 x 29 cm Each portrait oval framed: 43 x 36 cm Contained in original giltwood frame by Thomas Fentham, “carver and glass grinder” of 52 the Strand, London
18
19
17th Century Continental School Two Proud Geese Oil on Canvas Unframed: 78 x 101 cm Framed: 94 x 118 cm
20
19th Century, Neopolitan School A Pair of Neoplitan gouaches showing two Views of the Bay of Naples Unframed: 41 x 85 cm Framed: 65 x 109 cm
22
A pair of late 19th century Howard style armchairs with turned ebonized legs terminating in brass castors now upholstered in period William Morris 'strawberry thief' fabric. England c.1890 Height of back: 90 cm Height of seat: 40 cm Width: 84 cm Depth: 63 cm
23
24
25
Opposite:
Above:
Gilt Gothic Clock
Pair of Gilt Bronze Gothic Candlesticks
A large scale mid 19th century brass and gilt metal gothic mantel clock. The silvered face with roman numerals is framed with a gothic arch surmounted and flanked by elaborate scrolls, finials and royal masks. The sides have further elaborate arches and a pierced quatrefoil at the apex. Signed Thos Moreland, Chester. England c.1860 Height: 51 cm Width: 34 cm Depth: 24 cm
A very unusual pair of Charles X gilt bronze gothic candlesticks decorated with gothic arches and trefoils in high relief. The drip-pan having a pierced gallery and frieze France c.1825 Height: 28 cm
26
Above left:
Above right:
A mahogany two tiered liberty table
A gillows mahogany two tiered liberty table
The top with incised lines, the lower tier supported by the traditional trio of triangulated supporting rods. The legs of Neo Egyptian outline with incised lines.
The lower tier supported by the traditional trio of supporting rods. The legs neo Egyptian outline with incised lines. The top bearing a design inventory number.
England c.1900 Height: 71 cm Top: 38 x 38 cm
England c.1900 Height: 69 cm Top: 41 x 41 cm
27
Three pairs of William IV yew wood gothic side chairs In the manner of George Smith, having gothic arcaded pierced backs with similarly pierced seat rails and supporting gothic spandrels. The front legs are fashioned as cluster columns of octagonal block feet. England c.1825 Height of back: 91cm Height of seat: 46cm Width: 56cm Depth: 52cm Also shown in room setting on page 29
28
An exceptional set of 10 aesthetic movement gilt bronze wall lights The candle arm is decorated with an overlapping leaf declaration and supported by styalised foliage scrolls. The back plate is a half hexagon enriched with an incised diaper pattern. England c.1890 Height: 35cm Depth: 26cm Also shown in room setting opposite
29
30
Two pairs of unusual aesthetic movement oak back stools by Shoolbred and Company The low back is enriched with a brass gallery and is flanked by armrests with encised lines and brass enrichments. In turn supported on an over scale roundel with a foliage brass patera at the centre. The stools are supported on cabriole legs, front and back. The backs bare the design registration diamond and stamp of shoolbred and company England c.1890 Height of back: 63 cm Height of seat: 43 cm Width: 55 cm Depth: 32 cm
31
A mid 19th Century Walnut Writing Table signed by George Trollope and Sons, 15 Parliament Street The shaped top retains its original green leather, below are two drawers with recessed panels and elaborate brass handles. The table is supported on pierced pedestals carved with a lattice pattern and styalised foliate motif terminating in castors. The ends are joined by an elaborately carved column stretcher. England c.1850 Height: 74 cm Width: 144 cm Depth: 76 cm
32
Above:
Opposite:
An arts and crafts oak desk chair
An unusual Charles X mahogany gothic display cabinet
Lavishly inset with geometric designs in dots of inlay. Having a domed back supported by turned inlaid columns with shaped seat rails above similar turned and inlaid column legs joined by a chamfered "H" stretcher. The front legs terminating in brass castors. Attributed to Charles Bevan. England c.1870 Height of back: 83 cm Height of seat: 44 cm Width: 50 cm Depth: 48 cm
The upper section having glazed lancet doors flanked by gothic fluted pilasters. The sides are also glazed with gothic roundels. Below the cabinet doors are enriched with quatrefoils with flier de lye terminals and further stylised foliate motif. The sides with a raised gothic tracery. France c.1830 Height: 166 cm Width: 116 cm Depth: 45cm
33
34
Above:
Opposite:
An unusual pair of late 19th century oak armchairs
Andirons
The pedimented back carved with stylised neo classical motif flanked by scroll supports. The arms and back are supported by turned baluster columns decorated with incised lines. The chairs are supported on turned column legs at the front terminating in highly unusual brass castors. The square saber back legs are joined to the front legs by a further gallery of incised balusters. Attributed to shoolbred and company. Now upholstered in green suede. England c.1880 Height of back: 96 cm Height of seat: 45 cm Weight: 61 cm Depth: 55 cm
A pair of overscale mid 19th century silvered brass renaissance revival andirons. Elaborately decorated with oak leaf ornament over shaped spherical tiers France c.1860 Height: 90 cm Width: 49 cm Depth: 33 cm
35
36
37
Opposite:
Above:
A Pair of four gothic revival brass candlesticks
A Pair of William IV Parcel Gilt Oak High Backed Occasional Chairs
An unusual set of four mid 19th century lacquered brass gothic pricket candlesticks, lavishly decorated with tiers of gothic ornament with stylised flying buttresses.
Carved in a Medievalist manner with a gilt cartouche in the cresting flanked by foliate carving. The chairs stand on chamfered sabred legs at the back and octagonal tapering legs at the front surmounted by gilt foliate carving. In the manner of Richard Bridgens.
England c.1880 Height: 61 cm Width: 12 cm
England c.1835 Height of back: 108 cm Height of seat: 40 cm Width: 47 cm Depth: 50 cm
38
An unusual mid 19th century oak mantle clock In the form of a gothic castle facade with a mansard roof supported by faceted turrets with elaborately turned finials. Having an enameled face with a brass bezel France c.1870 Height: 60 cm Weight: 32 cm Depth: 15 cm
39
A set of four gothic lanterns A set of four mid 19th century Victorian parcel gilt gothic hexagonal lanterns. The green painted frame is flanked and enriched with gilt gothic scrolls and quatrefoils. (The internal chandeliers are modern replacements) England c.1850 H.77cm W.70cm
40
A pair of Italian late 19th century walnut pier mirrors of exceptional carving, by Angiolo Barbetti The top frieze is decorated with an open winged eagle flanked by anthropomorphic scrolls. Each of the bevelled mirror plates flanked by an elaborated arabesque carved individually to each mirror. Each arabesque is surmounted by an elaborately carved capital with a grotesque mask at the centre. One holding game birds in its mouth the other fish. The capital bearing game birds supports the arabesque with the date 1859. Height: 122 cm Width: 82 cm
41
42
A rare and large scale Coalbrookdale hat and stick stand In polished steel decorated in the Renaissance style with elaborate geometric foliate and interwoven ornament. The drip trays are fashioned as shells with foliate scrolls. The reverse both stamped and bearing the design registration diamond. Also illustrated in George Himmelheber's 'Cast-Iron Furniture'. England c.1880 Height: 195 cm Width: 69 cm Depth: 28 cm
43
John Downman (1750-1824) And the Angel of the Lord said unto Hagar, Behold, thou art with child Oil on panel Unframed: 64.4 x 51.6 cm Framed: 88 x 78 cm Inscribed in Hebrew with the name of the well lower right Becrlahai-roi PROVENANCE Private collection Exeter, until 2007. Downman worked in Exeter 180708, and married the daughter of Exeter Cathedral’s organist.
44
45
Mary L Gow (1850–1929) The Gow Brothers A portrait of the three Gow brothers, painted by their aunt the distinguished Edwardian watercolourist Mary L Gow. The composition celebrates the lives of her three nephews Roddy, Andrew and Cuthbert. Painted in 1900, the artist dated the work in 1914 when she added the laurel leaves and White Ensign to commemorate the bravery of the youngest brother. Watercolour Signed and dated 1914 Unframed: 80 x 121.5 cm Framed: 109 x 153 cm Provenance By direct descent from the artists family.
46
Circle of James Hayllar (1829-1920) Portrait of the Coleridge Daughters, Audrey Jane (1878-1922) and Phyllis (1883-1950). Both seated on a yellow sofa, looking at a picture book. Oil on canvas Unframed: 110.5 x 141 cm Framed: 127 x 157.5 cm PROVENANCE From The Chanter's House collection of Lord Coleridge and a Coleridge family Trust.
47
Henry Meynell Rheam (1859–1920) Melisande Signed, inscribed and dated 1900 Watercolour Unframed: 77 x 33 cm Framed: 98 x 54 cm
48
George owen Wynne apperley (1884–1960) Self portrait. Signed and inscribed 'Painted by himself at Bushey in the year AD 1915. His age 31' Watercolour and bodycolour Unframed: 53.3 x 41.9 cm Framed: 78.7 x 66 cm PROVENANCE Private Collection, UK
49
Sydney Prior Hall (1842–1922) Gentleman in an Interior Watercolour Signed, dated and inscribed 1890 Unframed: 32.5 x 24.5 cm Framed: 52 x 47 cm
50
1
2
3
4
51
1
3
Above:
Edith Gunther (B. 1887)
Doris Zinkeisen (1898–1991)
W J Short (fl 1836–1845)
Portrait of Mrs Sanders Watney
The Music Room
Signed and dated 1937 Oil on canvas Unframed: 106.7 x 86.4 cm Framed: 125.7 x 104.7 cm
Oil on canvas Signed and dated 1852 Unframed: 70 x 90 cm Framed: 96 x 115 cm
The Mirror Signed and dated 1910 Oil on canvas Framed: 97 x 122 cm Unframed: 126 x 148 cm
2
John Mansfield Crealock (1871–1959) The Yellow Sofa Oil on canvas Signed, dated and inscribed verso Unframed: 130.8 x 97.2 cm Framed: 153 x 119.4 cm PROVENANCE With Dicksee ad Co., Liverpool, 1912. Private Collection, UK.
4
W G Gillies (fl. 1890 and 1924) The Girl in Red Oil on Canvas, Signed Unframed: 102 x 76 cm Framed: 125 x 103 cm
52
John Atkinson Grimshaw (1836–1893) Near Lake Windermere, the Lake District, Cumbria Signed and dated 1865, also inscribed on reverse Oil on panel Unframed: 39 x 50 cm Framed: 39.5 x 51 cm PROVENANCE Christopher Wood Gallery, 1981 Private Collection, USA
53
BENJAMIN WILLIAM LEADER RA (1831–1925) Bransford Bridge, Worcestershire Signed lower left Oil on canvas Unframed: 36.2 x 52.1 cm Framed: 59.7 x 74.3 cm Inscribed, ‘”Bransford Bridge,/Worcestershire.”/B.W. Leader. R.A.’ (on an old label on the reverse) PROVENANCE Possibly purchased from the artist by Hawkins, May 1872 (£70); With Henry J. Mullen, Ltd., Harrogate Private Collection, UK
54
55
Thomas Brooks (1818–1891) Guy Fawkes day Signed and dated "T Brooks"1856 Oil on canvas 82 x 127 cm Exhibited R.A. London, 1856, No. 1208
56
Emily Stackhouse (1811-1870) A Collection of Botanical Watercolours Watercolour on paper Unframed: 26.7 x 21 cm Framed: 43 x 36.8 cm
15 Langton Street, Chelsea, London SW10 0JL E: james@jhba.co.uk | W: jamesharveybritishart.com | T: +44 (0)20 7 352 0015